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.'■■>■ 


.IUNF 


25* 


Scanned  from  the  collection  of 
Shane  Brown 


Coordinated  by  the 
Media  History  Digital  Library 
www.mediahistoryproject.org 


Funded  by  a  donation  from 
David  Sorochty 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Media  History  Digital  Library 


http://archive.org/details/motion1724moti 


JUNE 


25  <t 


IO 


A    BREWSTER    PUOUCATiON 


Florence  Vidor 


— 


1 


T> 


^\^  /  zAsk  a  Favor  of  the  J^adies 

I  have  a  great  delight — an  Olive  Oil 
Shampoo  for  them 


V.  K.  CASSADY,  B.  S.  M.  S.,  Chief  Chemiu 

Dear  Madam: 

OUR  husband  knows 
me  the  chief  chemist 
at  Palmolive. 


I  have  just  given  him 
a  new  delight;  a  gentler,  quicker 
shaving  cream. 

Now  I  have  as  great  a  joy  for 
you.  A  gentle  shampoo — olive 
oil!  —  that  does  not  make  hair 
dry  and  brittle,  that  leaves  it 
soft  and  gleaming. 

The  favor  I  ask  is  that  you  try  it. 
And  then  give  me  your  opinion. 

I  Asked  1000  Women 

Recently  I  asked  over  iooo  wo- 
men what  they  wanted  most  in 
a  shampoo. 

They  named  but  one  require- 
ment. But  as  yet  had  failed  to 
find  it: 


A  thorough  cleanser  that  would 
take  out  all  grime  and  foreign 
matter — yet  which  would  not 
take  away  the  life  and  lustre  that 
adds  so  much  to  charm. 

Scores  of  scalp  experts  agreed. 
They  said  ordinary  shampoos 
were  too  harsh.  And  advised  the 
oil  shampoo — but  made  a  point 
of  olive  oil. 

So  the  Olive  Oil  Shampoo 

Now  I  offer  you  the  olive  oil 
shampoo  —  world  famous  —  for 
you  to  use  at  home. 

After  the  ordinary  harsh  sham- 
poo, results  will  be  a  revelation. 
You  will  note  them  in  your  mir- 
ror. Your  friends  will  note  them. 

And  then  you  will  do  as  thou- 
sands have  done — thank  me  for 
a  new  delight. 


PALMOLIVE 

SHAMPOO 


,-• 


e> 


<~cptrl*kt  W» 


-Th.  Palmoliw  Qb.        171(1      ^ 


L 


. 


I 


LASSIC 


The  Picture  Book  De  Luxe  of  the  Movie  WoilJ 

A    BREWSTER   PUBLICATION 


JUNE,  1923 


No.  A 


COVER  PORTRAIT— FLORENCE   V1DOR 
Painted  b)   R.  Dahl  from  ;i  photograph  !>v  \Vit/<-l 

The  Remedy  for  Censorship.     The  final  article  by II 

Classic's    Gallery    of    Photoplayers:      Robert     Frazer,    Bettj     Compson, 

Anna  Q,   Nilsson,   M.n\    Philbin,   Lois   Wilson,  Charles   de    Roche I- 

Hungry  Hearts  of  Hollywood.     Heretofore  suppressed  desires  told  t.» H 

The  Tragic  Muse.    A  character  pi  una  it  of  Mine.  Jctta  Goudal 

The  Return.    Of  Francis  \.   Bushman Susan  Elizabeth 

Foreign   Films.      \t  a   glance \tau 

Trilby.     Amine  Lafayette,  a   Du  Manner  ideal 

Little  Old  New  York.     Told  in  short  story  form Patt  it  la 

At  Lunch  with  Gloria.     An  interview Jeffery 

Idol  Worship.     Hetty  Blythe  in  an  odd  pose 

The  Heavy.     "(  me  may  smile  and  smile  and  be  a  villain." fane  If.  Li/wia 

Hollywood  Homes.     Charles   Ray 

A  Song  of  the  Screen.     Verses  and  pictures Dorothy  Rosecrant  n    4U 

Half  Chinese  and  Wholly  Lovely Bat  41 

Frank  Lloyd's  Jackie  Coogan /  ,iith    Service    4_' 

The  Tragic  Comedian.     An  unusual  photographic  study  of  Max   Linder 44 

The  Celluloid  Critic.    The  newest  picture  plays  in  review Laurence    Reid    45 

Iris  In.      Pertinent  and  impertinent   screen   comment //.   II'.  Hanemann    4X 

The   Photographer  Takes  the   Stage.     Classic's   monthly  department  of 

the    theater 4'; 

Flashes  From  the  Eastern  Stars.     Of  the  stage,  on  the  screen Caught  by  the  Editor    52 

The  Madness  of  Youth.     A  short  story Lamb    54 

Classic  Considers The  great  ami  the  near  great 

The  Heir  to  the  Throne.     ( )t   Barthelmess 

The  Hollywood  Boulevardier  Chats Harr 

Katinka  From  Chauve-Souris 

The  Modern  Movie  Hero 

The  Movie  Encyclopaedia By  Tfa  Man    7(1 

Subscription  $2.50  per  year,  in  advance,  including  postage,  in  the   United  States,  Cuba,  Mexico  and  Philippini 
■.   Foreign  Countries  £t.50  pet  year.     Single  copies  25  cents 

Subscribers    must    notify    us    at    oner   oi   any   change    in    ...  ring   both   old    and    n<  - 

Pi  bushed  Monthly  by  Brewster  Publications,  [nc,  at  Jamaica,  Y  ,i  . 

Entered  at  the  Post  Office  at  Jamaica,  N.  )'.,  as  second-class  matter,  under  the  act  of  March  3rd,   1X79. 

PRINTED    IN     V.    S.    A. 

Eugene  V.  Brewster,  president  and  Edttor-ln-Chi,  (;  Guy  L.  Harrington.  Vtee-Pretldent  an,/  Business  Manager;  L    G.  Conlon, 

E.  M.  Heinemann,  Secretary. 

EXECUTIVE   and    EDITORIAL   OFFICES.    175    DUFFIELD    ST..   BROOKLYN     V    V. 

Copyright,  192.1,  by  Brewster  Publications,  Inc.,  in  the  United  Static  and  Great  Britain. 


SUSAN   ELIZABETH   BRADY.  Editor 
ADELE   WHITELY   FLETCHER,   Managing   Editor 

Harry    Carr Western     Representative 

A.  M.  Hopfmuller Art    Director 

Duncan  A.  Dobie Director    of    Advertising 

pablished  monthly,  comes  out   on  the   12th.      Tts  elder   sister,    the    Moi 

n   the  23rd   ol    (hi    month  •    on   the  -.'  .■ 


Announcement  for  July 

Do  you  recognise  <"i  anachronism  when  you  see  one' 

Fred  Gilbert  Blakeslee  ha-  written  a  penetrating,  and  what  i-  ran 

structive  criticism  of  the  so  called  "costume  pictures"  that  arc  sweeping  the 
country  today,  lie  has  the  sanest  and  most  intelligent  suggestion  to  offer  tor  the 
prevention  of  historical  errors  and  absurdities  that  we  have  vet  seen.  Read 
COSTL'ME  RESEARCH  in  the  July  Classic. 


/ 


If  Hg  Had  Passed  It  Up 

He  Would  Still  Be  A  Laborer  At  $2  A  Day.  No 
Money,  Nothing  Ahead  But  Hard  Work,  Longer 
Hours— and  Regrets.     But  He  Didn't  Pass  It  Up. 

He  decided  to  learn  Mechanical  Drawing.  He  buckled 
down  to  work  with  the  Columbia  School  of  Drafting. 
When  lie  had  a  quiet  half  hour  to  spend  he  spent  it — 
;is  a  wise  man  spends  money — to  get  full  returns. 
MADE  $275  EXTRA  IN  3  DAYS.  He  recently  received 
$L'7r>  for  one  drawing  that  only  took  him  three  davstodraw. 
NOW  HOW  ABOUT  YOU?  Are  you  working  up  hill  or 
down  ?  Count  the  money  in  your  pay  envelope  next 
pay  day.  You'll  find  the  answer  there. 
MAKE  $35  to  $100  a  WEEK.  We  will  train  you  to  be 
an  expert  Draftsman  in  your  spare  time  at  home  by 
mail.  There's  lots  of  room  for  you  if  you  act  now. 
PROMOTION  IS  QUICK.  We'll  qualify  you  for  a  high- 
salaried  position  in  the  drafting  field  and  keep  you  in 
touch  with  openings  for  Draftsmen  in  the  big  machino 
shops,  industrial  plants  and  United  States  Government 
departments.  Men  who  start  as  Draftsmen  are  often  ad- 
vanced to  Chief  Draftsmen,  Chief  Engineers,  Production 
Managers  and   so  on. 

GET  THE  RIGHT  TRAINING.  Mr.  Claflin,  the  founder 
and  director,  stands  personally  in  back  of  the  Columbia 
School  of  Drafting.  You  spend  no  time  in  long  winded 
theories — useless  and  expensive  to  you.  You  start  on 
actual  drawing  work  the  day  you  receive  your  first  lesson. 
YOU  NEED  NO  PREVIOUS  TRAINING.  The  course 
is  easy  to  understand  and  easy  to  follow.  Many  stu- 
dents are  qualified  even  before  thev  complete  the  course. 
SUCCESS  CALLS  MEN  OF  ACTION  ONLY.  If  you 
are  a  man  of  action  clip  the  coupon  now  and  show  that 
you  are  a  man  of  action.  Keep  right  on  top  of  this 
opportunity  to  make  real  money.  Don't  go  looking  for 
a  pair  of  scissors.  Tear  the  coupon  off  and  mail  it  right 
now.  We  have  a  special  offer  for  those  who  reply 
promptly.      Get  started  now. 

What  We  Give  You 


PRACTICAL  PROB- 
LEMS. You  are  carefully 
coached  in  practical 
Drafting  work. 
WE  HELP  YOU  GET  A 
JOB.  We  help  you  get  a 
position  as  a  practical 
Draftsman  as  soon  as  you 
are  qualified. 
PERSONAL  INSTRUC- 
TION AND  SUPERVI- 
SION THROUGHOUT 
THE  COURSE.  You  re- 
ceive the  personal  instruc- 
tion and  help  of  Koy  C. 
Claflin,  president  of  the 
Columbia  School  of  Draft- 
ing and  a  practical 
Draftsman  of  many  years' 
experience. 

DRAFTSMAN'S  EQUIP- 
MENT. We  furnish  you 
with  a  full  set  of  Drawing 
Equipment     and     Drafting 


Instruments  as  shown  In 
the  picture  below  when 
you  enroll.  You  keep  botli 
sets  on  completing  the 
course. 

CONSULTATION  PRIVI- 
LEGES. You  are  free  to 
write  us  at  any  time  for 
advice  and  suggestions  re- 
garding your  success. 
DIPLOMA.  The  diploma 
we  give  you  on  complet- 
ing the  course  attests  to 
your  proficiency  as  a 
'Draftsman.  It  is  an  "en- 
tering wedge"  to  success. 
FREE  SUBSCRIPTION 
TO  D  RAFTSMAN'S 
PUBLICATION  ''THE 
COMPASS."  You  are 
given  free  a  subscription 
to  our  helpful,  inspiring 
publication'The  Compass." 


Given  to  Students 

U.  S.  Civil  Service  Commission  Needs  DRAFTSMEN 

The  following   are  a  few  of  the  nianv  positions  open  in 
Government  Departments  from  time  to  time.     The  salaries 
are  starting   salaries,  subject   to  increas. .     Practically  all 
of  them  carry  a  bonus  of  $240  a  year  additional. 
Architectural    Designer,    $4,000. 
Chief   Draftsman    (Aeronautical)    Naval  Air- 
craft   Factory — $15.04  per  day. 
Aeronautical     Draftsman — Field     Service    of 
Navy    Department — $5.20  per  day  to  $12 
per  day. 

L7DL7L7  T}f\fW  s""'  in  tllls  coupon  today. 
rivLiL     DUUIV.       Immediately   on    receipt    of   it 

we  will  send  you  our  book, 
■'Drafting  —  Your  Success."  which  tells  you  all  about 
"in  new  method  of  teaching  Mechanical  Drawing  and 
gives  full  details  of  our  special  offer  lo  those  who  reply 
prompt  ly. 

THE  COLUMBIA  SCHOOL  OF  DRAFTING 

Roy  C.  Claflin,  President 
Dept.  2001.  14th  &  T  SU.,  N.  W.  Washington,  D.  C. 

r-...__.FREE  B00K  COUPON-------', 

I    COLUMBIA    SCHOOL    OF    DRAFTING, 

Dept.   2001.    14th   and   T   Sts.,    N.   W., 
Washington.    D.    C. 
Enter  my   name  for   a   free  subscription   lo    "The  ' 

■  Compass"  and  also  send  me  without  charge  your  11-  I 
I  iustrated  book  on  Drafting,  telling  lie-  how  I  ran  I 
|  secure  your  complete  Home  Studj  Course  and  | 
I   help  in  securing   a  position   as  Draftsman. 

■  .Name * 

.    Address ' 

J   City ■ 

[State Age J 


Current  Stage  Plays 

{Readers  in  distant   tnivns  ivill  do  well  to  preserve  this  list  for  reference  tv/.'iese 
spoken  plays  appear  in  their  vicinity) 


Ambassador. — Tessa  Kosta  in  the  mu- 
sical gem  "Caroline." 

Apollo.  —  "The  God  of  Vengeance." 
Rudolph    Schildkraut   in   an   unusual   play. 

Astor. — "Lady  Butterfly."  Slight  as  to 
plot  but  a  charming  musical   comedy. 

Bayes.  —  "Liza."  Another  "Shuffle 
Along,"  destined  to  be  even  more  popular. 

Belmont.  —  "You 
and  I."  H.  B.  War- 
ner, Lucile  Watson 
and  star  cast  in  the 
Harvard  Prize  Play. 
Belasco.  —  Lenore 
Ulric  in  "Kiki," 
David  Belasco's  pro- 
duction of  his  own 
piquant  adaptation 
of  Andre  Picard's 
French  farce.  Miss 
Ulric  scores  one  of 
the  big  hits  of  the 
season  with  her  bril- 
liant playing  of  a 
little  gamine  of  the 
Paris  music  halls. 
You  will  love  Kiki 
as  you  loved  Peg — 
but  differently.  A 
typically  excellent 
Belasco  cast. 

Booth.  —  The 
"heaven''  in  "The 
Seventh  Heaven"  is 
the    top    floor    of    a 

Montmartre  tenement  in  Paris.  It  is  a 
story  of  love  and  regeneration  with  touches 
of  humor  and  unreality.  Helen  Menken 
gives    an    excellent    performance. 

Broadhurst. — 'Whispering  Wires."  One 
of  the  numerous  mystery  plays  now  trying 
to  puzzle    Broadway.     This  one   succeeds. 

Casino. — "Wildflower,"  with  Edith  Day. 
The  music   is   exquisite. 

Central. — The  home  of  Shubert  vaude- 
ville during  the  week.  Two  concerts  are 
given  on  Sunday. 

Century. — In  "The  Lady  in  Ermine"  we 
have  a  musical  comedy  with  a  plot  that  it 
follows  effectively  or  comes  back  to  after 
each  departure  as  if  it  really  meant  to  be 
something  more  than  vaudeville.  The  ac- 
tion concerns  a  romantic  legend  about  an 
ancient  European  castle.  Wilda  Bennett 
as  the  heroine  sings  charmingly. 

Century  Roof. — "The  Chauve-Souris"  of 
Nikita  Balieff  and  his  Russian  entertainers 
from  Moscow.  Fourth  bill.  Better  than  ever. 

Cohan.  —  "The  Exile."  A  romantic 
comedy  by  Sidney  Toler  featuring  Eleanor 
Painter  and  Jose   Ruben. 

Comedy.  —  "Anything  Might  Happen." 
Delightful  comedy  with  Estelle  Winwood 
and    Roland   Young. 

Cort. — Harry  Leon  Wilson's  popular 
story,  "Merton  of  the  Movies,"  has  lost 
none  of  its  charm  and  humor  in  the  drama- 
tization. Glenn  Hunter  and  Florence  Nash 
are  perfectly  cast  as  the  hero  and  heroine. 

Earl  Carroll. — "The  Gingham  Girl."  A 
very  tuneful,  interesting  musical  comedy 
with  a  chorus  of  eight  lively  flappers. 
Helen  Ford  is  the  gingham  girl,  and  Eddie 
Buzzell  furnishes  the  comedy.  A  triumph 
of  quality  over  quantity. 

Eltinge.- — "Morphia"  is  a  play  that  acts 
as  a  vehicle  for  Lowell  Sherman  to  give 
a   realistic  portrayal   of  a  drug   fiend. 

Empire. — -"Zander  the  Great."  Alice 
Brady's  return  to  the  stage.     Review  later. 

Forty-fourth  Street. — "Sally,  Irene  and 
Mary"  is  a  musical  comedy  full  of  the 
usual   pretty  girls,  dancing  and   songs. 

Forty-eighth  Street. — "Anathema."  Re- 
view later. 


Classic's  List  of  Stage  Plays 

and  Revues    in  New   York 

That  You  Should  See 

°$ 

"Merton  of  the  Movies" 

"The  Adding  Machine" 

"7th  Heaven" 

"Wildflower" 

"The  Last  Warning" 

"Rain" 

"Romeo  and  Juliet" 


i 


Forty-ninth  Street. — "Give  and.<e." 
Aaron  Hoffman's  new  play,  witouis 
Mann  and  George  Sidney. 

E razee.  —  "Barnum  Was  Righ  An 
American   Farce.     Review   later. 

Gaiety.  —  "If     Winter     Comes. The 

stage     version     of     Hutchinson's  ular 

novel  with  Cyril  Maude  giving  a  .idid 

characterizai  o  f 

Mark   Sabre 

Henry  Jr.  — 
"Romeo  andiet." 
Jane  Cowl  her 
performance's  a 
remarkable  ires- 
sion  of  youtouth 
in  love.  Her  lcia- 
tion  of  Shakare's 
lines  is  perf' 

Hippodr..  — 
"Better  Tim  The 
largest  coest, 
and  most  n:  and 
prettiest  of  i  ries. 
The  Fan  Bt  of 
more  than  fchun- 
dred  persons  per- 
haps the  st  fea- 
ture. 

Hudson.   "So 

This   Is   Lo*n  !" 

George  Coh;  new 

English     cedy, 

which   suffeiomc- 

what    frorrxag- 

geration,  but   is  a  most  amusing  :y  of 

clashing    temperaments  —  the    Eng    and 

the  American.     Worth   seeing. 

J  olson's  Fifty-ninth  Street.  —  ene." 
Second  engagement  of  the  popularisical 
comedy. 

Klaw.— "The  Last  Warning,"  a  stery 
play  that  fairly  congeals  the  audie  with 
terror.  Every  trick  is  used  to  bu  up  a 
perfect  atmosphere  of  horror,  bnning 
with  the  tarantulas  that  swarm  r  the 
walls  of  the  green  room  in  the  fi  act. 

Knickerbocker. — "The  Clinging,rine," 
a  comedy  with  music.  Clever,  mml  and 
the  welcome  vehicle  that  bring;3eggy 
Wood  back  to  Broadway. 

Liberty.— "Little  Nflly  Kelly."  ne  of 
George  M.  Cohan's  best.  Quite  eigh  to 
say  about  a  play. 

Little.— "Bolly  Preferred."  A^medy 
of  modern  business,  in  which  (evieve 
Tobin  does  some  excellent  acting. 

Longacre.  —  "The  Laughing  .adv." 
Ethel  Barrymore  in  Alfred  Suti  play 
has  found  herself  again. 

Lyceum. — "The  Comedian."  F  curing 
Lionel  Atwell.     Review  later. 

Maxine  Elliott's. — "Rain"  is  ;  bitter 
tragedy  by  Somerset  Maugham;  i  iolent 
attack  on  the  repressions  of  Punnism. 
Jeanne  Eagels  is  superb  in  the  lead{  role. 
Morosco.— "The  Wasp."  A  playeatur- 
ing  Otto  Kruger,  Emily  Ann  Vllman, 
and   Galina    Kopernak. 

Music  Box.  —  The  new  "Revu" — No 
pains  have  been  spared  in  the  mter  of 
delighting  the  eve. 

National.— "The  Dice  of  the  God'  The 
incomparable  Mrs.  Fiske  charm.?  her 
audience  in  spite  of  a  poor  play. 

Mew.  Amsterdam. — "Ziegfeld  Fcies  of 
1922."  "Glorifying  the  Americai  Girl." 
More  gorgeous,  more  elaborate,  nre  ex- 
pensive, more  distracting,  and  a  lite  fun- 
nier than  usual. 

New     Winter     Garden. — "The    hncing 
Girl" — A      musical      extravanganz;    with 
Trini,   Spain's  most  beautiful   gir) . 
(Continued  on  page  92) 

(lx) 


■ 
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with  t 

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■ 

■ 

m     \> wl  \%  I. a 
ell    that    j    [></t    BMOAfWM 

.  \  jr 
rtinj  l»at»\.   Isn't  lie  WOfth 

II   he   |ur«  of  it   when    you 

iilJ  Llo)  J  In  "  1  Do." 


you've  lost  your  funny-bone— 


r>u  think  a  comedian  Is  onlv 
down  or  a  buffoon  you  will 
-e»ly  change  your  mind  when 
vole  this  poor  timid,  lovable 
hoarn  the  secret  of  Courage. 
Arhrcwd,  loving  Grandma — 
ih  lew  what  he  needed.  No 
wc  r  "Grandma's  Bov"  was 
vo  among  the  best  ten  motion 
ou  :s  of  the  year. 


I  1  you  tliink  no  motion  picture  in  the  world  can 
A  make  you  laugh  a  good  old-fashioned  laugh  again 
— take  this  prescription.  It's  tested  and  unfailing, 
especially  compounded  for  just  such  a  critical  case 
as  yours. 

K 

Six  Encore  Pictures  of  Harold  Lloyd. 
Sig:  Take  one  after  meal  time.  Alone  or  ac- 
companied by  friend,  member  of  family 
or  stray  child.  Get  into  comfortable  seat  at 
motion  picture  theatre  and — shake  well! 
S.  Q.  Lapius,  M.D. 

After  the  first  treatment  you  will  feel  so  much 
better  you'll  tliink  you  are  cured.  But  don't  stop 
with  one  picture.  Keep  the  treatment  up.  Take  all 
six — and  you'll  want  to  cure  others! 

Ask  your  theatre  manager  for  this  tested  group  of 
gloom-destroyers.  He  will  be  glad  to  give  you  the 
genuine — bearing  the  signature  of  that  distinguished 
producer,  Hal  Roach. 

Distributed  by  Associated  Exhibitors,  Inc.  Arthur 
S.  Kane,  President,  35  West  45th  Street,  New  York. 
Physical  Distributors,  Pathe,  Inc. 


SOMI  HOW  Lloyd  feels  that  the  bathing  pool  of  the 
Sultan's  Harem  i ;  no  Ioiik'  t 

from   the   Sultan'i 

clutch-  re  onlv  two  of  the  perplexities  which 

best  r  Harold  Lloyd  in  "  \  Sailor-Ma  li  n  you 

uproarious  adventures  you'll  wonder  how  he  could 

cram  so  much  hilarif  v  into  one  short  huur. 


la 


if 


oft 

l.lo 

may 

upi 


utl 


roari 


fa 


ROI.D  and  Mildred  find  In 
\  \  cr  Weaken  "  that  true 
a  dangerous  course, 
Li  in  the  air.  Lovelorn 
perched  on  a  girder,  doin^r. 
el  t  to  get  back  to  solid 
to  his  sweetheart — 
t  sound  funny,  but  it  is  an 
ous  spectacle. 


WHEN  a  fellow  who  has  never  beenoutsidehishomctowngcts 
into  society,  and  is  asked  to  tell  of  his  African  hunting  cx- 
periences — just  what  would  the  book  of  etiquette  advi* 
his  imagination,  is  our  guess. 

And  in  "Among  Those  Present,"  Lloyd  does  use  his  imagina. 
tion — recklessly  and  wondrously  as  you  can  judge  from  the  ex. 
pression  of  his  hostess. 


IT  doesn't  seem  quite 
fair  to  ask  a  pain- 
fully respectable,  un- 
domesticated  bachelor 
to  play  chaperon  to  a 
full -of- the -mischief, 
four-year-old  girl  in  a 
1  Pullman.  But 
m  or  Never" 
Lloyd  does  find  a  way 
out  of  his  troubles — 
after  bis  own  fashion. 


core 


ENCORE  PICTURES  are  chosen  from 
hundreds  of  new  motion  pictures  offered 
us   each   year — cb 

tually  enttnain  the  private  audiences  who 
em  in  advance. 
This   line   of  high    grade    pici. 
eludes: 

Harold  Lloydin"Grandma'sB 
Do," 

en,"  "Among  Those  Present,"  and  "A 
Sailor-Made  Man." 

Constance    Binney   in    "A    Bill,  of 
Divorcement" — an   absorbing   drama 
ling  the depthsof  human  feeling. 
"Head  Hunti  rsof  the 
— a  truthful  record  of  a  thrilling  ad- 
mire. 
Florence  Vidor  in  "Alice  Ada'- 
a    wonderfully    faithful    and    . 
picturi'ation   of  Booth   Tatkington's 

fl; — andothcr 


To    be    sure  of   having   all   the    better 

photo-plays  shown  in  your  neighborhood 

Mould  form  a  Better  Pictures  Council 

irk  with  the  managers  of  your  local 

picture   the  .r 

than  6oo  communities  have  or- 

-  d  such  Councils.  Every  month  the 

members  receive  impartial  reports  of  all 

i*hilc  phot' 
tures  alone.  The  Council  recommends  the 
bcNt  pictures  to  the  theatre  manager  and 
endorses  them  to  the  public. 

Thus  everybody  benefits — theatre  goers 
can  make  known  in  advance  what  pictures 
.  and  the  theatre  i 

\\  hy  don't  i 

getti- 

■ 
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Works."      Arthur  J>.  Kane,  7-  ; 

West  45th  Street,  New   . 


(Snen) 


Will  ibur  Conscience 
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The  Perfect  Man 


Regrets  will  haunt  you  all 
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When   Marriage 
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close a  10-cent  piece  (one  dime  p.  I  have  marked  (Xj  before  the 
subject  in  which  1  am  interested. 


Colds 
. .  Catarrh 
.  Asthma 
.  .  Hay  Fever 

Obesity 

Headaches 
.   Thinness 
.    Rupture 

Lumbago 

Neuritis 
.    Neuralgia 
.    Flat  Chest 
.  .Deformity 

(Bea 
.  .Successful 
Marriage 
.  .Rheumatism 


.  .Pimples 
.  .Blackheads 
. .  Insomnia 
..Short  Wind 
. . Flat  Feet 
.   Stomach 

Disorders 
.  .Constipation 
.  .Biliousness 
.  .Torpid  Liver 
.  .Indigestion 
.   Nervousness 
. .  Poor  Memory 
.   Vital  Losses 
. .  Impotency 
.   Weak  Eyes 
. . Despondency 
..Diabetes 


. .  Female  Disorders 
.    Increased  Height 
.  .Youthful  Errors 
. .  Manhood 

Restored 
.  .Prostate  Troubles 
. .  Neurasthenia 
..Falling  Hair 
..Gastritis 
.  .Heart  Weakness 
..Poor  Circulation 
..Skin  Disorders 
. .  Round  Shoulders 
.  .Lung  Troubles 
.  .Stoop  Shoulders 
.    Muscular 

Development 
.  .Great  Strength 


Name. 


I  Age Occupation.. 
Street City. 


Manufacturers,  Distributors 
and  Studios 

of 

Motion    Pictures 

New  York 


Advanced  Motion  Picture  Corp.,  1493  B'way. 
Arrow  Film  Corp.,  220  W.  42nd  St. 
Astra    Film    Corp.,    1    Congress    St.,    Jersey 
City,  X.  J.     (Studio.) 

Ballin,   Hugo,   Productions,  366  Fifth   Ave. 
Biograph  Studio,  807  E.  175th  St. 

Community   Motion   Picture   Bureau,  46   \V. 

-Mil)  St. 
Consolidated  Film  Corp.,  80  Fifth  Ave. 
Cosmopolitan  Productions,  2478  Second  Ave. 

F.ducational  Film  Co.,  729  Seventh  Ave. 
Export  &  Import  Film  Co.,  729  Seventh  Ave. 

Famous  Players-Lasky,  485  Fifth  Ave.    (Stu- 
dio, 6th  and  Pierce   Sts.,   Astoria,  L.  I.) 
Film   Booking  Offices,   723   Seventh  Ave. 
Film  Guild,  8  W.  40th  St. 
Film  Market,  Inc.,   1482  Broadway. 
First  National  Exhibitors,  Inc.,  6  \V.48th  St. 
Fox  Studios,  Tenth  Ave.  and  55th  St. 

Gaumont  Co.,  Congress  Ave.,  Flushing,  L.  I. 
General  Enterprises,  Inc.,  1540  Broadway. 
Goldwyn  Pictures  Corp.,  469  Fifth  Ave. 
Graphic  Film  Corp.,  729  Seventh  Ave. 
Griffith,  D.  W.,  Films.  1476  Broadway.     (Stu- 
dio,  Oriental  Pt.,   Mamaroneck,   N.  Y.) 

Hampton,  Hope,  Productions,  1452  B'way. 
Hodkinson,   W.   W.,   Film   Corp.,   469   Fifth 
Ave. 

Inspiration  Pictures,  565  Fifth  Ave. 
International  Studios,  2478  Second  Ave. 
Ivan  Film   Prod.,   126  W.  46th  St. 

Jans  Pictures,  729  Seventh  Ave. 
Jester  Comedy  Co.,  220  W.  42nd  St. 

Kane,  Arthur  S.,  Prod.,  25  W.  43rd  St. 

Metro  Pictures,  Loew  Bldg.,  1540  Broadway. 
Moss,  B.  S.,  1564  Broadway. 

Outing  Chester  Pictures,  220  W.  42nd  St. 

Pathc  Exchange,  35  W.  45th  St. 
Piedmont  Pictures  Corp.,  45  Laight  St. 
Preferred  Pictures,  1650  Broadway. 
Priznia,  Inc.,   no  W.  40th  St. 
Pyramid   Picture  Corp.,   150  W.  34th  St. 

S.  L.  Pictures,  1540  Broadway. 
Seitz,  George  B.,   1990  Park  Ave. 
Selznick    Pictures,    729    Seventh   Ave.     (Stu- 
dio, W.  Fort  Lee,  N.  Jj 
Stewart,  Anita,  Prod.,  Inc.,  6  W.  48th  St. 
Sunshine  Films,   Inc.,    140   W.  44th   St. 

Talmadge  Film  Corp.,  1540  Broadway, 
ropics  of  the  Day  Film  Co.,   1562  Broadway. 
Triangle   Distributing  Corp.,   1459   B'way. 
Tully,  Richard  Walton,  Prod.,  1482  B'way. 

United  Artists,  729  Seventh  Ave. 
Universal  Film  Corp.,   1600  Broadway. 

Vitagraph    Films,    E.    16th    St.    and    Locust 
Ave.,  Brooklyn. 

Warner  Bros.,    1600  Broadway. 

West,  Roland,  Prod.  Co.,  236  W.  55th  St. 

Whitman,  Bennett,  Prod.,  537  Riverdale  Ave. 


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Editor's  Note. — This  is  the  third  and  lost  article  by  Mr.  Leeds 
on  the  cause,  result  and  cure  for  censorship.  We  hope  you  will 
not  overlook  the  fact  that,  after  all,  the  remedy  is  in  your  hands. 
If  there  is  any  other  phase  of  the  moving  picture  industry  yoti 
would  like  to  have  discussed,  let  us  know.    We'll  see  Mr.  Leeds. 


JL'ST  as  there  is  a  remedy  for  everything  from  spring 
fever  to  Ben  Turpin's  shortcomings  as  a  romantic 
lead,  so  also  there  is  a  cure  for  censorship.  Like  all 
diseases,  however,  it  requires  diagnosis.  Examined 
thoughtfully,  it  discloses  to  us,  its  doctors  and  physicians, 
two  important  aspects.     It  is  either: 

( 1 )  A  menace  to  entertainment ;  or 

(2)  An  attempt  to-  lessen  the  free  spread  of  information,  an 
attempt  to  curtail  freedom  of  thought,  and  hence  a  thing  political 
in  its  nature  to  be  remedied  by  the  voters  of  the  republic. 

In  short,  the  remedy  lies  in  your  hands.  If  you  are 
movie  fans,  you  are  voters,  too,  hut  politics  is  a  matter, 
first,  of  argument,  and,  secondly,  of  organization.  The 
argument  in  favor  of  censorship  is  that  pictures  of  an  un- 
fortunate moral  tone  have  from  time  to  time  been  offered 
the  public.  That  this,  if  it  ever  happened  really,  might 
not  happen  again,  the  picture  producers  themselves  set  up 
the  Honorable  Will  H.  Hays  as  a  boss.  That  the  pro- 
duction of  pictures  over  which  honest  people  may  differ 
was  usually  the  work  of  fly-by-nighters  who  sneaked  into 
the  game  and  sneaked  out  with  their  clean-up  is  not  so 
generally  understood. 

Xor  is  it  clear,  generally  speaking,  that  for  such  dis- 
agreeable occurrences  there  was  a  cure  without  resort 
to  censorship.  Granting  that  an  immoral  picture  ever  was 
shown  li  these  United  States  of  America,  to  end  its  run 
required  only  an  appeal  to  the  courts.  Any  citizen  could 
go  in  a  id  make  that  appeal  and  get  immediate  action. 
Citizens  who  do  not  like  the  movies  have  searched  end- 
lessly f<lr  causes  to  take  to  court.  Failing  to  find  them, 
they  hit-  upon  censorship  as  a  scheme  for  bringing  their 
prejudices  to  bear  on  our  favorite  amusement. 

The  point  cannot  be  too  strongly  emphasized  that  there 
is  everywhere  in  the  union  already  a  remedy  for  immoral 
pictureal.  Should  one  be  produced  and  shown,  all  that  is 
necessary  is  to  call  it  to  the  court's  attention.  The  judge 
will  end  it  quickly,  but  this  is  not  what  censors  want. 
They  want  to  clamp  down  their  narrow  prejudices  on 
every  type  of  picture.  For  example,  because  of  censorship : 

Girls  have  no  legs  in  many  states. 

Kisses  must  be  so  long  and  no  longer.  In  Maryland  you  cannot 
kiss  your  wife's  shoulder,  in  Ohio  her  foot. 


Cigarets  aren't  smoked  by  men  or  women  in  Kansas. 

In  Pennsylvania  babies  are  neither  born  nor  expected. 

Such  words  as  "ornery,"  "hot  doggie,"  "wild  oats,"  "bright  t 
'baby  lamb"  and  "gimme"  are  looked  on  askance. 

Robert  Louis  Stevenson's  famous  children's  story,  "Treasure 
Island,"  is  regarded  as  an  incentive  for  all  youngsters  to  becomr 
pirates  and  horse  thieves,  while  Jackie  Coogan  breaking  window « 
in  "The  Kid"  is  also  a  bad  example  to  other  kids ! 

In  Pennsylvania  doll  clothes  are  suggestive. 

Enough  !  Obviously,  the  censors'  idea  is  not  to  impi 
our  morals,  but  something  else  again.  What  this  some- 
thing else  is,  we  may  well  set  out  to  inquire,  for  if  r 
playboys  of  the  western  world  are  allowed  to  continue 
to  act  like  a  lot  of  scared  cats  dancing  the  light  fan- 
tastic in  a  pool  of*  molasses  they  will  slowly  but  surely 
ruin  the  movies  as  a  source  of  entertainment. 

Obviously,  if  they  are  to  continue  in  power,  no  one 
will  dare  produce  anything  human  enough  to  be  inter- 
esting. To  do  so  would  be  to  invite  your  filing  destruc- 
tion, so  why  continue  them  in  power,  a  power  they  seek 
not  for  the  reasons  they  give  but  for  the  reason  given 
by  George  Bernard  Shaw,  the  playwright,  when  he  pointed 
out  that  the  movies  by  improved  use  of  the  sign  language, 
a  language  the  same  in  every  land,  could  easily  revolu- 
tionize the  world.  Taking  charge  of  them  to  see  that  the 
revolution  they  bring  about  suits  a  narrow  minded  few 
is  a  purely  "political  action. 

So  far  it  has  succeeded  in  great  states  like  New  York. 
Ohio,  Pennsylvania,  Kansas,  Maryland,  Virginia  and  cer- 
tain Canadian  provinces,  but  the  issue  was  joined  last  fall 
in  Massachusetts  and  lost  by  the  censorship  advocates. 
The  campaign  was  instructive,  the  majority  344.921  votes 
against  censorship.  Before  this,  the  issue  had  been  left 
to  governors  and  legislatures. 

This  time  the  people  got  a  chance  to  express  their  minds. 
The  total  vote  was  553,173  against  208.252  in  favor.  The 
majority  against  censorship  was  136,669  votes  greater  than 
the  total  negative  vote,  but  this  happy  result  was  brought 
about  in  anything  but  a  haphazard  fashion.  It  was  the 
result,  first,  of  argument,  and,  secondly,  of  organization. 
Those  opposed  organized  a  Committee  of  Massachu- 
setts Citizens  Against  Censorship.  On  this  committee 
( Continued  on  f 


vert  ) 


This  interesting  youth   is  a   charming  young 

man  about  pktarcs.     He  is  the  hero  of  Mae 

Murray's  latest  photoplay  "Jassmania" 


Robert  Frazer 


i 


ThotoRraph  by  Edward  Thayer  Monroe 


Betty  Compson 


11' e  think  this  is  the  loveliest  portrait  of 

Betty  Compson  that  has  ever  come  to  our 

offices.      She    is   working   at    present    on 

"The  Rustle  of  Silk" 


Photograph  by  Richee 


Blue-eyed  and  jonquil-haired  like  her  northern 
ancestors,  Miss  Nilsson  is  a  sight  for  Klcig 
eyes.  She  was  charming  in  "Adam's  Rib" 
and  we  await  impatiently  her  next  picture,  also 
"The  Rustle  of  Silk" 


Anna  Q.  Nilsson 


Photograph  by  Freulich 


Mary  Philbin 


Sweet    young   girlhood    is   pictured    here. 

We  shall  see  Mary  again  soon — in  "The 

Merry   Go   Round" 


Photograph  by  Donald  Biddle  Keyes 


•*» 


Lois  Wilson  was  fortunate  enough  to  be 
chosen  for  the  heroine  of  "The  Covered 
Wagon"  which  is  having  an  extraordinary  New 
York  run.  It  has  been  called,  "The  film  epic 
of  America"  and  you  may  be  sure  that  Lois 
contributes  her  bonny  share 


Lois  Wilson 


Photograph  by  Pach  Brothers 


Charles  de  Roche 


This  is  the  romantic  French  actor  who 
was  brought  to  this  country  to  take  the  place 
of  Rodolf  Valentino.  Docs  anyone  think  he 
can  do  it?  We  shall  see.  .  .  .  His  first 
picture  Tvill  be  with  Dorothy  Dalton  in 
"The  Law  of  the  Lazclcss" 


I 


Hungry  Hearts 

The  Cinemese  Tell 
To  HARRY 

N  Hollywood,  everybody  sits  around  and  yearns 

and  yearns. 

Every  one  I  know  in  die  film  colony  wishes  she 
were  something  else.  They  all  sit  around  the  sets 
and  sigh  for  the  day  when  the  great  ambish  comes 
true. 

It  goes  without  saying,  of  course,  that  most  of 
them  crave  to  be  something  they  couldn't  be — and 
wouldn't  like  if  they  were.  Which  sounds  a  little 
mixed  but  is  true. 

Here's  Mary  Pickford  the  crowned  queen  of  mo- 
tion pictures— so  far  above  all  jealousies  and  rivalries 
that  no  other  girl  dreams  of  disputing  her  absolute 
sway  .    .   .  rich  beyond  the  dreams  of  avarice  .    .    . 
the  most  adored  and  most   famous   woman   who  ever  lived.    .    .    . 
Of  course  there  is  nothing  that  Mary  could  possibly  yearn  for  .   .   . 


Oh,  isn't  there? 
Wall 


Now  all  this  fame  and 
glory  and  wealth  and  so  on 
doesn't  mean  so  much  to 
Mary.  She  is  a  lady  with 
a  crushed  ambition.     What 


Douglas  Fairbanks  also  yearns  ...  to  be 
a  playwright  .  .  .  and  the  funny  part  of 
it  is  that  Doug  is  quite  likely  to  do  it  .  .  . 
he  will  get  hold,  some  day,  of  the  moon 
for  which  he  is  reaching 


What  Mary  wants  to  be  is  a 
painter  .  .  .  with  palette  on 
one  little  thumb  .  .  .  and  a 
queen  sitting  on  the  throne 
waiting  to  be  painted 


% 


t>' 


*.- 


IMiotograph  by  Abbe 


Dorothy  Gish  longs  to  be 
anything  but  an  actress 
...  a  cook  maybe  in  a 
family  where  they  are 
all  compelled  to  fast  on  a 
hot   water   diet 


K£y~ 


Mary  wants  to  be  is  a  painter.  In  her  soul  hunger 
moments  she  sees  herself  standing  in  front  of  an 
easel,  a  palette  on  one  little  thumb,  perhaps  her  hair 
mussed  up  a  little  and  a  little  smudge  of  paint  across 
her  face  and  a  queen  sitting  on  the  throne  to  be 
painted.  Mary  also  mixes  her  dreams  a  little  with 
a  yearning  to  be  an  interior  decorator.  She  can 
see  herself  walking  thru  a  new  house  with  a  newly 


(Eighteen) 


of  Hollywood 

Their  1  leans'  Desires 


CARR 

rich  oil  queen  hanging  on  her  w<  •      "I  think  you 

should   have   this   room    in   yellow     with   chairs     »i    something 
scattered  around." 

Every  time  something  goes  wrong  on  one  of  her  sets,  whin 
she  i^  making  picture  dramas,  Mar)  sighs  and  says,  "1  never 
should  haw  tried  this  business.     1    should  have   followed  my 

itiny  and  been  a  painter  .    .    .  away  from  all  this  fuss  and 
worry  .  .  .  all  these  lights  .   .   .  and  directors  .   .   .  and  actors 
cant  act   ..." 

Douglas  Fairbanks  also  yearns. 

His  film  career  is  well  enough  of  course:  one  must  no1  quarrel 
with  one's  bread 
and  butter  .   .   . 
that's  true   . 
that's   true. 

But  if  he  had 
h  i  s  w  a  \  .  h  e 
would  he  a  play- 
wright— a  regu- 
lar (ius  Thomas 
.  .  .  first  nights 
with  awed  and 
frenzied  crowd- 
calling  for  the 
author  .  .  .  anx- 


D.  W.  Griffith  cherishes 
a  desire  to  be  a  great 
orator  swaying  the  masses 
.  .  .  swaying  the  theater 
.  .  .  the  chandelier  .  .  . 
and  everything 


In  the  bottom  of  his  soul  Charlie  Chaplin  has  a 
hankering  to  be  the  leader  of  a  great  symphony 
orchestra  .  .  .  white  gloves  ...  a  baton  .  .  . 
thundering  applause  ...  a  deprecating  bow  .  .  . 
savages  tamed  by  music    .    .    .    Gosh! 


Alhin 


Lillian  Gish  in  her 
dreams  sees  herself 
the  lady  principal 
of  a  girl's  college 
.  .  .  telling  them 
all  about  the  dative 
case  and  the  cum 
clause 


ious  producers  hegging  to  be  remembered  when 
he  writes  his  next  one  .  .  .  Shakespeare  green 
with  envy  in  his  frames.  And  the  funny  part 
it  is  that  Douglas  is  quite  likely  to  do  it. 
Of  all  the  actors  on  the  screen,  he  prohahly  has 
the  most  accurate  and  inspired  knowledge  of  the 
elements  of  true  drama.  Doug  can  find  the 
weak  spot  in  a  play  with  the  sure  knowledge 
of  a  magnet  finding  a  piece  of  iron.  It  is  quite 
likely  that  he  will  get  hold,  some  day.  of  the 
moon  for  which  he  is  reaching. 

And  Charlie  Chaplin   .    .    . 

Perhaps  you  think  he  is  satisfied  :  hut  down 
in  the  hottom  of  his  soul  Charlie  has  a  hankering 
that    cant   he   stilled.      Charlie   wants   to   he   the 


„  ¥* 


(Nineteen) 


CLASSIC 


She  says  she  will 
be  happy  when 
she  overhears 
someone  'say: 
"Good  Heavens! 
There's  that  fat 
Fazenda  woman. 
She's  had  an- 
other baby!" 


Photograph  by  Melbourne  Spurr 


Louise 
Fazenda 
says  it 
means 
nothing  in 
her  life  to 
be  the  fun- 
niest wom- 
an on  the 
screen 


leader  of  a  great  symphony  -orchestra  .  .  .  white  gloves 
...  a  baton  ...  a  music  rack  ...  a  dark  look  at  the 
offending  slide  trombone  player  .  .  .  thundering  applause 
...  a  deprecating  bow  .  .  .  uplifted  masses  .  .  .  savages 
tamed  by  the  divine  flow  of  melody  .    .    .     Gosh  ! 

D.  W.  Griffith  has  always  cherished  a  secret  ambition 
to  be  a  great  orator,  swaying  the  masses  by  his  voice. 
His  favorite  characters  in  all  history  are  men  like  Danton 
who  have  held  mobs  in  the  hollow  of  their  hands.  The 
only  trouble  is  they  have  always 
been  revolutionists.  If  D.  W.  could 
only  find  something  eminently  re- 
spectable as  befitting  a  Kentucky 
gentleman  to  sway  them  about.  The 
only  outlet  he  can  find  for  swaying 
is  putting  skids  under  cen- 
sorship. The  truth  is,  he 
could  do  it  too.  Griffith 
has  an  almost  hypnotic 
power  over  men.  The  only 
trouble  is,  in  his  case,  the 
mob  swaying  days  of  the 
world  seem  to  be  over — for 
Kentucky  gentlemen. 

Lillian  Gish  has  a  peculiar 
dream  that  occasionally  af- 
flicts her  when  things  go 
wrong  in  the  studio.  Now 
this  is  a  funny  one.  She 
would  like  to  be  the  lady 
principal  of  a  girls'  college. 
She  can  see  herself  starkling 
on  the  platform  and  dis- 
coursing to  a  thrilled  and 
excited  group  of  attentive 


young  ladies  upon  the  peculiarities  of  the  dative  case  as 
used  by  Cicero  in  his  famous  orations.  And  she  can  see 
herself  getting  letters  from  former  pupils  telling  her  that 
all  their  successes  in  life  have  come  from  the  sweet  lessons 
she  imparted  to  them  in  the  use  of  the  cum  clause  in  rela- 
tion to  the  subjunctive  mood. 

Dorothy  wants  to  be  anything  except  an  actress.  She 
confesses  that  every  time  something  slips  the  trolley  during 
the  making  of  a  picture,  she  grabs  up  the  Sunday  paper 
and  reads  the  "want"  columns.  She  says  she  has  dis- 
covered that  the  only  thing  she  could  do  except  act  would 
be  to  get  a  job  as  cook  in  a  family  where  they  are  fasting 
on  a  hot  water  diet. 

Dorothy's  husband  —  James  Rennie  —  he's  another 
yearner.  One  of  the  best  juvenile  actors  in  the  world,  he 
considers  his  job  to  be  only  a  means  to  an  end.  What 
James  wants  to  do  is  run  a  newspaper.  In  his  dream 
moments,  he  can  see  himself  in  an  editorial  sanctum, 
moulding  public  opinion  and  just  laying  out  the  reptile 
contemporaries  who  have  the  audacity  to  dispute  his  views 
on  the  protective  tariff — just  laying  them  out  in  long  cold 
rows. 

Louise  Fazenda  ...  it  means  nothing  in  her  life  to  be 
the  funniest  woman  on  the  screen.  What 
she  wants  to  do  is  to  have  a  ranch  in  Cali- 
fornia and  be  married  to  some  nice  man  who 
understands  pruning  young  orange  trees  and 
not  to  have  worry  about  getting  fat.  She 
says  that  she  will  be  happy  when  she  over- 
hears some  one  say  (as  she  comes  to  town 
from  her  ranch)  "Good  heavens!  There's 
that  fat  Fazenda  woman.  She's  had  another 
baby."  Louise  is  quite  likely  to  fulfil  her 
ambition  insofar  as  owning  a  ranch  is  con- 
cerned. A  flock  of  ranches  maybe.  Louise 
is  a  miraculously  successful  investor.  She 
must  have  all  kinds  of  money  by  this  time. 

Harry  Carey,  the  cowboy  actor  (who  never  was  a  cow- 
boy by  the  way)  yearns  also.  All  his  life  he  says  he  has 
wanted  to  write  and 
act  in  sea  stories.  He 
wants  to  be  a  tough- 
rough -first -mate  and 
buck  the  waves  with 
(Cont'd  on  page  82) 


,*?:*<-'-. 

Every  time 
Monte  Blue 
gets  out  in 
front  of  a 
camera,  his 
heart  aches 
with  longing 
to  be  on  the 
other  side  of 
the  instru- 
ment 


(Twenty) 


THE  TRAGIC  MUSE 


An   interesting    study    by   White    Studios    of   Jetta    Goudal,    a    young    French 

actress  of  charm  and  distinction  who  has  an  important  role  in  "The  Bright 

Shawl"  the  last  colorful  Hergesheimer  story  to  be  put  on  the  screen 


(T-centy-one) 


Photograph  by  Edward  Thayer  Monroe 


Above  is  the  latest  por- 
trait of  Francis  X.  Bush- 
man, the  whilom  idol  of 
the  screen  who  has 
come  back  after  an 
absence  of  nearly  four 
years.  Right  is  his  wife, 
Beverly  Bayne  and 
their  little  boy,  Richard 
(in  the  dark  suit).  The 
other  child  is  appearing 
with  them  in  their  pic- 
ture "Modern  Marriage" 
soon  to  be  released, 
which  we  await  with 
profound  interest 


BEVERLY  BAYNE  is  slen- 
der and  small,  with  little 
feet  and  tiny  little  white 
hands.  She  has  delicate  fea- 
tures, a  tenderly  curved  mouth 
with  a  wistful  droop,  gentle 
brown  eyes  and  dark  curling 
hair.  There  is  about  her  slight 
person  an  air  of  pensive  calm, 
a  magnificent  —  a  tremendous 
serenity.  One  immediately 
senses  that  this  girl  has  suffered, 


The 
Return 

Of  a  One-Time  Idol 


has  been  thru  the  mill  that 
grinds  out  bitter  years ;  but  it 
has  not  destroyed  her.  Quite 
the  contrary.  Here  for  once, 
were  the  uses  of  adversity 
sweet.  Hers  is  the  peace  of 
painfully  acquired  wisdom. 
Beverly  Bayne  has  come  thru. 

Francis  X.  Bushman  is  an- 
other story,  another  type.  He 
is  big  and  blond  and  ruddy, 
bristling  with  good  health  and 
unbelievably  fit.  He  is  robust, 
vigorous,  aggressive.  He  is  like 
a  strong  clean  wind  blowing. 
He  really  believes  that  all  is 
right  with  the  world,  but  what 
is  more  remarkable,  makes  you 
think  so  too,  no  matter  how 
deep  rooted  your  pessimism  may 
be.  He  is  wholesome,  with  a 
vitality  that  keeps  that  sanity 
and  sense  he  possesses  in  so 
brave  a  measure  from  ever  be- 
ing dull.  He  is  the  husband  of 
Beverly  Bayne  and  beside  that 
tie,  they  are  alike  in  mind  altho 
they  seem  to  have  arrived  at  the 
same  conclusions,  the  same  con- 
tented, ultimately  wise  state,  so 
very  differently. 

They    were    completing    the 


(Twenty-two) 


By 

SUSAN 
ELIZABETH 

BRADY 


last  scenes  o  i 
"Modern  Marriage" 
out  at  the  Whitman 
Bennett  studios, 
when  it  was  our 
privilege  to  talk  to 
them.  Mr.  Bush- 
man was  about  to 
throttle  an  attempt- 
ed black-mailer,  so 
we  didn't  interrupt 
and  Beverly  Bavin- 
sat  down  beside  us 
and  talked ;  while 
her  husband  roared 
defiance  on  the  set 
and  the  director 
megaphoned  his  ap- 
proval;  and  her 
little  son.  the  three 
year  old  Richard 
pict  ured  here, 
climbed  on  and  off 
her  lap  and  got  in 
the  way  of  the  car- 
penters and  nearly 
pulled  the  scenery 
over  on  his  small 
head  like  any  other 
small  boy  ;  and  the 
extras  wandered 
around  in  their  pa- 
thetically dull  fash- 
ion. But  Beverly 
Bayne  never  lost 
her  poise  or  became 
even  slightly  ruffled. 

"Do  you  find  it 
very  different  ?"  we 
asked. 

"Oh  no.''  she  re- 
plied, "not  so  very. 
Better  photography 
and  more  acute  di- 
rection. The  only 
radical  change  I 
note  is  the  gener- 
osity with  footage. 
One  is  really  given 

a  chance  now — that  is — time  to  register  an  emotion.  In 
the  old  days  if  ten  feet  of  film  was  wasted  the  company 
contemplated  bankruptcy.  Now  you  can  have  all  the 
footage  you  need.  Except  for  that,  it  is  very  much  the 
same.      It  is   less  than   four  years  you  know,  actually." 

We  remembered  this  pair,  tho  it  seemed  longer  ago 
than  that.  Francis  X.  Bushman  had  a  vogue  then  com- 
parable to  that  of  Valentino's  now.  He  was  the  romantic 
hero  of  the  day.  The  unfortunate  circumstances  that 
forced  them  to  abandon  pictures  for  a  time,  are  universally 
known.  There  is  no  need  of  going  into  that  again.  They 
went  on  the  vaudeville  stage  and  stuck  to  that,  altho  a 


Photograph  by  Edward  Thayer  Monroe     ■ 


Beverly  Bayne  has  delicate  features,  a  tenderly  curved  mouth  with  a  wist- 
ful droop,  gentle  brown  eyes  and  dark  curling  hair.  There  is  about  her 
slight  person  an  air  of  pensive  calm,  a  magnificent — a  tremendous  serenity 


little  unwillingly,  for  nearly  four  years.  They  had  tried 
to  come  back  to  their  first  love  several  times,  but  richer 
and  richer  contract--  were  thrust  upon  them  and  vaudeville 
claimed  them  with  such  a  loud  voice  that  there  seemed 
to  be  no  denying  it.  Xow  they  are  back  and  we  shall  see. 
The  public  is  a  fickle  jade  and  the  outcome  is  at 
mere  speculation. 

Driving  home  in  the  twilight  •with.  them.  Mr.  Bushman 
had  his  chance.  He  believes  in  moti  m  pictures  with  all 
his  heart.      Me  said  : 

"I    believe    they    are    a    great    power,    an    incalculable 
{Continued  on  page  S3) 


(1  a'enty-tht  et  > 


Foreign 


By  MAURICE 


ENGLAND 


Above,  Lady  Diana  Man- 
ners in  the  English  pro- 
duction of  "The  Virgin 
Queen,"  surrounded  by 
the  ladies  of  her  court. 
Right,  some  of  the  beau- 
tiful and  authentic  back- 
ground for  the  Italian 
film  "Messalina."  Below, 
Henry  Victor  in  the 
British  photoplay,  "The 
Prodigal  Son"  from  a 
story  by  Hall  Caine 


Below,  Matheson  Lang,  an 
extra  and  Victor  Seastrom  in 
"Fire  On  Board"  a  Swedish 
film  directed  by  Victor 
Seastrom 


1AM  glad  to  confirm  what  I  said  previously.     England  is 
awakening,  is  now  very  much  awake,  and  I  have  noticed, 
amongst  others  presented  during  the  last  four  weeks,  three 
pictures  of  decided  merit,  one  of  which  contains  scenes  which 
might  even  bear  the  signature  of  D.  W.  Griffith. 

One  must  certainly  remember  that  Miss  Mae  Marsh  who 
plays  the  lead  in  it,  is  American,  but  the  producer  is  British 
and  he  has  succeeded  in  making  one  of  the  best  pictures 
England  has  so  far  produced.  The  title  of  the  picture  is 
"Paddy-the-next-best-thing."    The  other  two  pictures  are  "A 

Royal  Divorce"  of  which  I 
spoke  in  detail  in  my  last 
article,  and  "The  Virgin 
Queen"  the  new  color  film 
directed  by  J.  Stuart  Black- 
ton.  Both  are  well  pro- 
duced and  can  favorably 
compare  with  the  best  pro- 
ductions of  today. 

Let  me  just  mention  that 
"The  Prodigal  Son"  from 
the  book  by  Sir  Hall  Caine, 
and  which  has  just  been 
presented  to  the  Press  at 
the  Covent  Garden  Theatre. 
London,  is  the  longest  pic- 
ture made  in  England ;  as 
the  producer  wished,  con- 
trary to  the  usual  custom, 
to  follow  page  by  page  all 
the  incidents  of  the  book 
and  reproduce  them  on  the 
screen.  .  I  repeat,  it  is  cer- 
tainly the  longest  English 
picture,  but  the  few  inter- 
esting dramatic  scenes  are 
lost  in  the  17,000  feet  of 
film. 

FRANCE 

When  Henry  Diamant- 
Berger  was  on  location  recently  completing  the 
sequel  to  "The  Three  Musketeers,"  he  paid  a 
visit,  with  some  members  of  his  company,  to 
the  great  French  tragedienne,  Mme.  Sarah 
Bernhardt.  It  was  then  announced  that  she 
would  appear  in  a  film  directed  by  Diamant- 
Berger.  It  will  be  remembered  that  Sarah 
Bernhardt  appeared  in  two  or  three  films  made 
before  and  during  the  war,  amongst  which  are 
"Tosca"  and  "The  Story  of  Queen  Elizabeth." 
A  friend  of  mine  who  approached  the  secretary 
of  the  Paris  Theatre  belonging  to  Mme.  Sarah 
Bernhardt,  told  me  that  he  did  not  think  that 
the  celebrated  actress  would  be  able  to  work  at 
all  for  the  cinema  owing  to  her  health  which 
has  given  her  much  trouble  of  late.  * 

Among  the  latest  important  French  films  pre- 
sented is  "La  Bouquetiere  des  Innocents"  which 
is  a  historical  film  of  the  time  of  Henry  IV. 
A  very  interesting  prologue  begins  this  picture 

*Since  this  was  written  the  "Divine  Sarah"  has 
given  up  the  battle  with  ill  health  and  gone  to  her 
eternal  rest. — Editor. 


( Twenty-four) 


Films 


ROSETT 

during  which  iii  different  pathetic  scenes,  we  are  shown  one 
of  the  good  acta  which  Eienn  IV  used  i  i  do  so  often  and 
which  characterized  him-.  This  prologue  is  ol  a  sentimental 
nature  and  contains  some  verj    attractive   romantic    scenes 

SWEDEN 

Among  tlu'  t i ! 1 1 1 >  nude  in  Sweden  during  the  last  few 
months  is  "Fire  on  Board"  directed  b)  Victoi  Seastrom.  The 
scenario  is  written  bj  the  well-known  Swedish  author  Hjalma 
Bergman  who  is  also  well  known  in  many  other  countries 
his  hook  "Love's  Crucible."  The  action  of  "Fire  on  Board" 
takes  place  in  great  part  on 
hoard  a  ship  and  is  full  of 
dramatic  excitement.  It  is 
a  story  of  the  fight  of  two 
men  for  a  woman.  (  hving 
to  the  limited  space  it  has 
thru  the  fact  that  the  action 
is  going  on  within  the  rails 
oi  the  ship,  the  picture  has 
a  fascinating  grip  on  the 
spectators.  The  part  of  the 
film  where  the  ship  is  sink- 
ing is  very  sensational  and 
is  likely  to  be  unique  in  the 
history  of  the  film.  The 
leading  artists  are  Matheson 
Lang,  the  well  known 
English  stage  actor,  Victor 
Seastrom,  and  Mrs.  Jenny 
Hasselqvist.  the  latter 
the  greatest  Swedish  trage- 
dienne. 

During  the  present  year, 
the     Svenska     Filmindustri 
will    make    a    considerably 
greater    number    of     films 
than  before.     The  staff  of 
Swedish  actors  is  increased 
and     furthermore    the    im- 
portant   Russian    film   man 
Dimitri     Buchowetzki,    the 
producer  of  "Danton"  which 
was  shown  in  America  under  the  title  of  "All 
For  A  Woman"  has  been  engaged.  The  scenario 
of  one  of  the  films  which  Buchowetzki  is  going 
to  make  has  been   written  by  himself   in  col- 
laboration with  the  Hungarian  author  Alfred 
Lekete.     The  name  of  this  film  will  be  "The 
Masquerade  of   Life"  and   will   show   the   in- 
dividual struggle  for  happiness,  gold  and  love. 

RUSSIA 

One  seems  to  ignore  what  is  done  in  Russia 
with  respect  to  pictures.  Since  we  heard  of 
Soviet  Russia,  we  have  not  heard-  very  much 
about  the  cinema  industry  there.  I  am  informed 
that  during  the  months  in  which  poverty- 
reigned  a  society  called  "Russ"  was  formed 
and  different  pictures  made.  All  of  these  photo- 
plays deal  more  with  Russian  customs  and 
habits  than  anything  else  and  are  consequently- 
very  characteristic.  I  have  secured  some  pic- 
tures of  one  of  these  films  which  is  called 
(Continued  on  page  81) 


Film  Gaumonl  K  .burtl 


Above,  a   charming   bit   from 
the   French   historical  photo- 

?lay  "La  Bouquetiere  des 
nnocents."  Left,  atmos- 
phere from  "Les  Opprimes" 
showing  the  charming  old 
Guild  Halls  of  Belgium. 
Below,  Asta  Neilsen,  whose 
"Hamlet"  we  know  over 
here,  in  a  German  picture 
called  "The  Downfall" 


A  typically  Russian 
group  from  the  Russian 
film  "Polikuschka"  made 
from  a  story  by  Leon 
Tolstoi 


(Tzventy-five) 


r 


V  , 


~z. 


s 


/z 


Photograph  by  Edwin  Bower  Hesser 


TRILBY 


Andree  Lafayette  is  a  young  French  cinema  actress  who  was  brought 
to  this  country  by  Richard  Watson  Tully  to  play  the  title  role  in 
"Trilby."  Gerald  Du  Maurier,  son  of  the  novelist  and  naturally  familiar 
with  his  father's  conception  of  Trilby,  has  declared  her  the  ideal  type 
for  that  ill-fated  heroine.  She  does  look  like  the  familiar  Du  Maurier 
drawings.  Another  claim  to  distinction  this  talented  girl  has  is  that 
she  is  a  direct  descendant  of  General  Lafayette 


(Twenty-six  ) 


Little  Old  New  York 


By  PATRICIA  DOYLE 


A  story  of  early  New  York  days  when  Bawling  Green  was  a  park  and  lower  Manhattan  was  a  resi- 
dential district;  and  Robert  Fulton  was  about  to  launch  the  first  steamboat;  and  names  like  John  Jacob 
Astor,  Cornelius  Vanderbilt.  Henry  Brcvoort  and   Delmonico  were  just  beginning  to  mean  something 


T] 


'HIXGS  do  be  comin'  too  thick  and  fast  for  this 
owld  mon."  opined  John  O'Day,  lifting  his  bent 
back  from  the  peat  bos*  from  which  he  had  been 
cutting  poor  man's  fuel  in  big  square  clumps.  "Whist 
now,  Alannah.  howld  yer  peace.     I'll  be  \vi'  ze." 

Dancing  up  and  down  before  him  in  a  whirl  of  excite- 
ment was  Patsy,  his  daughter.  Tears  stained  her  cheeks 
but  laughter  curled  her  lips.  She  scowled  and  smiled  with 
one  motion.     Only  the  Irish  can  do  this. 

"They  do  be  taking  all  our  things  father — the  sheriff 
and  the  landlord  and  two  dirty  spalpeens  from  up  Darragh 
way — your  great  big  chest,  father  is  gone — divvle  a  chair 
to  sit  on  or  bed  to  sleep  in  will  be  left  to  us — haste 
father " 

"Mind  yer  tongue,  lass."  her  father  answered  stepping 
swiftly  toward  her.  "  'Dirty  spalpeen'  and  'divvle'  is 
divvle  a  word  for  a  lady  to  use.  But  what  for  are  ye 
smilin'  whin  such  misfortune  comes  to  yer  owld  father?". 

"Oh  this  letter,"  Patsy  answered  waving  a  bulky  en- 
velope toward  him.  "It  seems  like  good  news  but  Pat 
nor  me — nor  I — cant  understand  it  altogether." 

And  good  news  it  was;  just  in  time  too  for  all  sorts  of 
reasons.  John  O'Day's  brother  had  died  over  in  America, 
which  was  no  particular  loss  to  John  for  they  had  been 
estranged  for  a  great  many  years.  But  his  brother  was  a 
rich  man  and  he  had  left  all  his  vast  fortune  to  John's 
son  Patrick;  instead  of  leaving  it  to  his  second  wife  and 
her  son  who  had  come  between  the  brothers  long  ago,  and 

(Twenty-seven) 


for  whom  old  John  cherished  a  deathless  enmity.  This 
was  mighty  good  luck  for  John;  for  John  had  fallen  foul 
of  the  world  of  wealth  and  ease  and  had  spent  his  life  in 
impracticable  dreams  of  Irish  freedom  and  Irish  progress 
and  with  typically  Irish  sentiment  had  overl'  oked  en- 
tirely his  own  freedom  and  progress.  Ireland  must  be- 
free,  but  it  didn't  matter  so  much  that  his  children  were 
often  close  to  starving  and  cold  with  neglect.  Patricia 
was  a  hardy  youngster  and  had  survived  but  Patrick  who 
was  ailing   from  birth   was  now  a  helpless  invalid. 

O'Day's  household  goods  meagre  tho  they  were,  were 
to  be  sold  at  auction  for  his  debts  on  this  pleasant  summer 
day  in  the  year  of  Our  Lord  1820.  With  the  arrival  of 
the  letter  from  Xew  York  he  let  them  go  cheerfully. 
Lamentations  were  turned  into  rejoicing  and  for  the  first 
time  in  John  O'Day's  life  some  practical  plan  was 
on  foot  for  hastening  them  to  America.  They  had  need 
for  haste,  because  by  the  terms  of  the  will  which  provided 
that  in  the  event  of  the  non-appearance  of  Patrick  (  ►'Day, 
the  money  was  to  revert  to  his  stepson.  Larry  Delavan. 
the  time  had  almost  e'apsed  for  claiming  the  fortune. 
Unfortunately  much  valuable  time  had  been  lost  while 
the  lawyer  had  dug  them  out  from  their  obscurity. 


Larry  Delavan  stared  suspiciously  at  the  two  figures 
who  stood  somewhat  dubiously  before  him  in  the  hall  of 
his  spacious  New  York  residence. 


CLASSIC 


Larry  Delavan  stared  suspiciously  at  the  two  odd  figures  before  him.    "We  be  John 
O'Day  and  his  da —  son,  Pat,"  the  old  man  muttered,  "and  we've  come  over  the  sea 
from  Ireland  to  claim  yer  stepfather's  fortune.   I  hev  all  the  proofs  in  me  coat.   What's 
to  do  now?"    The  younger  one  only  stared  back 


"We  be  John  O'Day  and  his  da — son,  Pat,"  the  old 
man  muttered,  "and  we've  come  over  the  sea  from  Ireland 
to  claim  yer  stepfather's  fortune.  I  hev  all  the  proofs 
here  in  me  coat.     What's  to  do  now?" 

"Good  Lord !  I  dont  know,"  ejaculated  the  young 
Delavan  ungraciously,  shaking  a  mental  fist  at  this  malign 
trick  of  fate's  that  had  cheated  him  out  of  his  stepfather's 
rich  inheritance  at  the  last  minute.  "I  suppose  you'll  have 
to  stay  here.  I'll  have  Reilly  show  you  to  a — to  your 
room." 

"Father,"  cried  the  young  Pat  bursting  into  tears  when 
they  were  safely  behind  the  door,  "I  can  never  do  it. 
You  shouldn't  have  asked  me  to —  Such  a  handsome  young 
man — such  a  fine  gentleman — and  it's  really  his  money. 
We  haven't  any  right  to  it.    We " 

"Howld  yer  tongue,"  John  O'Day  interrupted  angrily. 
"Is  it  our  fault  yer  brother  Pat  died  on  shipboard?  God 
rest  his  soul !"  he  added  hastily  blessing  himself  piously. 
"He's  better  off  all  dead  than  half  dead,  Patsy  child,  ye're 
after  knowin'  that.  Yer  uncle's  yer  own  ain't  he?  Blood 
kin?  We're  entitled  to  his  money,  but  even  if  we  ain't, 
we  be  going  to  claim  it.  So  now  ye  are  Patrick  O'Day, 
nephew  to  the  late  lamented.  Whin  ye  git  the  money  ye 
can  do  as  it  plazes  ye.  Come  cheer  up  Colleen,  no  more 
tantrums  and  bad  scran  to  the  Delavan !" 

So  here  was  a  sorry  situation,  not  to  say  perilous. 
Unwelcome  guests  in  an  unwelcome  masquerade.     Un- 


welcome masquer- 
ade to  Patricia 
anyway,  who 
woman  -  like  and 
characteristically 
Irish  had  Compli- 
cated matters  by 
promptly  falling 
in  love  with  the 
handsome,  sulky, 
reckless  Larry. 
Being  a  boy  under 
the  circumstances 
was  a  handicap  to 
say  the  least  .  .  . 
but  still  if  she  had 
stayed  a  girl  she 
wouldn't  — 
couldn't  be  near 
him  at  all,  which 
fact  somewhat 
compensated  for 
the  hateful 
trousers. 

It  was  hard  re- 
membering tho. 
The  im puisne  to 
snuggle  against 
Larry  was  at 
times  almost  irre- 
sistible, but  boys 
didn't  do  that.  She 
spent  hours 
brushing  out  her 
short  jonquil  yel- 
low hair  whose 
sacrifice  she  still 
wept  over  in  se- 
cret. Boys  cer- 
tainly  didn't  do 
that".  She  had 
tried  to  smoke 
too,  one  of  the 
long  slender  pipes 
the  young  bloods 
of  the  day  were 
affecting ;  but  it  had  made  her  fearfully  ill  and  young 
Fitzgreen  Halleck  and  Washington  Irving,  Larry's  cronies 
had  laughed  at  her  and  she  had  stamped  her  foot  and  run 
out  of  the  room.  In  retrospect  it  hadn't  seemed  a  par- 
ticularly virile  or  manly  performance.  She  must  be  more 
careful.  Hang  the  old  money  anyway  .  .  .  Larry  hated 
her  for  an  interloper. 

But  when  old  John  O'Day  begrudgingly  died  and  she 
was  left  utterly  alone  Larry  Delavan  had  a  change  of 
heart.  He  saw  in  her  then  only  a  helpless  forlorn  lonely 
youngster  in  a  foreign  land,  grieving  for  the  only  one  who 
was  dear  to  her.  He  was  kind  to  her  then,  and  Pat  came 
so  near  to  giving  herself  away  that  she  was  on  the  point  of 
confessing  the  truth  a  dozen  different  times. 

But  it  was  wonderful  to  have  money.  It  provided 
endless  entertainment  and  after  her  first  tearful  grief  Pat 
began  to  liven  up  again  and  be  her  own  cheerful  saucy 
dare  devil  self.  Larry  was  her  gravest  care.  He  spent 
most  of  his  time  gambling  and  drinking,  attending  prize 
fights  and  balls  with  equal  ardor.  There  was  one  mincing 
miss  just  home  from  London  that  Pat  hated  with  all  her 
heart.  Her  name  was  Ariana  de  Puyster  and  Larry 
loved  her — or  at  least  Pat  thought  he  did.  She  played 
the  piano,  "Maiden's  Prayer"  and  "Hearts  and  Flowers" 
and  that  sort  of  thing.  Very  sentimental.  Larry  seemed 
to  like  them  tho.  So  Pat  unpacked  her  harp  that  she 
hadn't  touched  since  she  had  left  the  old  country. 


(Twenty-eight) 


She  used  to  ^ihk  in  a  sweet  throat)  soprano 

"I  he  harp  that  once  thru    I  ara's  halls 
The  soul  of  mu>iL'  shed ; 

Now  hangs  ai  mute  on    rara'a  walls, 

Vs  tlio  that   soul   were  dead." 

She  really  played  it  remarkably  well  and  she  had  an 
inexhaustible  repertoire  ol  old  Irish  ballads  and  folk 
songs,  plaintively  melancholy,  as  her  countrj  and  its 
people  are  at  heart,  for  all  the  comic  opera  Irishmen  one 
reads  and  hears  about.  Sometimes  she  would  twang  the 
strings  suddenly  and  unexpectedly  into  one  of  the  rollick- 
ing Irish  jigs.  Every  me  loved  Pat  but  no  one  could  ever 
tell  what  she  was  going  to  do 
next. 

Larry  seemed  to  like  her 
playing  too.  Because,  once 
when    Miss    Betty    Schuyler 

whom  Pat  also  detested,  was 
giving  a  party  at  her  big  house 

across  the  lawn  from  Larry's, 
and  Ariana  was  playing  sweet- 
ly on  the  piano  for  the  assem- 
bled guests  in  general  and 
Larry  in  particular.  Larry  had 
sneaked  back  across  the  lawn 
to  listen  to  Pat  playing  her 
wistful  Irish  melodies  and 
hoping  he  would  come.  She 
almost  told  him  that  night.  He 
stood  at  the  gate  looking  very 
hard  at  her  and  she  trembled 
inside  scarce  daring  to  breathe. 

"You're  a  queer  one,  Pad- 
dy." he  said,  "nice  little  kid. 
I'm  awfully  fond  of  you." 

And  "I  love,  love,  love  you." 
Pat's  heart  was  sighing  so  loud 
she  thought  he  must  hear  it, 
and  blushed  and  ran  away. 

"Just  like  a  girl !"  she 
thought  afterwards.  "He's  just 
stupid  not  to  know  it."  But 
Pat  was  afraid  now  for  the 
falsehoods  she  was  involved  in 
and  held  her  peace  as  best  she 
might. 

At  about  this  time  Robert 
Fulton  was  going  to  launch  his 
first  steam  boat.  Wise  heads 
wagged  and  said  it  couldn't  be 
done,  but  the  reckless  foolish 
ones  were  crazy  to  invest  their 
money  in  the  venture.  Larry 
Delavan  was  one  of  these. 
The  only  trouble  was  he  didn't 
have  any  money  to  put  up. 
Whereupon  Pat  gaily  hood- 
winked her  lawyer,  old  John 
Jacob  Astor  into  giving  her 
ten  thousand  dollars,  a  goodly 
sum  for  those  days,  and 
promptly  offered  it  to  Larry. 

To  Larry's  everlasting  credit 
and  Pat's  intense  chagrin  he 
refused  to  take  it.  She  almost 
wept.  "Such  a  pretty  trick 
I  played  on  old  Astor,  to  get 
it,"  she  wailed.  "Neat  as 
Sunday  pants.  And  now  you 
go  and  act  uppity.  You're 
a  hateful  old  thing  and   I — 


"Why    Paddy,   boy,"   the   bewildered    I  ai 

"I    didn't    knOW     you     fell    ll 

wh.it  I'll  do     i  live  iik-  five 

boi i  iw  ii  i"i  five  days  an. I 
A. mi  can  have  it  to  keep,"  said  Pat,  beaming  again, 
"No,"  replied  I  air)      'You    •  ly,  a  big 

been  arranged    rver  in  the  tin-  house  between  Bull) 

Mi-  wster  an<l  a  man  called  the  Hobokei 

beast,  hut  still   Bully   Bop   has  training  and  skill  on  hii 

side,     1  think  he'll  win  hut  tin-  heavy  bettii 

other  one.     I'm  e  ting  to  bet  on  Bully  Bo)  and  I'll 

that  ten  thousand  »ur<\      Yoti'ie  a  great  one  j  11  - 1  • 

Bfer  it  to  mi'.     Better  give  it  back  to  Mr.  Astor  like 


He  stood  at   the   gate   looking   very   hard   at   her   and   she   trembled   inside 

scarce  daring  to  breathe.    "You're  a  queer  one,  Paddy,"  he  said    "nice  little 

kid.    I  m  awfully  fond  of  you."    And,  "I  love,  love,  love  you!"    Pat's  heart 

was  sighing   so   loud   she  thought   he   must   hear   it 


'  Twenty-nine) 


CLASSIC 


I 


With  one  twist  he  tore  the  flimsy  silk  shirt  half  off.    "Stop!"  screamed  Pat,  "Oh,  stop! 

I'm  a  girl."    "What  the  hell?"  burst   from   the   amazed   Terror  who   stood   stock   still 

staring  at  her  with  his  mouth  hanging  stupidly  open 


•a  good  boy."  And  he  patted  her  affectionately  on  the 
shoulders. 

"You  darling,  you  darling,"  Pat's  heart  was  saying  this 
time  but  she  had  to  be  content  with  Larry's  decision. 

"Now  Reilly,"  said  Pat  on  the  night  of  the  big  fight 
in  her  most  wheedling  tones,  "I'll  buy  you  a  pound  of 
your   favorite  tobacco  if   you'll   do  something   for  me." 

"Shure  an'  I  will,  gossoon,"  old  Reilly  replied  "whativer 
it  may  be.' 


"You've    promised,"    said 
around  the  old  man's  neck. 

"Whist  b'y,"  said  Reilly, 
"another  hug  like  that  and 
this  old  man  will  turn  up 
missing.  Well,  what  div- 
vlement  is  it  now  you're 
after  wantin'  to  do?" 

But  he  looked  doubtful 
when  Pat  told  him  what 
it  was,  and  the  bribe  had 
to  be  doubled,  and  it  took 
all  Pat's  coaxing  and  ca- 
joling  powers,  which 
heaven  knows,  were  prac- 
tically irresistible,  before 
he  finally  gave  in. 

In  the  spacious  fire- 
house  was  a  mob  of  im- 
patient men.  A  prize  fight 
was  an  event  in  those  days 
of  comparative  calm. 
Bowling  Green  was  a 
park,  lower  Manhattan  a 
residential  section,  the  fire 
house  a  rendezvous  for  all 
the  young  gallants  in  town 


Pat    and    threw    her    arms 


LITTLE   OLD   NEW  YORK 

Fictionized  by  permission  from  the  Cosmopolitan 
production  of  the  adaptation  of  Luther  Reed  from 
the  stage  play  of  Rida  Johnson  Young.  Directed  by 
Sidney  Olcott  and  starring  Marion  Davies.  The 
cast: 

Patricia    O'Day Marion    Davies 

John   O'Day ; J.   M.    Kerrigan 

Larry    Delavan „  . .  Harrison    Ford 

Robert   Fulton ' .  Courtenay  Foote 

Washington    Irving Mahlon    Hamilton 

Fitzgreen    Halleck Norval    Keedwell 

Henry    Brevoort George   Barraud 

Cornelius   Vanderbilt Sam    Hardy 

John  Jacob  Astor Montagu  Love 

Mr.    De   Puyster Riley    Hatch 

Reilly   (Larry's  servant)... Charles   Kennedy 

Bunny   (The  Night  Watchman) ...  Spencer  Charters 

Bully    Boy    Brewster Harry    Watson 

The    Hoboken   Terror Louis   Wolheim 

Delmonico    Charles   Judels 

Ariana  de  Puyster Gypsy  O'Brien 

Betty    Schuyler Mary    Kennedy 

Rachel   Brewster Elizabeth   Murray 

Chancellor    Livingston Thomas    Findlay 

Mrs.    Schuyler Marie    R.    Burke 


— Larry  of  course  and  his  pals  in  their  long  tight  trousers 
and  frilled  shirt  fronts ;  farmers  in  their  wrinkled  smocks  ; 
young  toughs  in  short  black-  velveteen  jackets  handker- 
chiefs tied  around  their  throats ;  coachmen  in  their  coats 
with  many  little  capes  cracking  their  whips;  firemen  in 
their  quaint  impractical  uniforms ;  a  varied  and  motley 
throng  of  men. 

The  two  fighters  were  at  it,  pounding  bare  flesh,  punch- 
ing and  jabbing,  responding  to  the  cries  of  their  various 
backers  with   fresh  aggressiveness.     Larry  Delavan  was 

unhappy.  Brute  strength 
was  triumphing  over  skill. 
The  Hoboken  Terror  had 
floored  his  man  twice  now, 
but  Bully  Boy  had  not 
taken  the  count  either 
time.  He  was  badly 
winded  tho.  Looked  like 
a  sure  thing  for  the  Ter- 
ror. Bully  Boy  couldn't 
stand  up  under  it  much 
longer.  He  would  give  out 
in  another  round. 

But  there  never  was 
that  other  round. 

Suddenly  with  its  clang- 
ing warning  the  fire  bell 
had  rung  out.  The  Ter- 
ror held  his  hand.  Bully 
Boy  straightened  up.  The 
crowd  began  to  scatter 
getting  out  of  the  way. 
The  firemen  sprang  to 
their  clumsy  equipment. 
The  fight  broke  up  with 
no  decision.     The  crowd 


(Thirty) 


surged  to  the  street      Everything  was  read)      Bui  : 
was  no  fire.    The  dazed  crowd  suddenly  knew  itself  sold 

It    was  a    false  alarm.      Hut    who   had    run^   the   lull 

*  1 1  ">  that  Delavan  am!  lu-  crowd,  I'll  bel  a  hat1" 

suddenly   bellowed   the  >1    one   of    the    rerror's 

backers,     "lit-  had  money  on  Bull)    Boj 

"Delavan,  Delavan,"  the  crowd  began  to  yell,  thirsting 
for  vengeance  on  the  man  who  had  spoiled  their  sport. 

'I'll   horsewhip  the  ."   snarled   tin     rerror,   "for 

stealing  my  fight." 

"Tii  tlu-  whipping  post,"  roared  the  crowd  ami  following 

tin-  burly  form  of  tin-  llobokcn  Terror  they  tore  down  the 

street  to  I  arry'a  house 

\a  for  that  young  man  he  had  been  overcome  b)    t 

terrible  suspicion  at   the   first   -omul  of   the   lire  bell.      He 
hurried  home,  hut  he  did  not  get  there  first. 

\t  the  sound  <.<i  the  terrttic  commotion  outside  the  house 
Pat  opened  the  front  door  to  confront  an  angT) 
mob. 

"Out    of    the    way    boy,"    the    Terror 

cried  threateningly.  "We  wants  young 
Delavan." 

"What  iU^  you  want  him  for? 
said   Pat  standing  her  grouni 
but  turning  pale. 

"None     of     your     damn 
business."  answered  one, 
and  "he  rang  the  tire  bell 
and  stopped  the  tight." 
cried   a   dozen   voices. 

"No,"    said    Pat 
throwing    her    head 
back  as   if    for  air. 
"He  didn't  ring  it. 
i  did.     I  hid  in  the 
tower  on  the  stairs 
leading  up  to  the 
bell.     I  could  see 
you  righting.    I — 
I — wanted — any- 
wav.   I   rang  the 
bell." 

"Of    all    the 
bloody     impi- 
dence,"  thundered 
the  Terror.     "I'll 
beat  the  hell  out  o' 
you,  vou  young 
whelp'!" 

He   seized   the 
terrified      Pat     and 
rushed    down    the 
street  with  her  slender 
body     flung    over     his 
shoulder  like  a  sack,  the 
crowd    pounding    at     his 
heels  yelling  like  the  pos- 
sessed.     On    the    whipping 
block  Pat  was  tied  to  a  post, 
hands   high   up   over  her  head 
The  Terror  stripped  to  the  waist  ^ 

with  great  drops  of  sweat  glistening 
on  his  coarse  hide,  his  undershot  jaw 
thrust    forward    like   an    angry    bull    dog 
stood    beside    her    with    a    long 
black  whip  in  his  huge  hand. 

Pat  closed  her  eyes.  The  long 
curling  leather  whistled  thru  the 
air  and  cut  deep  into  her  tender 
flesh.  She  shrieked  aloud  with 
pain.  Once  more  the  cruel  thong 
marked  its  length  across  her 
back. 


Later,  in  the  garden,  Patricia  murmured 
something  about  the  luck  of  the  Irish. 
"And  anyway,"  she  added,  "the  money  is 
just  as  much  mine  now  as  tho  it  was  really 
mine."  Which  cryptic  utterance  Larry 
seemed   to   understand   very   well 


"Tak<  shirt,"  bawled  the  crowd,  bi i  hut 

The  I  ei  roi  started  to   ibe)      1 1<-  untied  Pal 

hands   and    she    Staggered    and    would    have    fallen    but 

hi  in  i  and  thrust  her  uprighl  once  more     With 
twist  he  tore  the  flimsj  silk  shut  hah 

"StOp!"    -lie. lined     I 'at         "(lh,    stop  I        I'm    I    girl!" 

"What  the  hell'"  burst   from  the  ama/ed    Perror  who 
stood  stock  still  i  n  a  moment  his  mouth  hanging  stupidly 

open. 

"So  much  the  better,"  he  said  at   last.      "There's  other 

of  dealing  with  a  girl." 
Me  made  a  grab  for  her  and  the  dum founded  crowd 

n  to  rumble  a  dissent  Just  then  I  ai  i \  and  Ins  friends 
broke  thru  the  mass  surrounding  the  whipping  posl  With 
■  me  blow  lie  kn  >cked  the  surprised  'I  efTOr  flat  and  picking 
up  Pat  carried  her  home,  while  bis  friends  laid  about 
them  with  their  canes  with  a  righl  good  will. 

Larry's  suspicions  were  well  founded      lie  had 
il  the  details  from  the  trembling  old  Keilly 
and    had   come    tearing   like    mad    to   the 
whipping  block.       \s  long  as  he  lived 
!e  would  never   forget   that   terror 
struck    cry,    "I'm    a    girl!"     He 
looked  down  at  the  white  tear 
stained   face  on  his  shoe 
and   a    wave  of   tender- 
surged    up   thru    the   man 
ike  a  tlood-tidc.     "] 
what  a  fool  I've  been," 
he  muttered,   "what  a 
blind  fool."     He  bent 
and   kissed   the  pale 
curved   lips.      ( It  is 
never   too    late    to 
acquire  wisdom  or 
to  rectify  one's 
t  mistakes,  i       Pat's 

lips  trembled  and 
grew    red   and 
warm  under  his. 
I  ler  eyes  opened. 
"Well,"  she 
said  in  amazing- 
ly   calm    tones, 
"what     are     you 
going  to  do   with 
me  now-" 

"Good    Lord.    I 
dont    know !"    an- 
swered Larry  kiss- 
ing   her    again    and 
fairly  blushing  to  re- 
member how   he  had 
said     the     same     thing 
once  before. 
But    it    was    not    what 
Larry  intended  to  do  with 
her  that  was  serious.     It  was 
what  the  Town  Council  would 
decide.     For  the  Town  Council 
had  taken  the  matter  up.      It  wa> 
a  serious  offense  t:)  ring  the  fire  bell, 
t    was   equally  serious    for  a   woman 
to  masquerade  as  a  man.     Besides,  a  for- 
tune   had    been    acquired    under 
false     pretenses.       (irave.     ver\ 
grave.    The  Town  Council  shook 
its  heads  over  the  affair.     It  was 
a  clear  case  certainly.     The  cul- 
prit must  be  punished.     The  only 
drawback  to  the  pursuit  of   jus- 
tice was  the  culprit  herself. 
(  Continued  on  / 


(Thirty-one) 


GLORIA  SWANSON 
A  drawing  by  Hal  Phyfe  from  a  photograph  by  Edwin  Bower  Hesser 


(Thirty-two) 


At  Lunch  With  Gloria 

By  JEFFERY  CARTER 

An  interview  with  the  most  individually  dressed  woman  <>n  the  screen,  wherein 

request,  her  clothes  aren't  even  mentioned  and  her  undeniable  bi  tins  are  given  a  chance  to  air 


WE  ii  the  curb  outside  the  studio  and  de 

bated  concerning  the  noi  nday  repast.  The  press 
.cut  had  some  >ort  of  a  visionary  nk;i  aboul  a 
place  in  Hollywood  where  they  had  -crawly  things 
painted  en  the  wall.  He  was  ignored  with  a  proper  tneas 
ure  o!  contempt.  Some  one  else  suggested  the  Writers' 
l~lul>,  the  Athletic  Club,  some  more  clubs,  a  hotel  fre- 
quented l>>  movie  stars,  another  hotel' not  frequented  by 
movie  stars,  somebody's  private  house  and  a  hoi  dog 
wagon. 

Gloria  stood  apart,  with  pursed  lips,  as  one  struggling 
with  a  responsibility.  Suddenly  she  brightened.  "Oh 
yes,"  -he  -aid,  "That  would  be  nice.  We'll  go  there 
Come  on." 

The  nice  place  turned  out  to  he  the  Writers'  Club 

\   year  or  the  literati  of   Hollywood  and   way 

stations  bought  a  fine  old  private  house  on  Sunset  Boule- 
vard and  turned  it  into  a  most  charming  club.  The  place 
where  you  eat  is  a  great  cool  room  with  vaulted  ceilings 
and  widely  scattered  tables  and  pattering  little  Filipino 
servants  in  white  duck. 

Cdor"ia  started  to  sit  down,  then  changed  her  mind  and 
moved  over  to  a  far  table.  From  the  expression  on  her 
face  it  was  plain  that  somebody  in  the  dining-room  was 
having  the  most  famous  back  in  the  world  turned  on  him 
— or-  her. 

"Whatever  you  write  about  me."  she  said,  picking  out 
the  salad   fork.  "Dont  say  anything  about  my   clothes." 

"What's  the  matter  with  the  clothes'" 

"Nothing  is  the  matter  with  my  clothes,"  -aid  Gloria 
indignantly,  glancing  at  the  fur  wrap  she  had  thrown 
hack  over  her  chair.     "But  I  am  tired  of  having  people 


Stall     to    talk    about    Gloria    ami    end    b)     talking    ah.. ut 
clothes.  ne  ha-  called  me  <  ceil  de  Millr- 

llOl  - 

"I  ,<it-  of  girls  would  he  glad  'beg 

"True  enough."  said  Gloria,  taking  th< 

hi-  mouth.     "I   can  remember  when  it   would  have  g 
me  a  thrill  t<>  have  had  my  clothe-  talked  about, 
summer  in  Paris  I  wa-  in  one  of  those  big  dressmaking 
salons  with  a  young  regiment  of  designers  and  manikins 
dancing  attendance.     It  suddenly  came  to  me  how  I 
to  -it  up  nights  trying  to  do  something  to  my  one  cheap 
little  dres>  to  make  it   last  another  season.      It   mad. 
laugh  out  loud." 

"  \re  you  any   happier ':" 

(iloria  considered.  "What  -  the  use,"  -In-  -aid  at  last. 
"of  thinking  whether  you  wish  ybu  had  or  you  wish  you 
hadn't.  When  the  chicken  i-  once  out  of  the  egg, 
out  of  the  egg.  You  cant  return  to  any  condition  that 
has  passed.  It  is  futile  for  me  to  try  to  think  whether  I 
am-  happier  now  than  I  would  have  been  if  something 
■1st*  had  happened — or  hadn't  happened.'' 

Gloria  savagely  jaSbed  her  salad  fork  int"  a  lettuce 
leaf  and  a  cruel  little  sneer  came  into  her  eyes  ...  a 
look  that  faded  into  one  of  wistfulness.  "The  trouble 
is,"  -he  -aid.  "that  you  cant  succeed  in  the  world  without 
ming  public  property.  I  wonder  why  those  rotten 
little  scandal  sheets  cant  let  me  alone.  If  what  they  said 
were  true.  I  wouldn't  complain.  But  it  i-  terrible.  I 
haven't  any  private  life.  They  tell  me  if  I  sued  them  for 
libel,  they  would  only  he  worse.''  The  look  of  a  fighting 
Swede  came   into   Gloria's   eye.-.      "If   it    weren't    for  my 

baby,  I  would  ..." 


This  picture  is  from  one  of  Gloria's  not  particularly  recent  photoplays  but  we  have 

used  it  because  it  seems  to  us  to  represent  more  perfectly  than  we  can  put  into  words 

the  gorgeous  luxuriousness  and  alluring  beauty  of  this  radiant  woman 


Thirty-three) 


Nobody  found  out  just  what  she  would  do 
"At  any  rate,  you  wouldn't  want  to  go 
back  and  be  a  Sennett  bathing  girl  again.  .  .  ." 
Gloria  looked  up  suddenly.  "I  learned  a 
lot  from  being  a  Sennett  bathing  girl." 
"About  swimming?" 

"No.     About  acting.     Comedy  is  a  won- 
derful training.     You  have  to  get  the  points 
over  so  clearly.    You  exaggerate  everything ; 
but   in   exaggeration,   you   learn   just   where 
the  finished  line  has  to  go.    Afterward,  when 
you  undertake  another  kind  of  acting,  you  can  tone 
down  your  effects.     It's  like  these  artists  who  draw 
pictures  with  a  few  dabs  and  lines.     They  only  learn 
to  do  that  after  they  have  mastered  the  art  of  the 
finished  picture.     The  art  of  leaving  out  is  the  last 
touch  you  learn." 

Gloria  smiled  at  a  recollection  that  flashed  across 
her  memory. 

"I   remember   when   I   left  the   Sennett  comedies. 
There  was  just  one  day  too  many  of  dodging  pies 


CLASSIC 

and  being  hit  with  water  from  hoses  and  going 
around  bare  legged.  I  simply  walked  out.  Then 
1  came  over  to  the  Lasky  studio.  Mr.  Cecil  de 
Mille  saw  me  and  gave  me  a  part  in  'Male  and 
Female.'  The  first  thing  I  had  to  do  was  to  take 
off  most  of  my  clothes  and  scramble  into  the  water 
again.  I  thought  I  had  left  the  frying  pan  for  the 
fire." 

"But  you  learned  about  acting  from  Cecil." 
"Indeed  I  did.     I  learned  that  the  way  to  act  is 
not  to  act.     I  learned  that  the  less  you  actually  do, 
the  more  you  convey." 

Suddenly,  out  of  a  clear  sky,  Gloria  remarked : 


By  way  of  a 
pleasant  contrast 
to  the  picture  on 
the  other  page 
are  these  three 
informal  studies. 
We  call  your  at- 
tention  to 
Gloria's  remark- 
ably large  and 
expressive  eyes. 
We  hope  you  are 
reading  this  in- 
terview because 
Gloria's  honeyed 
tongue  has 
dripped  words 
of  wisdom 
worth  anyone's 
attention.  In 
her  ornamental 
head  is  a  brain  in 
perfectly  good 
working    order 


"I  wish  they  would  cut  out  the  villains." 

And  answering  some  one's  question, 
she  said,  "There  aren't  really  any  vil- 
lains ;  we  are  all  villains ;  it's  the  same 
thing." 

"Oh  yes,  perfectly  clear." 

"Well,"  she  laughed.  "I  mean  no  one 
is  a  villain  all  the  time.  I  dare  say  a  lot 
of  bandits  are  faithful,  tender  husbands. 
We  are  all  villains  Monday  morning  and 
saints  Monday  afternoon.  There  is  no 
such  thing  as  a  good  man  or  bad  man. 
There  are  simply  men  who  re-act  differ- 
ently to  different  situations." 

"Well,  us  authors  must  have  our  vil- 
ains. 

"It  isn't  the  authors,"  said  Gloria  glar- 
ing back  over  her  shoulder  at  a  long 
(Continued  on  page  75) 


(Thirty-four) 


Photograph  by  Ira  L.  Hill 


IDOL  WORSHIP 

Here  is  the  beauteous — we  never  can  resist  putting  "beauteous" 
in  front  of  Betty's  name — Blythe  sitting  on  the  mantel  like  a 
parlor  ornament  or  an  east  Indian  idol  .  .  .  well  .  .  .  we'll  fall 
down  and  worship  Betty  any  time  she  will  let  us.  She  has  started 
work  on  her  fourth  Whitman  Bennett  production.  Wish  we  were 
a  Kleig  light    ...    or  something.    .    .    . 


(Thirty-five) 


The  Heavy 

Ernest  Torrence,  the  screen's  most  villainous 
villain  tells  his  story 

to 
JANE  H.  LIPMAN 


"One  may  smile  and  smile,  and  be  a  villain' 

— Shakespeare. 


Fhotograph  by  Melbourne  Spurr,  L.  A. 

Py^OR,  "one  may  smile  and  smile,  and  be  a  villain!'' 
IH       So  said  Billy  Shakespeare  long,  long  ago — and 
the  words  were  echoed  by  Henry  King,  the  suc- 
cessful motion  picture  director  of  "Tol'able  David," 

^nd  other  large  productions  in  Hollywood,  as  he  sent 

for  Ernest  Torrence,  prominent  comedian  of  musical 

comedy  farne  in  New  York. 

Thus  a  wonderfully  fine  comedian  was  submerged  by 

the  cruel  and  domineering  heavy  of  "Tol'able  David," 

and  Mr.  Torrence  planted  himself  firmly  in  the  depths 

of  motion  picture  endeavors. 

"It  had  always  been  my  dream,  my  greatest  desire. 

from  the  time  of  my  arrival  in  America  in   1911,  to 
enter  motion  picture  work,"  said  Mr.  Torrence  as  we  sat  in 
his  cozy  Holly-        , 
wood   bungalow 
and  he  explained 
how  the  speaking 
stage   had   lost   a 
fun-maker,  and 
the  silver  sheet 
gained  a  heavy. 

"My  constant 
entreaties  to  mo- 
tion picture  di- 
rector friends  at 
the  Lambs  Club, 
and  in  other 
theatrical  circles. 
were  all  laugh- 
ingly brushed 
aside.  'Entirely 
too  tall,'  said  one. 
'You  wouldn't 
film  well  at  all,' 
said  another — 
but  I  kept  nag- 
ging and  urging 
for  even  an  extra 
part,  a  simple 
film  test,  to  prove 


At  the  top  of  the  page  is  Ernest 
Torrence  as  he  really  is.  Above  as 
Emilio  in  "Singed  Wings"  and  left  a 
character  portrait.  This  man  made  the 
astounding  leap  from  musical  comedy 
comedian  to  the  heaviest  of  screen 
villains.  For  this  sort  of  thing  he  is  in 
constant   demand 


(Thirty-six) 


CLASSIC 

either  my  failure  01  .1  possible  chano 
success.  Bui  words  and  prayers  fell  on 
deaf  ei ns.  ami  I  continued  to  wik  in 
musical  corned)  on  Broadway  Bj  then 
I  had  begun  to  feel  m)  constant  insistence 
u;is  perhaps  after  all,  useless. 

"Then  came  Mr.  King's  proposition.    I 
was  more  thrilled  than  words  can  exj 
I  was  to  be  given  1  chance  in  pictures 

1  mere  extra,  bul  a  real  pari  in  whal 
Mr.  King  assured  me  would  be  one  of  the 
est  films  oi  the  year  Imagine  my 
chagrin,  my  feeling  of  utter  despair  when 
mj  director  friend  calmly  announced  my 
role  was  to  be  a  very  heavy,  dramatic  one! 
I  felt  almost  afraid.  1  was  outwardly 
calm,  however,  and  as  many  other  men 
and  women  have  nut  the  great  turning 
point  in  their  careers,  1  also  met  mine. 
I  feel  now  that  my  'villain'  in  my  first  pic- 
ture was  a  go^nl.  solid  answer  to  any  fears 
I  may  have  had  that  my  sense  of  comedy 
would  overshadow  the  opposite  emotions 
and  passions  1  had  to  throw  into  the  char- 
acterization. 

"I  was  afraid  my  former  work  would 
hinder  me."  Mr.  Torrence  had  told  Di- 
rector King  during  the  filming  of  Tol'able 
David.  Mr.  King's  answer  was  an  ex- 
pression of  the  firm  belief  that  before  a 
man  can  be  a  real  actor  he  must  have 
been  a  comedian. 

"As  I  see  it  now,"  continued  Mr  Tor- 
rence, "Comedy  and  Tragedy  are  but  twin 
souls  in  the  art  of  acting.  It  is  only  a  step 
around  the  corner  to  go  from  a  laugh- 
provoking  old  character  into  a  hateful, 
despicable  one." 

Just  before  Tol'able  David  was  shown 
at  the  Strand  Theater  in  Xew  York,  Mr. 
Torrence,  who  had  then  returned  from 
Hollywood,  was  considered  for  a  heavy, 
dramatic    role,    in    a    film    starring   John 


Photograph  by  Clarence  S.  Bull 


Ernest  Torrence  in  his  first  screen  role,  the  most  depraved 
of  the  unspeakable  Hatburns  in  "Tol'able  David,"  an  ex- 
traordinarily vivid  character  interpretation.  Below,  as  that 
endearing  old  good-for-nothing  Mahaffy  in  "The  Prodigal 
Judge."  He  is  now  playing  Clopin  in  "The  Hunchback  of 
Notre  Dame" 


1 


Barrymore.  but  the  director  con- 
cluded that  because  of  his  unction 
as  a  comedian,  be  could  never  be  a 
successful  dramatic  actor. 

"I  hope  he  attended  the  opening 
performance  of  Tol'able  David." 
said  charming,  little  Mrs.  Torrence, 
who  had  sat  quietly  during  our  in- 
terview. "I  was  actually  afraid  of 
the  man  Ernest  seemed  to  be  on  the  screen. 
I  had  always  known  him  as  such  a  jolly  per- 
son, you  know." 

It  is  indeed  hard  to  realize  the  real  Er- 
nest Torrence  is  the  bad  man  we  see  in  the 
films.  In  several  pictures,  however,  he  has 
portrayed  rather  lovable  characters,  as 
"Mahaffy,"  in  "The  Prodigal  Judge,"  a 
Vitagraph  picture  made  in  New  York,  and 
"Emilio,"  a  half-witted  clown  in  "Singed 
Wings,"  a  west  coast  Lasky  production. 

"We  have  just  finished  what  I  think  will 
be  the  biggest  picture  of  the  year,"  Mr. 
Torrence  remarked,  referring  to  the  Para- 
mount special,  "The  Covered  Wagon." 

"In  this  film  I  am  seen  as  a  very  "bard- 
boiled  egg,'  as  they  say,  but  as  I  am  on  the 
{Continued  on  page  77) 


(Thirty-seven) 


Hollywood  Homes 

Views  of  the  house  and  gardens  of  the  beautiful  California  home  of 
Mr.  and  Mrs.  Charles  Ray— and  "Whiskers" 

In  the  upper  left  hand  corner  is  a  bit  of  the  "rest  porch"  in  the  rear, 
overlooking  the  bathing  pool,  the  charming  little  tea  house  and  the 
gardens.  The  floor  is  of  smooth  glazed  tiling.  Upper  right,  Mr.  and 
Mrs.  Ray  and  their  inseparable  companion,  "Whiskers."  Below  is  the 
front  elevation,  charming  in  its  dignity  and  simplicity 


Photograph  by  J.  C.  Milligan 


The  Bathing  Pool 


This  lovely  spot  is  a  corner  of  the  magnificent  bathing  pool 
which  seems  to  be  a  necessary  part  of  all  these  beautiful 
estates.  The  rear  of  the  house  is  shown  and  the  garage  and 
a  little  glimpse  of  the  extensive  and  picturesque  gardens. 
An  air  of  well-bred  contentment  broods  over  this  picture. 
We  cant  imagine  anything  but  charming  things  happening 
here,  like  lawn  parties  and  moonlight  bathing  parties  and 
graceful  lolling  in  the  sunshine  and  shade.  We  vote  this 
view  the  pleasantest  of  all.  Next  month  Classic  will  show 
you   Norma   Talmadge's   new   house,   interiors   and    exteriors 


(Thirty-nine) 


A  Song 
Of  The  Screen 

Pictures  and  Verse 
By  DOROTHY  ROSECRANS  BRIGHTON 


Two  young  birds  that  bill  and  coo 
As  no  birds  of  our  ken  do, 
Always  herald  love's  young  dream 

— Upon  the  screen 
And  the  sunny-curled  young  thing 
Dances  playfully  in  the  spring 
As  the  hero  comes  in  view 

— Upon  the  screen 
When  the  young  wife's  sore  and  quits. 
Baby  son  develops  fits, 
Crying  "Doesn't  ma  love  pa?'" 

— Upon  the  screen 
Mothers  totter,  frail  and  white, 
Reading  Bibles  all  the  night, 
Waiting  for  the  wayward  son 

— Upon  the  screen 
When  the  villain's  work  is  o'er 
He's  not  wanted  any  more, 
A  violent  death's  the  thing 

— Upon  the  screen 


Artist  always  wins  the'prize 
Just  before  his  child-wife  dies 
And  they  sail  for  sunny  Spain, 

— Upon  the  screen 
Cast  upon  a  desert  isle 
Marceled  cutie  spends  a  while 
Learning  butlers  are  real  gents 

— Upon  the  screen 
Situations  like  these  are 
Much  more  plausible  by  far 
Than  some  others  you  may  see 

— Upon  the  screen 
And  the  reason,  critics  say 
Js  because  draw-mah  today 
Is  still  in  swaddling  clothes 

— Upon  the  screen 
This  may  all  be  very  well 
But,  poor  devil,  try  to  sell 
Any  movies  unlike  those 

— Upon  the  screen. 


(Forty  i. 


i 


Half 
Chinese 

and 
Wholly 
Lovely 

By  BARRETT  CLARK 

Photograph  by  Grenbeaux 


SHE    says    it    was    her 
French  mother  who  did 

it. 

In  which  case  1  am  in 
favor  of  giving  Alsace  hack 
to  Germany  and  burning 
down  the  statues  of  La- 
fayette. 

For  of  course  her  name 
should  have  been  something 
in  Chinese  that  sounded  like 
Limehouse  Nights  stories 
.  .  .  something  about  scar- 
let petals  and  silver  rivers 
.  .  .  something  about  white 
almond  blossoms  and  rose 
leaves.  I  know  a  dark 
smelly  little  dump  down  in 
Chinatown  where  the  cock- 
roaches gambol  and  frisk 
around  the  tables  ;  and  they 
call  the  place.  "The  Abode 
of  Ten  Thousand  Jewels." 
And  then  they  had  to  name 
this  lovely  peach  blow  half- 
caste  girl  "Etta  Lee." 

Well,  it's  discouraging. 

But  anyhow  she  can  cling 
to  the  distinction  of  being 
the  only  Eurasian  girl  in 
the  fillums.  Every  once  in 
a  while,  in  this  picture  or 
that,  you  see  a  willowy, 
lovely  oriental  girl  go  slip- 
ping thru  a  scene  like  the 

memory  of  a  dream.  That's  Etta  Lee  (whose  name  ought 
to  be  something  in  Chinese  meaning  The  Breath  of  the 
Dawn). 

She  was  the  Chinese  girl  in  Katharine  McDonald's 
"Infidel"  (about  the  worst  picture  ever  made  in  the  world 
by  the  way).  She  bad  a  little  part  in  Constance  Tal- 
madge's  "East  Is  West"  and  a  better  one  with  Ethel 
Clayton  in  "The  Remittance  Woman."  They  almost 
gave  her  the  part  of  the  Mandarin  woman  in  "Java  Head," 
but  abandoned  the  idea  because  she  had  had  so  little 
experience. 

Miss  Lee  lives  in  a  cute  little  apartment  on  the  opposite 
rim  of  Los  Angeles  from  Hollywood.  She  burns  punk 
sticks  and  somehow  contrives'  to  give  the  impression  of 
old   bald  priests  in   far-off   Bhudda  temples  out   beyond 


Every  once  in  a  while,  in  this  picture  or  that,  you  see  a  willowy,  lovely  oriental 
girl  go  slipping  thru  a  scene  like  the  memory  of  a  dream.  That's  Etta  Lee  (whose 
name   ought    to    be    something    in    Chinese    meaning    The    Breath    of    the    Dawn) 


the  edge  of  the  morning  .  .  .  of  passion  (lowers  growing 
in  the  walls  of  forgotten  ruins  .  .  .  cherry  trees  blooming 
on  the  banks  of  the  Chinese  rivers  .  .  .  old  jade  .  .  . 
smoke  rising  in  slender  mauve  spirals  against  the  black- 
recesses  of  old  altars.   .    .    . 

But  otherwise,  she  isn't  at  all  Chim  - 

The  sad  and  unromantic  truth  is  that  the  fair  Ktta  is  a 
high  brow  young  lady  with  a  university  degree  and  a 
teacher's  certificate.  She  knows  more  about  Maeterlinck 
than.  Confucius,  more  about  lip  sticks  than  Tao.  Her 
father  was  a  Chinese  physician,  her  mother  a  very  charm- 
ing and  well  educated  French  lady.  She  spent  her  girl- 
hood in  California  where  they  gave  her  a  university  edu- 
cation. Then  she  went  to  Hawaii  to  teach  school  to 
i  Continued  on  page 


I  Ft.  rty-one) 


Frank  Lloyd's  Jackie  Coogan 


By  FAITH  SERVICE 


THE  Classic- 
editor  said  to 
me  in  her  cus- 
tomary heartless 
fashion  of  a  step- 
mother to  an  ugly 
duckling:  "Go  and 
see  Frank  Lloyd. 
In  the  altogether 
possible  contin- 
gency that  you 
dont  know  that  he 
directed  the  Coo- 
gan 'Oliver  Twist' 
I  shall  enlighten 
you ;  and  I  want 
you  to  find  out  so 
far  as  your  feeble 
powers  will  permit 
just  what  he  thinks 
of  Jackie,  just 
what  he  thought 
about  him,  day  by 
day,  in  every  way ! 
I  dont.  remember, 
care  in  the  least 
what  he  thinks 
about  you,  and 
assuming  that  he 
does  find  the  time 
to  give  you  a 
thought  I  shall  not 
print  one  single 
word  of  it.  be  it 
flattery — or  fact." 

You  can  put 
any  construction 
you  please  upon  the 
above  asterisks. 
They're  often 
used,  you  know,  in 
cases  of  compul- 
sion like  the  one 
cited  above.  Mrs. 
Glyn  uses,  'em 
'frequent.'  too  .  .  . 
However,  think 
your  own  thoughts 


Photograph  by  Witzel.  L.  A. 

A  late  portrait  of  Frank  Lloyd,  whose  sympathetic  comprehension  of  the 
genius  of  Jackie  Coogan  made  possible  that  beautiful  photoplay  "Oliver 
Twist."  Mr.  Lloyd  has  just  finished  directing  "Within  the  Law"  for 
Norma  Talmadge.  He  invests  his  productions  with  humanity  rather  than 
sentimentality,  a  rare  and  invaluable  quality  for  a  motion  picture  director 

to  possess 


some  of  you  will  be  right. 


"Tell  me  about  your  Jackie  Coogan,"  I  said. 

Director  Frank  Lloyd  looked  as  tho  the  subject  pleased 
him  hugely.  He  leaned  forward,  clasped  his  hands,  and 
his  smile  was  almost  tender.  It  was  a  smile  that  was 
good  to  see.  One  could  tell  that  he  was  thinking  not 
only  in  his  directorial  capacity  of  "Oliver  Twist,"  but 
also  about  a  little  boy  of  whom  he  is  paternally  fond, 
and  of  a  great  artist  to  whom  he  would  seek  to  pay 
tribute. 

"Jackies  doesn't  belong  to  any  one  person,"  Mr.  Lloyd 
said,  "he  belongs*  to  the  world.  He  has  a  great  soul.  He 
is  not  a  child  prodigy.  He  is  not  precocious  in  the  way 
that  word  is  usually  meant.  Jackie  is  utterly  natural,  abso- 
lutely spontaneous  and  wholly  unconscious  and  unforced. 


"I  didn't  realize 
until  we  were  thru 
with  'Oliver 
Twist'  what  a 
great  artist  Jackie 
really  is.  You 
dont  realize  it,  be- 
cause he  is  so 
natural.  You  never 
feel  that  you  are 
directing  him. 
You  never  feel 
that  he  is  acting 
.  .  .he  isn't,  as  a 
matter  of  fact,  he 
is  wholly  feeling. 

"Jackie's  great- 
ness is  in  his  in- 
tuitive under- 
standing —  and  in 
his  eyes.  He  has 
the  most  extraor- 
dinary eyes  I  have 
ever  seen.  Every 
grief,  every  joy, 
every  emotion  and 
shade  of  emotion 
are  mirrored  in 
those  great  eyes. 
The  rest  of  his 
face  is  just  like 
thousands  of  other 
children. 

"But  put  the 
idea  out  of  your 
mind,  if  it  is  there, 
that  Jackie  is  'old.' 
He  is  thoroly  a 
child.  He  prefers 
to  play  with  chil- 
dren, and  when  he 
plays  with  them  he 
plays  honest-to- 
goodness  kid 
games. 

"He  has,  for- 
tunately, the  right 
kind  of  parents. 
They  are  bright, 
simple  people,  who  love  him  to  death,  of  course,  but  who 
keep  him  unspoiled  and  a  child.  They  dont  pamper  him 
and  they  dont  allow  him  to  become  impressed  with  his 
own  importance.  He  has  no  conception  of  it  at  all,  and 
I  have  seen  him  shrink  away  from  crowds  or  from  re- 
porters or  interviewers  who  approach  him  as  Jackie 
Coogan,  Screen  Star.  He  is  a  little  boy  and  he  prefers 
to  be  met  upon  his  own  little-boyish  ground. 

"Jackie  will  go  on  .  .  and  on  .  .  .  Some  child 
'prodigies'  go  so  far  and  then  stop,  but  Jackie,  as  I  have 
said,  even  tho  it  seem  paradoxical,  is  not  a  child  prodigy. 
He  is  a  genius  and  he  'has  it.'  There  will  come  a  time, 
perhaps,  when  for  reasons  of  education  and  because  he 
will  have  reached  the  awkward  age,  Jackie  will  leave  the 
screen  for  a  short  while.  But  he  will  come  back  again 
and  the  man  will  fulfil  the  boy.     I  know  that. 

"Before  we  began  to  make  'Oliver  Twist'  Jackie  was 


(Forty-two ) 


I  kf 


crai)  foi  an  electric  train  ami  tracks.  He 
has  never  had  one  lit--  father  told  him  that 
if  he  would  be  ■  (,r"(U'  hoy  during  the  Rlra 
ing  of  the  picture  and  concentrate  ver)  hard 
that  when  we  were  finished  he  would  jive 
him  the  train.  But  1  beat  his  father  to  it. 
When  we  won-  finished  I  boughl  him  the 
train  and  one  afternoon  I  invited  him  to  my 
hiui.se  without  telling  him  that  I  had  it  foi 
him.  He  came  with  his  grandmother  and 
when  they  arrived  and  he  saw   the  tracks 

all  spread  out  00  the  floor  he  thought  that  it 
belonged  to  my  little  girl  with  whom  he  often 
plays  and  that  she  had  got  one  first.  But 
when  1  told  him  it  was  for  him  he  simply 
dropped  to  the  floor  beside  it.  utterly  iost  and 
absorbed.  His  grandmother  prodded  his 
politeness.  "Jackie,"  she  said,  "what  do 
you  say  to  Mr.  Lloyd?"  Then  Jackie  paid 
me  a  most  tremendous  tribute.  He  looked 
up  at  his  grandmother  for  a  moment  with 
those  great  and  grateful  eyes  and  said, 
simply,  "Oh,  grandma,  what  can  I  say?"  and 
then  turned  back  again. 

"That  is  Jackie.  His  emotions  are  au- 
thentic. He  never  exaggerates  or  pretends. 
His  small  body  is  all  child,  but  it  houses  a 
great  soul  and  thru  the  clear,  miraculous 
windows  of  his  eyes  that  soul  shines  surely 
thru.  One  may  spend  a  casual  afternoon  with 
this  child  and  discover  nothing  at  all  remark- 
able about  him,  nothing  at  all  that  dis- 
tinguishes    him      from     any     other     bright 


Photograph  by 
Edwin  Bower  Hesser 


"Jackie,"  says  Frank  Lloyd  be- 
lying the  title,  "doesn't  belong 
to  any  one  person.  He  belongs 
to  the  world.  He  has  a  great 
soul.  He  is  not  a  child  prodigy. 
He  is  not  precocious  in  the  way 
the  word  is  usually  meant.  He 
is  utterly  natural,  absolutely 
spontaneous  and  wholly  uncon- 
scious and  unforced.  He  is  a 
great  artist" 


youngster,  no  evidence  of  precocity ; 
but  one  could  not  work  with  this 
malleable  little  bit  of  eager  humanity 
for  any  length  of  time  without  label- 
ling him  genius.  It  would  be  to 
stultify  one's  intelligence  otherwise." 


This  then  is  Frank  Lloyd's  opinion 
of  Jackie  Coogan.  Frank  Lloyd  him- 
self is  a  man  of  acute  perception  and 
unmistakable  discernment.  He  has 
been  directing  pictures  for  a  long 
time  and  has  watched  the  progress 
of  stars  with  an  impartial  eye.  He 
is  accustomed  to  weighing  genius  in 
the  balance,  and  when  he  says  that 
Jackie  has  it — well  .  .  .  His  opinion 
of  me,  the  Classic  editor  has  refrained 
from  printing  as  she  promised. 


(Forty-three) 


Photopraph  ©  by  Nelson  Evans 


THE  TRAGIC  COMEDIAN 

A  very  serious  portrait  of  a  great  screen  comedian,  Max   Linder,  who  is  at 
present  in  Paris  amusing  his  countrymen 


(Forty-four) 


The  Celluloid  Critic 

LAURENCE  REID 
Reviews  the  latest  photoplays 

A  MAGNIFICENT  achievement  ia  "Th<  red  Wagon" 

I  Paramount),  which  comes  i<>  the  screen  with  a  stirring, 
vigorous  account  >>t'  ;i  bygone  people     the  hardy  pioti 
.it  '48.   Here  is  -tark.  vivid  drama    here  is  historj  being  recorded 
in  a  gorgo>u*  canvas  of  those  adventurous  the  Roaring 

Forties.  Gigantic  in  conception  and  execution  this  superb  tapestrj 
transports  one  with  its  swift  hurricane  of  events.  It  instills  in  the 
spectator  a  genuine  patriotism  for  liis  country.  He  lives  over 
again  the  mighty  purpose  of  these  c  lurageous  pioneers  who  turned 
their  faces  toward  the  setting  sun  with  a  cry  of  "Westward  lln!" 
Theirs  was  an  adventure  which  dwarfs  into  insignificance  anything 
which  had  to  do  with  the  colonization  of  America. 

One  catches  the  true  -pint  of  these  people  as  they  drove  their 
covered  wagons  thru  an  unknown  country.  They  would  found 
an  empire  in  the 
West  ;  they  would  not 
be  denied  in  their 
determination  to  gain 
sanctuary  and  soil  in 
far-off  Oregon.  So 
we  live  over  their 
arduous  journey  thru 
the  trackless  wastes — 
thru  the  prairies,  over 
the  mountains  —  a 
journey  which  took  a 
year  to  accomplish — a 
journey  which  re- 
corded but  ten  miles  a 
day.    Think  of  it ! 

We  clamber  aboard 
Ogle's  wagon  or 
mount   Kerrigan's 
horse  :  the  bugle 
sounds ;  the  far-flung 
wagons  strike  out  and 
the  glorious  adventure 
is  afoot.  And  what  a 
journey  !     James 
Cruze,  the  director  of 
this   vital   screen  epic 
— an  adaptation  of 
Emerson    Hough's 
story,    pilots   us   thru 
stirring    scenes 
fraught  with  romance, 
thrills  and  excitement.    The  suspense  is 
terrific  because  we  are  living  over  the 
hazardous  trip  of  these  hardy  tillers  of 
the  soil.    Danger  is  everywhere.    Starva- 
tion stalks  in  our  midst.  And  it  is  staved 
off    when    the    buffaloes    are    sighted. 
What    an    inspiring    scene — this    bison 
hunt,  one  which  might  truly  be  called 
an  animated  Remington. 

But  the  biggest,  individual  thrill,  the 
most  stirring  moment  arrives  when  the 
Platte  River  is  reached  and  the  pioneers 
face  the  first  obstacle.  To  see  them 
fording  this  rushing  river — the  oxen  and 
horses  plunging  into  the  turbulent 
stream  and  the  wagons  floated  with  logs 
is  a  sight  which  is  as  inspiring  as  it  is 
exciting. 

The    Indians'    circle    of    death    is    a 


mum 

m 

KJ 

1 

Sr^  vi 

ri',oto(jraph  by  Richee 


Above,  Jackie  Coogan  plays  tailor  in 
"Daddy."  Below,  a  long  shot  from 
"The  Covered  Wagon"  which  is  break- 
ing   all    records    for    a    Broadway    run 


Above,  Percy  Marmont  and  Ann  Forrest  in 
one  of  the  tense  and  dramatic  scenes  from 
"If  Winter  Comes."  Below,  Aileen  Pringle 
and     Jack     Holt     in     "The    Tiger's     Claw" 


Photi.frrart'  ^>  '■' l  Rowley 


* 


(Forty-five  J 


Mabel' Normand  in 
the  long  looked  for 
"Suzanna,"  a  de- 
lightful picture  of 
early  California 
days.  Mabel's  in- 
different compan- 
ion is  Walter 
McGrail 


Right,  is  a  scene  from 
Rex  Ingram's  "Where 
the  Pavement  Ends" 
with  Alice  Terry  and 
Ramon  Navarro;  much 
better  than  Rex's  last 
picture.  Below,  Milton 
Sills  and  Anna  Q.  Nils- 
son  in  "The  Isle  of 
Lost  -Ships,"  a  Tour- 
neur  production 


CLASSIC 

panoramic  shot  of  tremendous  sweep — executed  with 
accurate  color  and  detail.  But  the  pioneers  overcome 
these  dangers.     They  will  not  be  stopped. 

The  picture  carries  a  romance  which  balances  the 
westward  march.  And  its  intimate  scenes  are  cameo 
studies.  There  are  adventurers,  farmers,  and  gay 
vagabonds  who  compose  the  motley  throng.  And  two 
of  its  most  colorful  figures  are  the  scouts  played  with 
fine  sympathy  and  understanding  by  Ernest  Torrence 
and  Tully  Marshall.  Watching  them  in  a  little  friendly 
play  with  fire-arms  over  their  marksmanship  kindle^ 
the  imagination  with  the  romance  of  the  occasion.  The 
entire  cast  is  highly  capable.  Each  player  is  a  true  rep- 
resentative of  the  type  which  he  or  she  portrays.  The 
atmosphere  is  rich,  the  settings  panoramic  in  their 
scope. 

In  all  "The  Covered  Wagon"  makes  just  as  vital 
history  in  the  picture  industry  as  the  pioneers  did  in 
their  hazardous  journey.  It  lends  a  glamour  of  ro- 
mance ;  it  is  fraught  with  adventure  and  excitement.  It 
is  a  superb  painting  conceived  on  a  gigantic  scale — a 
living,  breathing,  accurate  page  from  history.    It  carries 

color  and  movement  and 
vital  action.  And  it  ranks 
with  "The  Birth  of  a 
Nation"  in  its  epochal 
record  of  America  in  the 
making. 

Hail  to  Paramount's 
screen  epic — a  reflection 
of  the  motion  picture  at 
its  best. 


1    W' 


E  leave  the  big 
outdoors  to  be  in- 
troduced to  the 
screen  reproduction  of 
A.  S.  M.  Hutchinson's 
idealization  of  the  char- 
acter, Mark  Sabre,  in  his 
remarkable  study,  "If 
Winter  Comes,"  which 
Harry  Millarde  made  for 
Fox.  While  the  salient 
points  of  this  book  which 
brings  spiritual  comfort 
to  the  reader  are  brought 
forth  upon  the  silver- 
sheet,  it  lacks  the  same 
vital,  spiritual  flavor.  This  stylist  is 
difficult  to  record  upon  cold  celluloid. 
Chapters  —  many  of  them  —  must  be 
absorbed  to  catch  the  full  meaning  of 
his  characterization.  Yet  Mr.  Millarde 
has  made  a  sincere  effort  to  record 
Hutchinson's  idealization  of  Sabre.  It 
is  a  character  study  which  embraces 
three  distinct  romances  in  the  life  of  its 
lovable  figure.  He  is  caught  in  a  mael- 
strom of  tragic  consequences  before  he 
finds  a  haven  of  happiness  with  a 
woman  who  understands  him. 

The  picture  is  wordy  and  long-drawn 
out  and  rather  episodic.  But  imagina- 
tive spectators  will  discover  many 
moments  of  interest  in  it.  Percy  Mar- 
mont  is  a  good  selection  for  Sabre  and 
enacts  the  character  with  a  com- 
mendable spiritual  flavor.  As  there  are 
few  dramatic  opportunities  the  other 
players  may  be  excused  tor  interpreting 
their  roles  with  marked  enthusiasm. 
The   feature  is  best   in   its  atmospheric 


(Forty-six) 


- 


CLASSIC 


qualitj     ll.u rv  Millarde  having  taken  his  company  I  i 
the  t'x.ut  locations  in  England  to  provide  a  backgn 
«>t  the  charming  countrj  side. 

RF.X  INGRAM'S  genius  foi  fashioning  a  moving, 
colorful    storj    is    manifested    again    in    Metros 
"Where  the   Pavement    Ends."    Here  is  an  old 
friend,  the  South  Sea  Islands  formula,  which  has  been 

treated   in   such   an  artistic    way   that    it    never   become- 

conventional.    It  suggests  the  director  at  his  best  he 

cause  he  makes  an  old  pattern  seem  new. 

Here  we  have  the  usual  figures — the  missionary,  his 
daughter,  the  vicious  trader  and  the  native  lover.  To 
escape  the  abysmal  brute  the  ^irl  turns  to  the  islander 
who  protects  her.  Perfectly  ohvious?  Yes,  in  cold 
print,  hut  translated  upon  the  screen  its  obviousness  is 
overcome  by  Ingram's  dramatic  treatment.  What  a 
hrush  he  uses  !  There  is  the  colorful  background  carry- 
ing a  gorgeous  design  and  against  it  is  enacted  a  com- 
pact little  story  acted  to  the  queen's  taste  by  Ramon 
Xavarro  as  the  native,  Alice  Terry  as  the  charming 
daughter  of  the  dominie,  and  Harry  Morey  as  the 
brutal  trader.  It  is  in- 
spiring and  optically 
pleasing.  The  very  title 
exudes  romance. 

Chalk     another     mark 
for  Rex  Ingram. 


ANOTHER  Metro 
attraction,  "The 
LFamous  Mrs. 
Fair,"  furnishes  proof 
that  it  occasionally  pays 
to  have  a  real  playwright 
on  the  job.  Here  is 
James  Forbes's  stage 
play  which  met  with  un- 
bounded success  upon 
the  stage  which  comes  to 
the  screen  with  its  vital 
parts  intact.  Telling  the 
story  of  the  dissolution 
of  a  family  thru  the 
feminine  urge  to  find  ex- 
pression, it  sends  forth 
truthful  slants  on  life. 

The  wife  and  mother 
has  her  medals  pinned 
on  her.  And  success  and  popularity  go 
to  her  head.  Consequently  she  takes  to 
the  lecture  tour  and  during  her  absence 
the  house  tumbles  to  pieces.  The  pic- 
ture soars  to  a  mighty  effective  climax 
when  the  mother  and  father  realize  they 
have  sinned  against  their  children.  A 
desperate  search  is  made  to  save  the 
daughter  from  dishonor.  Thru  bring- 
ing her  back  to  her  senses  a  reconcilia- 
tion is  effected  and  harmony  reigns 
supreme. 

Good,  sound  philosophy  and  logical 
drama  are  neatly  dovetailed  in  this  very 
human  story  which  is  capitally  acted  by- 
Myrtle  Stedman  as  the  mother  who 
learns  that  her  place  is  in  the  home. 
Marguerite  de  la  Motte  as  the  outrage- 
ously modern  flapper  daughter,  lends  a 
choice  bit  to  a  cast  excellent  in  every 
respect.  Fred  Xiblo  has  brought  forth 
all  its  vital  plot  and  characterization. 
It's  a  picture  for  thinking  people. 
(Continued  on  page  84) 


Above,  Pola  Negri 
and  Conrad  Nagle 
in  "Bella  Donna" 
an  intensely  thrill- 
ing and  dramatic 
picture.  The  Negri 
is  gorgeous  in  the 
title    role 


Left,  Ernest  Torrence, 
Mary  Miles  Minter  and 
Antonio  Moreno  in 
"The  Trail  of  the 
Lonesome  Pine."  Be- 
low, Marguerite  de  la 
Motte  in  a  modern — 
oh,  very — beauty  par- 
lor. One  of  the  scenes 
from  "The  Famous 
Mrs.  Fair" 


(Forty-seven) 


Photograph 
by  courtesy 
of  Viola 
Dana  and 
Metro.  The 
little  Dana 
makes  a 
mischi  e - 
vous  Puck. 
She  just 
would ! 


d 


J 


y 


? 


Q_ 


By 


Miss  Dana 
was  unani- 
mously chosen 
for  the  elfin 
sprite  for  a 
special  per- 
formance of 
"A  Midsum- 
mer Night's 
Dream"  given 
for  the  benefit 
of  the  Actors' 
Fund 


IN  the  official  bulletin  of  the  Big  /  Brothers  and  Sisters  to  the 
Motion  Picture  Industry,  there  /  is  a  criticism  of  "Java  Head." 
It  deplores  the  discrepancies  /  between  the  subtitles  and  the 
subsequent  scenes.  "Twice  or  /  more,"  says  the  complaint,  "a  ba- 
rouche is  called  for,  and  what  /turns  up  at  the  door  each  time  is 
a  C  spring  Victoria !" 

Of  course  it's  all  the  /  coachman's  fault.  If  the  subtitle  had 
read:  James,  I  shall  want  /  the  C  spring  Victoria  this  afternoon, 
we'll  bet  anybody  a  /  ticket  to  "The  Queen  of  Sin"  that  the 
idiot  would  have  brought  around  a  D  or  a  G  spring.   You  just 

can't  trust  them. 

•b       4*       4« 

___— - — —  These  inaccuracies  will  have  to  stop  if  the  motion  picture  in- 

dustry expects  ever  to  have  a  decent  numerical  following.  "You 
shouldn't,"'  so  William  Fox  tersely  has  it,  "make  fools  of  all  of  the  people  all 
of  the  time."  Which  is  only  too  true.  We  were  talking  to  a  fancy  fruit 
dealer  the  other  day.  "Why  Women  Fall,"  said  the  F.  F.  D.,  "is  a  rotten  pic- 
ture. When  the  feller  tempts  the  girl  with  an  apple,  he  calls  it  a  Red  Astrakhan. 
Bah !    Any  boob  can  see  it's  a  Newtown  Pippin."     So  that's  that. 


Add  to  the  dictionary   of  similes:  as  unfortunate  as  the   choice  of   seats 
offered  by  a  movie  usher. 

4*       •]«       ■!• 

Follows  a  song  to  be  broadcast  over  the  radio  at  the  very  next  luncheon 
of  the  A.  M.  P.  A.     It  is  released  with  a  full  heart.     Alley — oop ! 

Mine  eyes  have  seen  the  glory  of  the  Cecil  B.  de  Mille, 

He  is  whanging  out  the  super-stuff  with  all  his  force  and  will. 

You  Wouldn't  think  that  there  could  be  a  nickel  in  the  till, 

But  his  roll  goes  marching  on. 
Chorus :  Glory,  Glory,  Glory   Swanson, 

His  roll  goes  marching  on. 

I  have  seen  him  gild  the  lily — seen  him  gild  it  good  and  gold. 
And  pack  each  smashing  episode  with  all  that  it  can  hold, 
We  know  it  must  lie  Art  because  it  knocks  the  public  cold 

And  his  roll  goes  marching  on. 
Chorus :  Glory,  Glory,  Glory  Swanson, 

His  roll  goes  marching  on. 


"If — er — personality    counts    for    anything    at    all,    Nita    Naldi    is    easily 
the    most    prominent    actress    on    the    silversheet    today.       The    above    sen- 

( Continued  on  page  96) 

(Forty-eight  ■ 


J 


The 
Photographer 

Takes  the 

Stage 


VhotoRtarti  by  White  Studios 


Above  are  Joseph  Schildkraut  and  Louise 
Closser  Hale  in  "Peer  Gynt"— Schildkraut 
as  the  young  Peer  and  Miss  Hale  as  Mother 
Ase.  Below,  Lionel  Atwill  and  Elsie  Mackay 
in  "The  Comedian,"  Belasco's  latest  Sacha 
Guitry  importation 


rimtofiraph  by  White  Studios 


Above  is  the  upright  Mr.  Olin  Howard  in 
"Wildflower."  The  personable  young  woman 
so  pleasantly  at  right  angles  with  herself  is 
Edith  Day.  Nonchalance  is  the  keynote — 
whatever  that  means 


f  Forty-nine) 


fNff     M 

1  hJI   bv 

•B 

ESfi 

1 1  -  '  J 

Photograph  by  White  Studios 


Classic's 

Monthly  Department 

of  the  Theater 


Photograph  by  Francis  Bruguicre 


■V/Al 

■■^          Br ^k   P 

^T              '*&* 

Top  of  the  page,  Pauline  Frederick  and  Charles  Waldron 
in  "The  Guilty  One."  We  think  Pauline  is  the  one.  Left, 
Ann  Pennington  whose  dancing  saves  "Jack  and  Jill."  Above, 
Dudley  Digges  as  Mr.  Zero  in  the  Theater  Guild's  curious 
theatrical  offering,  "The  Adding  Machine."  Looks  like  a 
horrible  nightmare  for  Mr.  Digges.  Below,  Josephine 
Stevens  and  a  very  pretty  chorus  in  "Go  Go" 


Photograph  by 
White  Studios 


(Fifty) 


Bernice     Ackerman,     Vihclda,     and     Vera     Bradley     in     "Lady 

Butterfly."     Wouldn't  we  like  to  be  a  moth  miller — or  whatever 

it    is    that    consorts    with    butterflies! 


Photograph  by  Richard  Burke 


Above  is  a  scene 
from  "Sandro  Bot- 
ticelli" and  we  wish 
the  artist  had  made 
it  bigger,  because 
there  are  a  lot  of 
celebrities  in  it: 
Botticelli,  Leonardo 
Da  Vinci,  two  or 
three  Dei  Medicis, 
La  Bella  Simonetta 
and  so  on.  Eva  Le 
Gallienne  plays  Si- 
monetta Vespucci 
and  Basil  Sydney 
plays  Botticelli 
(center  background) 


j  m 

Photograph  by  White  Studios 


Above  is  Louise 
Huff  as  "Mary  the 
Third."  She  plays 
all  three  Marys  in 
this  new  play  by 
Rachel  Crothers. 
We  cant  account  for 
the  dead  men.  Left 
is  a  moment  from 
"Anything  Might 
Happen,"  but  the 
trouble  is,  nothing 
much  does.  Left  to 
right:  Estelle  Win- 
wood,  Roland 
Young,  Leone 
Morgan  and  Leslie 
Howard 


(Fifty-one) 


Flashes  From 


Of  the  Stage 

Caught  by 


THE  most  important  eastern  news  item  of  the  month  is  that  David 
Belasco  is  preparing  to  leave  for  the  coast  about  the  first  of  June, 
with    Lenore   Ulric,   to   supervise   personally   the   production   of 
"Tiger  Rose"  her  first  picture  under  Warner  Brothers  contract. 

Belasco's  capitulation  to  the  screen  is  the  most  encouraging  and 
significant  circumstance  that  has  ever  happened  to  the  once  despised 
movies.  Even  the  highbrows  stand  in  awe  of  Belasco ;  even  the  in- 
telligentsia look  up  to  him ;  even  the  obstreperous  "young  intellec- 
tuals" accord  him  respect.  This  is  glorious  news,  and  Warner  Broth- 
ers are  to  be  congratulated — however  did  they  do  it  ? 


Above   is  Mae   Marsh 
in  character.    She  is 
way     down     in 
southern    Louisi- 
ana    finishing 
"The    White 
Rose" for 
Griffith.      Cen- 
ter,   David 
Belasco    and 
Lenore  Ulric 
in    the    offices 
of     Warner     Brothers, 
with    whom    they    have 
signed   an   important 
screen  contract.    Below  is 
Rex  Ingram  and  the  mem- 
bers   of    his    "Where    the 
Pavement  Ends"  cast.    Rex 
doesn't    seem    any    too    well 
pleased.     We    hope    he    counts 
ten   before    he    drops    the    thing 

Photograph  (center)  by  Capitol  Photo  St 


Another  important  announcement  is  Glenn  Hunter's  five  year  con- 
tract with   Famous   Players-Lasky  Corporation,  which  that   favored 
child  of  fortune  signed  last  month.    His  first  picture  for  them  will  be 
"This   Side  of   Paradise,"   F.   Scott   Fitzgerald's   story   of   insurgent 
youth.     Fitzgerald  is  scarcely  more  than  a  boy  him- 
self and  the  two  are  great  friends. 

Mary  Astor,  the  most  promising 
young  girl  of  the  screen  and  one 
of  our  own  Fame  and  Fortune 
contest  winners  has  also  signed 
a    Famous    Player-Lasky 
contract.     She  is  not   yet 
of   age  and   all   sorts  of 
legal  difficulties  had  to 
be    removed   before    it 
was   finally   accom- 
plished. 


Gallagher  and 
Shean,  that  priceless 
pair  who  have  helped 
keep  the  Ziegfeld  Fol- 
lies going  all  season, 
are  reported  about  to  sing 
their  song  before  a  camera 
to  the  tune  of  five  thousand 
dollars  a  week  or  thereabouts. 
They  will  make  five  two  reel  com- 
edies and  a  five  reel  feature,  each  to 
be  opened  by  Ed,  with  Al  leading  the 
orchestra,  while  verses  from  their 
famous  song  appear  on  the  upper  half 
of  the  screen.  In  the  fall  they  expect 
to  open  in  a  musical  comedy  for  Charles 
Dillingham  called,  "Stealing  a  Town." 
"Four  leaf  clovers,  Mr.  Gallagher. 
No,  it's  horseshoes,  Mr.  Shean." 


The  eastern  studios  are  as  busy  as 
their  western  rivals.  Mary  Alden  is 
working  out  at  the  Biograph  Studios. 
Alma  ^Rubens  is  making  "Under  The 
Red  Robe"  at  the  Tilford  Studios. 
Gustav  Seyffertitz  is  in  the  same  pic- 
ture, and  John  Charles  Thomas  the 
noted  American  barytone  will  make  his 
screen  debut  in  the  leading  role  of  Gil 
de  Berault ;  Richard  Barthelmess  has 
started  on  "The  Fighting  Blade"  a 
romantic  costume  story.  Conrad  Nagel, 
Hope  Hampton  and  Lew  Cody  are  in 


(Fifty-two) 


the  Eastern  Stars 

On  the  Screen 
the  Editor 

the  midst  of  "1  aw  ml  I  arccny"  at  Famous  Players  Long  [aland 
Studios.  Bert  Lytell  is  in  New  York  foi  featured  rdlea  with  l  osmo- 
politan  Productions.  Bettj  Blythe  is  finishing  her  last  picture  for 
Whitman  Bennett.  Marion  Davies  has  just  Crushed  "Little  <  >1  *  1  New 
•k."  Francis  X.  Bushman  and  Beverly  Bayne  ire  completing 
"Modern  Marriage"  out  in  Vonkers,  Glenn  Hunter  is  at  the  Film 
Guild. 

Marguerite  Courtot  and  Raymond  McKee  were  married  last  month 
m  "Uit-  little  church  around  the  corner."     Their  picture  "Down  to 

The   Sea    In   Ships"   has  broken   all    record--  at   the   Cameo  'Theatre   iii 

New  York  City.     Ciara  Bow,  another  Fame  and   Fortune  Contest 

winner  ha--  the  ingenue  lead  in  that  picture. 


Alice  Joyce,  whom  Neysa  McMein  has.pronounced 

one  of  the  six  most  beautiful  women  on  the 
screen,  is  coming  back  to  pictures  after 
a    long    absence.      She    will    make 
"The    Green    Goddess"    with 
George    Arliss     for    Distinc- 
tive Pictures  Company 


Betty    Blythe   is  go- 
ing to  Algiers.    What 
interesting    times 
these  screen  beauties 
do   have !     She    will 
star  in  the  Graham- 
Wilcox    production 
ni  "Chu  Chin  Chow," 
the  exteriors  of  which 
will    be    shot    in    anil 
about    Tunis.     Wonder- 
ful opportunity  for  Betty 


D.    W.    Griffith    is    down    in    . 
Florida    and    Louisiana     with    his 
company  finishing  his  picture,  "The 
White  Rose"  with  Mae  Marsh.  Ivor 
Novello,  Carol  Dempster  and  others. 


Above,    the    inimitable 
Mr.     Gallagher     and 
the      incomparable 
Mr.   Shean   pleas- 
antly exhilarated 
by      their      new 
screen      con- 
tract.     Center, 
the  work-shop 
of     the     Film 
Guild      during 
the   making   of 
"The  Scarecrow."     The 
mask    is    Glenn    Hunter 
Below,  a  charming  model 
of  the  45th  Street  Theater 
where      the      "Music      Box 
Revue"    still    draws    crowds 
every   night   of   its   long    run 


Marion  Davies  has  had  a  lot  of 
bad  luck  with  her  latest  picture 
"Little  Old  Xew  York."  She  nar- 
rowly escaped  serious  injury  in  one 
of  the  scenes.  Louis  Wolheim  had 
to  throw  her  over  his  shoulder  and 
carry  her  to  a  whipping  post  with  a 
mob  of  howling  extras  at  his  heels. 
When  he  reached  the  steps  they 
crowded  him  so  close  in  their  excite- 
ment that  in  spite  of  his  efforts  to 
save  her,  Miss  Davies  fell  to  the 
platform  striking  her  head  with  ter- 
rific force.  She  was  unconscious 
for  several  minutes  but  when  she 
came  to,  pluckily  insisted  upon  con- 
tinuing the  scene.  Whereupon  all 
the  extras  cheered  and  Wolheim 
saluted  her  gallantly.  When  you  see 
{Continued  on  page  73) 


(Fifty-three) 


A  YOUNG  man  strolled 
thru  the  smoking  car. 
He  was  correctly 
clad,  casual.  At  one  glance 
he  appeared  to  have  a  bear- 
ing of  some  fierce  inner  spir- 
itualness.  At  the  next  glance 
as  equal  a  contradictory  ap- 
pearance, of  shrewd  sophis- 
tication. Calculatedness.  At 
both  glances  he  appeared  to 
be  singularly  attractive. 
Even  compelling.  During 
the    cross-country    trip    one 

man  had  been  watching  him  with  a  species  of  concentra- 
tion.    This  man  was  a  detective. 

The  young  man  strolled  thru  the  smoking  car.  He 
left  behind  him  a  spiral  trail  of  elegantly  scented  smoke. 
Expensive.  When  the  trail  thinned  to  faint  blueness  the 
famous  detective  arose,  also  casually,  and  strolled  after 
him.  He  thought  that  he  would  confront  him  in  the  nar- 
row passageway  between  the  smoker  and  the  Pullman 
car.  But  he  didn't  confront  him.  When  he  emerged 
from  the  smoker  into  the  passageway  the  young  man  had 
casually  but  completely  disappeared. 

Fifteen  minutes  later,  precisely,  from  a  ditch  by  the 
railroad  bed,  where,  precisely  fifteen  minutes  before  the 
Transcontinental  had  sped  by,  a  young  man  emerged. 
He  was  the  same  young  man  as  to  face — almost.  He 
was  quite  another  young  man  as  to  garb.  His  tailored 
clothes  had  given  way  to  a  costume  somewhat  bastardly 
a  mixture  between  that  of  a  Pacific  beachcomber  and  a 
holy  man  of  somewhat  uncertain  orders.  He  carried  a 
long  staff  and  over  his  shoulder,  a  bundle.  He  strode 
immediately  off  toward  a  destination  of  which  he  ap- 
peared definite  and  certain.  In  the  deep  depths  of  his 
eyes  glowed  a  flame  which  was  focal  and  baffling.  Two 
spots  of  red  burned  on  the  pallor  of  his  face.     Except 


The  Madness 
of  Youth 


for    soft    corners    in  his 

mouth  he  was  ascetic.  He 

walked    a    long    ways,  un- 
weariedly.  .    .    . 


Told  in  Story  Form 

By 

GRACE  LAMB 


The  Bannings  were  quar- 
reling among  themselves. 
They  had  exhausted  most  of 
the  other  worldly  excite- 
ments, and  really,  as  they 
would  have'  told  you,  the 
spiritual  had  no  attraction 
for  them,  even  if  they  had 
thought  about  them,  and  the  mental  occupied  their  minds 
not  at  all. 

Theodore  P.  Banning  would  have  said  of  himself,  in 
extenuation,  that  he  had  burned  himself  out  as  much  as 
was  good  for  a  man  in  his  fight  for  wealth.  Well,  he 
had  obtained  it.  What  then  ?  During  the  process,  he 
had  lost  his  wife  in  death,  lost  his  son  and  daughter  in 
life,  and  gained  three  obsessions.  Which  is  as  much,  all 
in  all,  as  most  men  do  who  go  into  the  cold  bowels  of 
mankind  to  bring  back  soulless  gold. 

His  first  obsession  was  the  large  iron-ribbed  and  steel- 
lined  vault  built  just  off  the  library  of  his  pretentious 
Southern  California  residence.  His  wife  had  used  to 
plead  with  him  to  bank  it,  but  banks  had  failed  him  twice 
in  his  life,  and  he  would  have  none  of  them.  His  son 
and  daughter  told  him  that  one  day  he  would  be  mur- 
dered and  his  safety  vault  looted,  but  he  merely  shrugged 
his  shoulders.  This  potential  catastrophe  was  beyond 
him.  He  wouldn't  mind  being  murdered,  he  thought,  if 
such  should  befall. 

His  next  obsession  had  to  do  with  his  two  children, 
Theodore  Jr.,  called  Teddy,  and  Xanette,  his  daughter. 
They  had  been  nice  children.  Once,  when  his  wife  was 
living,  he  had  been  wont  to  hear  them  say  their  goodnight 

(Fifty-four) 


^HB^H 


prayers,  had  kist  them  goodnight,  loving  as  much  as  he 
had  rime,  the  urgent  clinging  of  their  damp,  unall  arms 
Bui  the)  didn't  say  theii  prayers  any  longer,  they  knew 
better  now  ,  .  and  of  course  t lu-ir  slim,  strong  arma 
had  better  use-,  than  to  be  about  his  leather]   old  neck 

.    .    But  the)   might,  he  pondered  in  bitterness,  h 
shown  him  some  filial  respect,  after  he  had  amassed  his 
glittering  wealth   for  them.     They  might  have  been  at 
■  respectful, 

["his  third  and  la^t  obsession  h;i<!  to  do  with  the  tenets 
of  spiritualism.  Everything  else  had  failed  him.  Ever) 
"ii  earth  had  failed  him.  Once  they  had  all  worn 
painted,  alluring,  laughing  masks.  Then  they  had  torn 
the  masks  away,  and  lo,  the  grimacing  faces  that  looked 
upon  him !  Even  his  Teddy,  sensual  and  cynical.  Even 
his  little  Nanette,  petulant,  defeminized,  hard  like  a 
young  green  apple.  ...  In  spiritualism  he  was  able,  he 
thought,  to  talk  with  his  dead  wife.  She  was  gentle  with 
him.  Sympathetic.  She  agreed  with  all  Ids  grievances 
and  was  sorry  for  him.  What  he  was  against  she  was 
against.  He  had  lo  pay  vast  sums  of  money  to  hear  her 
speak  so  to  him.  but  it  was  worth  it  to  him.  He  believed 
in  her.  Rich  men.  too,  must  have  their  toys,  nor  nerd 
they  ever  know  that  they  are  broken. 

But  today  the  Bannings  were  quarreling  among  them- 
selves. Ted  had  brought  home  from  France  a  young 
French  wife.  She  was  delicately  pretty  and  delicately 
built.  Ted  didn't  seem  to  care  for  her  as  lie  had.  Al- 
most every  day  he  made  her  cry.  and  when  he  saw  her 
crying,  with  two  red  rims  etched  unbecomingly  about  her 
soft  dark  eves  it 


couldn't  be  entertained  sitting  about  this  old  dump  like 
'i-  fingci       I  1'   said,  with    ■ 

well,  ti 
tlit-  m  all  he  i  ould  gathi  mi^ 

hut  a  sponger  on  i  ich  nun's  mon<  \ .  an 
father  w  ned  with  him,  ai 

Nanette  sulked  and   flounced  out  of  the  garden 
followed  her  and  the)   had  'I'm 

tiled  of  being  bossed  1>>  that  old  grouch,  Dad," 
said,  "Pete  wants  to  marn  me  and  I  think  I'll  gel 
tonight.    Dad'll  cut  us  off  with  a  shilling,  but  what  do  I 
care?     I'm  bored  stiff  with  tins  stuffy  atmosphei 

red  laughed  derisively.    "If  Dad  cuts  you  off  wit 
shilling."  he  said,  "your  Pete  will  cul  you  off  with 

All  he's  alter  i -  your  moi  r  mine,  not   v. mi." 

"Is  that  so'" 

"Thai  is  so !" 

"And  how  do  you  get  so  v.  j 

"You  dont  have  to  be  wi  e  thru  Pete  Reynolds. 

I  dont  hold  any  briefs  for  old  Dad.  but  he  can  smell  a 
sucker  after  money,  and  that's  what  Pete  is.  lie's  ;il  ■•■ 
living  around  in  die  homes  of  the  wealthy,  as  he  is  now 
honoring  us.  He's  always  licking  some  gilded  debu- 
tante's costly  boots.  Only  most  of  them  aren't  such 
sweet  asses  as  my  own  sweet  sister.  God,  it's  as  plain  as 
your  skin  !" 

"But   I   thought  you  liked  him   ..."   Nanette  whined 
her  words. 

"Oh,  he's  all  right  to  have  a  drink  with,  or  shoot  ] 
or  go  out  with  some  girls.     /  dont  have  to  marry  him." 


served  to  make 
him  angrier  than 
ever.  Today  she 
was  up  in  her 
room  crying. 
Theodore  P., 
senior,  had  heard 
her  and  had  been 
remonstrating 
with  his  son, 
which  led  him.  in 
turn,  to  remon- 
strate with  his 
daughter.  Na- 
nette hadn't  been 
home  for  a  week 
before  one  or 
two  in  the  morn- 
ing. Theodore  P. 
wanted  to  know 
what  the  devil 
she  meant  by 
such  carrying 
on  ?  What'  did 
she  think  she 
was?  Nanette 
sulkily  replied 
that  she  had  been 
with  Pete  Reyn- 
olds, that  Pete 
was  their  "guest," 
and     that     he 


Javalie  stood  still. 
He  heard  his  name 
called  again,  and 
the  masked  dancer 
stood  before  him 
stripping  off  her 
mask.  "So  you're 
here,  Louise,"  he 
said  without 
surprise 


dJ 


L 


(Fifty-five) 


CLASSIC 


"You're  some  man,  aren't  you,  Ted?" 

"You're  some  woman,  aren't  you,  Nan?" 

And  into  such  a  garden  walked  the  man  of  uncertain 
orders  with  the  light  burning  in  the  deep  depths  of  his 
eyes  and  the  gnarled  staff  in  his  long  and  slender  hands. 

Theodore  P.  removed  his  expensive  cigar  from  his 
mouth.  He  sat  up  in  his  chair,  straighter  than  the  heat 
of  the  day  rendered  perfectly  comfortable.  "Well,"  he 
said,  "who  in  hell  are  you?    Where  do  you  come  from?" 

"I  am  from  Everywhere,"  said  the  Stranger,  "from 
the  mountains,  from  the  desert  and  the  sea.  From  the 
high  places  and  out  of  the  low  I  am  a  symbol  of  that 
beneficent  power  that  heals  the  wounds  of  the  soul." 

"Oh,  you  are,  are  you?" 

"My  name  is  Jaca  Javalie.  There  is  hatred  and  trouble 
in  this  house.  Vipers  coil  and  stir  in  a  nest  of  brooding 
beauty.  Father  is  armed  against  son,  in  his  soul,  and 
son  against  daughter.  Why  this  has  been  revealed  to 
me,  I  do  not  know.  I  want 
nothing.  I  do  not  take.  T 
give.     I  give  peace." 

This  was  spiritualistic 
stuff.  Theodore  P.  sat 
more  erect.  He  wanted  to 
hear  more.  His  spirit  was 
sore  disturbed  and  the 
strange  man's  singular 
words  were  like  fresh 
waters.  "So,"  he  said, 
"you  think  we're  in  diffi- 
culties here,  do  you  ?" 

"Yes,"  said  the  Stranger 
simply. 


THE  MADNESS  OF  YOUTH 
Fictionized    by    permission    from    the    Fox    Film 
of  the   scenario   of  Joseph    Franklin    Poland   of  the 
story    by    George    F.    Worts.      Directed    by    Jerome 
Storm.     The  cast: 

Jaca  Javalie Jack   Gilbert 

Nanette   Banning Billie    Dove 

Theodore    P.    Banning Wilton   Taylor 

Ted   Banning Geo.  K.  Arthur 

Jeanne    Ruth    Boyd 

Louise    Dorothy   Manners 

Peter  Reynolds Donald   Hatswell 

Mason    Luke  Lucas 


Javalie  stood  before  the 
older  man  and  passed  his 
hands  over  the  grey  head. 
"Then  sleep,"  he  began  to 
intone,  "sleep  .  t .  .  sleep 
.  .  .  sleep.  ..."  Ban- 
ning relaxed  and  closed 
his    eyes 


''And  you  think  you 
can  help  us.   How?" 

"By  remaining  with 
you  for  a  few  long 
hours.  For  a  day  or  so. 
Simply  by  remaining 
with  you.  I  can  sleep 
in  the  open  field  and  eat 
with  the  help  in  the 
outer  places.  My  bed  is 
beneath  the  stars  as  well 
as  beneath  silken  cover- 
ings." 

"You'll  sleep  indoors 
if  you  stay  at  all." 

"That  shall  be  as  you 
will  it.  I  come  to  bring 
peace." 

"Well,  you've  come 
none  too  soon."  Theo- 
dore P.,  already  more 
peaceful,  perhaps  be- 
cause momentarily  ar- 
rested, lay  back  again  in 
his  long  chair ;  "we're 
very  unhappy  here,"  he 
said.  The  stranger  in- 
clined his  head.  He 
seemed  to  be  like  a  deep, 
cool  well  drawing  from 
the  air  about  him  all 
that  was  poisonous  and  restless.  Theodore  P.  found 
himself  talking  to  the  stranger,  telling  him  things.  .  .  . 
After  awhile  he  rose  and  insisted  upon  his  strange  guest 
accompanying  him  to  the  house.  They  entered  the  library 
in  the  midst  of  which  stood.  Ted  and  his  sister,  still  dis- 
puting a  point  which  had.  by  now.  become  wholly  ob- 
scured from  its  source. 

They  stopped  with  the  effect  of  clockwork  when  they 
saw  their  father  with  the  stranger.  "Where  did  you 
come  from?"  Nanette  broke  out,  with  her  characteristic 
audacity.  "Mars?" 

"Great  Scott,  Dad,"  laughed  Ted,  "what  new  curiosity 
have  you  unearthed  ?" 

Theodore  P.  introduced  Jaca  Javalie,  and  the  man 
spoke  a  few  words  to  them.  Suddenly,  for  the  first  time 
in  many  months,  Ted  felt  adolescent  and  awkward.  Like 
he  had  used  to  feel.  And  for  the  first  time  in  even  more 
months    Nanette    felt    distinctly    silly,    and    like    making 

amends.  The  two  young 
Bannings  turned  suddenly 
gracious. 

Ted  bethought  himself 
of  poor,  little  Jeanne,  cry- 
ing alone  in  her  room.  He 
ran  up  to  get  her  down. 
While  she  was  powdering 
her  face  and  rearranging 
her  hair  Ted  kist  the  back 
of  her  neck,  impulsively. 
He  hadn't  done  that  in 
many  months,  either. 
Jeanne  felt  a  little  stab  of 
a  come-back  happiness. 


(Fifty-six) 


CLA! 

ijnner  in  the  Banning  home  thai  nigh!  was  the  first 
ceful  one  foi  as  fai  back  as  an)  oi  the  famil)  could 
remember      rhe  strangei  talked  in  .1  lo^  voice  ol  pleas 
ant  places  he  had  been,  of  his  beliefs,  practical  tinged 
with  mysticism,  his  dark  burning  eyes  ranged  with  a 

plendid  impartiality  ovei  the  faces  of  hi -^  host,  Ted, 
Madame  Jeanne  and  the  rose-colored  Nanette,  Nanette 
once  thought  that  his  eyes  rested  longer  on  her,  and  her 
heart  gave  an  inexplicable  leap  into  .1  curiously  high 
place.  Pete  Reynolds  was  the  onl)  one  who  did  not 
n  to  come  under  the  stranger's  spell.  Nanette  rather 
despised  him  for  this  He  didn't  seem  so  attractive  to 
her  as  he  had  done  that  afternoon.  He  didn't  go  aboul 
the  world  working  miracles,  as  did  Jaca  Javalie.  What 
a  name  .  .  .  Jaca  Javalie  ,  .  Nan  tte  kept  rolling  the 
syllable  under  her  tongue.  \ftcr  awhile  she  heard  them 
echoing  in  her  heart  .   .   .  Jaca  Javalie  .   .  . 

In  the  morning  of  the  following  day  Nanette  talked 
with  him  in  the  garden,  lie  talked  to  her  about  the 
(lowers.  But  now  she  was  defiant.  She  felt  drawn 
toward  him,  but  she  felt  resentful,  too.  a  httle  dubious. 
Was  he  "spoofing"  them  all'  One  did  do  much  spoof 
ing  nowaday-.  Pete  Reynolds,  for  instance,  with  his  illy 
adjusted  lover's  mask. 

That  night  the  Bannings  were  giving  a  fancy  dress 
hall  Javalie  had  said  that  he  would  watch  from  the 
balcony.  There,  radiant,  late  in  the  evening,  Nanette 
came  to  him.  alone.  She  was  spiritually  lovel)  except 
for  her  hard  young  eyes.  "You  can  fool  Dad,"  she  said, 
without  preamble,  "with  your  supernatural  stuff.  Rut 
you  cant  fool  me." 

"But  I  dont  want  to  fool  you,"  Jaca  Javalie  said.  And 
somehow  in  the  moonlight  his  words  ran  with  a  clear 
conviction.    No,  Nanette  knew,  be  didn't  want  to  fool  her. 

"You  dont  want  to  fool  me."  Nanette  answered  him, 
still  with  a  vein  of 
mockery,  "because 
you're  human  .  .  '. 
not  spiritual.  Be- 
cause I'm  a  woman 
and  you're  a  man. 
That's  w  h  y  y  o  u 
dont  want  to  'fool' 
me.  Isn't  it?  Isn't 
it.'" 

Jaca  Javalie 
looked  down  on  her 
and  the  light  in  his 
eyes  burned  more 
deeply,  if  less 
strangely.  "That 
may  be  it."  he  said, 
"who  can  tell?" 

After  Nanette 
had  pirouetted  away 
Javalie  put  his  hand 
to  his  forehead.  He 
tried  to  surer  zvhich 
was  his  habitual 
smile  when  alone. 
but  was  somehow 
u  nsucces s f u 1 . 
"Steady,  old  man." 
he  muttered  to  him- 


Javalie  raised  her 
hand  and  kist  it,  and 
was  still.  They  had 
their  right  to  judge 
him  .  .  .  these  people 
whom  he  had  saved 
.  .  .  and  would  have 
robbed 


I) ,  there  '     R<  memb 

ni  'i  V » i 

\    loft    hand    touched    his    arm    and    he    tool 

the  little,  loneh   Madame  Jeanni 
with  a  lover  who,  like  In-  country,  had  pro\ 
strange  to  her.     In  the  moonlight  Iter  large  dark 
wei e  mi  -t'  d  with  mi  not  10  l< 

Nanette,  (he  man  thought,  but  «,!.. 

ful.      Juat    now.    the    touched    him  Down    m    the 

garden,  where  the  lupper  was  being   served,  a 

dancer  had   stepped   lightl)    from  a   mammoth  cake 
Jazi    shook    the    night    With    ribaldry.       Madame    Jeanne 
murmured  in  his  car,  like  the  falling  of  a  light  rani 
"The)    say,"  she  said,  pointing  down  to  where  tl 
was  flinging  white  arms  to  the  music's  strains,  "tin;. 
she   can   have   any   man    she   wants       They    SB)    that    men 
have  killed   themselves    for   love   of   her.      Oh,   holy   man. 
die  wants  m\    Ted    .    .    .   and  he  has  grown  SO  weak 

strange  since  we  came  back  from  France.     Wont 

you  please  save  him  from  her?     I  know  that  you  can 
Madame  Jeanne  stood  on  tip-toe  until  her  soft  mouth  was 
level  with  Javalie's  ear.      She  whispered  a   few   word-  to 
him.    -"PJease  help  me,"  she  finished,  helplessly 

Mown  in  the  garden  Nanette  was  calling  him.  He  went 
down  and  walked  with  her  down  one  of  the  winding 
paths.  Suddenly  she  turned  to  him  and  threw  her  arms 
about  him.  "Kiss  me  .  .  .  holy  man."  she  commanded, 
mockingly.  Javalie  took  her  in  his  arms.  The  thing  that 
had  been  stirring  within  him  broke  and  he  crushed  her 
against  him.  When  be  released  her  she  stood  back  and 
the  mockery  i<\  her  words  was  broken  by  the  passion  of 
her  voice.  "1  knew  that  you  were  human."  she  said. 
And  she  ran  away.  Javalie  stood  still.  He  heard  his 
name  called  again,  and  the  masked  dancer  stood  before 
I  Continued  on  page  78) 


(Fifty-sei-en) 


Classic  Considers 


OLGA    PRINTZLAU 

Because  she's  so  young  and  so  clever;  because  she  is  head  of  the  Department 
of  Adaptations  of  Preferred  Pictures  at  the  age  of  twenty-six  and  at  an  almost 
incredible  salary;  because  she  looks  like  the  younger  sister  of  her  own  child 
who  is  twelve  years  old;  because  in  spite  of  youth,  beauty,  brains,  and  talent 
she  resists  the  call  of  the  screen  and  sticks  to  her  desk.  She  was  scenarist  for 
William  De  Mille  when  B.  P.  Schulberg  signed  her.  She  is  still  piling  up  her 
list    of    successful   adaptations 


Photograph  by  Evans,  L.  A. 


HARRY    KEMP 

With  thankfulness  for  his  fascinating  autobiography, 
"Tramping  On  Life,"  the  frankest  and  most  interesting 
self-revelations  since  Jean  Jacques  Rousseau  and  Marie 
Bashkirtseff.  Not  because  he  was  called  "The  Tramp 
Poet"  but  because  he  was  that.  Because  he  has  crowded 
into  one  short  life,  all  the  beauty  and  romance  of  poetry, 
all  the  flame  and  daring  of  adventure,  all  the  poignant 
wisdom  of  bitter  lessons  learned ;  and  because  he  has 
crystallized  this  experience  into  a  beautiful  prose  poem 
for  all  who  run  to  read 


FONTAINE    FOX 

In  consideration  of  the  fact  that  the  odd  little  whimsies  of 
his  brain  and  pen  have  now  become  household  words.  Who 
is  there  who  does  not  know  the  Powerful  Katrinka,  the 
Toonerville  Trolley  that  meets  all  the  trains,  and  the  Terrible 
Tempered  Mr.  Bangs?  His  cartoons  are  not  only  syndicated 
in  hundreds  of  papers  all  over  the  United  States,  but  an 
enterprising  toy  merchant  is  now  manufacturing  them  as  toys 
and  a  farsighted  motion  picture  producer  has  made  a  movie 
of  these  familiar  comics.  In  the  picture  with  Mr.  Fox  is  Dan 
Mason  as   the  skipper  of  the  Toonerville   Trolley 


(F 


tfty-a$it 


MMB^H 


Photograph  by  Russel  Ball 


THE  HEIR  TO  THE  THRONE 

Only  it  happens  to  be  an  heiress!    We  herewith  present  the  first  picture  of  young  Miss 

Barthelmess  ever  taken.    Mary  Hay  Barthelmess  is  her  name  and  she  has  only  a  few 

weeks  to  her  credit — but  just   look   at  the   beaming   parents.     Dick's   hair   is  long,   he 

wished  it  explained,  for  the  sake  of  his  next  picture.  "The  Fighting  Blade" 


(Fifty-nine) 


The  Hollywood 


Lew  Cody  and  Erich  von  Stroheim  ex- 
change   mustaches  —  or   something    like 
that 


Transcribed  by 


KING  Tut-ankh-Amen  seems  to  have  staged  the  grandest  come- 
back in  all  historv.  And  he's  dragged  all  Egypt  into  the  movies. 
William  P.  S.  Earle,  brother  of  the  celebrated  Ferdinand 
Pinney,  is  putting  King  Tut  bodily  into'  the  screen  drama.  For  eight 
months,  he  has  been  making  preparations  for  the  play  which  is  now 
being  filmed  at  the  Hollywood  Studios,  with  Carmel  Myers,  June 
Elvidge,  Malcolm  MacGregor  in  the  cast.  Mr.  Earle  is  said  to 
have  unearthed  an  actor  heretofore  unknown  to  the  screen  for  King 
Tut  himself.     It  is  to  be  distinguished  by  the  most  extraordinary 

art  effects  yet  seen  on  the  screen. 

*     *     * 


So  convinced  are  the 
producers  that  a  great 
wave  of  Egyptian  en- 
thusiasm is  about  to  go 
sweeping  over  the  movie 
colony  that  the  art  direc- 
tor of  the  United  Studios 
has  been  sent  to  Luxor 
with  $100,000  in  his 
jeans  to  buy  all  the  an- 
cient "props"  he  can  lay 
hands  on. 


While  this  is  taking 
place,  Cecil  De  Mille's 
representatives  are  scam- 
pering around  the  world 
in  the  other  direction.  A 
big  box  arrived  at  the 
Lasky  Studio  the  other 
day  laden  with  the  most 
gorgeous  Siamese  em- 
broideries and  jewels 
which  are  to  be  used  in 
the  film  play  that  Cecil 
De  Mille  is  to  base  upon 
the  Ten  Commandments. 
Mrs.  Florence  Meehan  is 
touring  the  Orient  for 
that  special  purpose. 


Douglas  Fairbanks  will  probably  be 
seen  next  in  a  big  picture  on  the  order  of 
"Kismet"  by  Edward  Knoblock.  He  also 
has  it  in  mind  to  produce  two  other  plays. 
The  fact  is  Mr.  Knoblock  is  down  at  the 
beach  furiously  scribbling  away  at  the 
Bagdad  play,  while  Doug's  brother, 
Robert  Fairbanks,  is  in  the  mountains 
with  squadrons  of  stenographers  madly 
writing  upon  the  pirate  play  that  he  wants 
Douglas  to  do.  Inasmuch  as  Douglas  has 
thought  up  some  very  marvelous  scenic 
effects  for  the  Oriental,  it  looks  like  a 
potentate  of  the  mysterious  East  for  his 
next. 


Meanwhile,  Robin  Hood  is  breaking  all 
known  records  of  the  West.  At  this 
writing,  it  is  doing  its  twenty-third  week 
at  $1.50  per  seat  with  every  prospect  of 

(Sixty) 


mmi^^mm 


Boulevardier  Chats 


Harry  Carr 


twentj  five  01  more  weeks  before  the  box  office  begins  to  weaken, 
Robin  Hood  at  the  new  Egyptian  theater  in  Hollywood  baa  been  an 
interesting  experiment;  it  is  the  first  reserved  seal  house 


Mary  Pickford  is  in  tin-  midst  of  the  first  real  love  scenes  of  her 
eer  in  her  play  of  medieval  Spain  which  is  being  directed  l>\ 
Ernst  Lubitsche.  li  has  been  one  of  the  unvarying  rules  of  Marys 
screen  plays  that  her  love  scenes  had  to  be  mil<l  and  pallid  -  just 
little  girl  fairy  kisses  in  passing  ;h  it  wore.  The  whole  studio  has 
been  thrilled  to  death 
during  the  making  of  this 
one  because  Mary  is 
making  tempestuous  love- 
She  has  done  her  little 
curls  up  on  the  top  of 
her  head  and  —  oil  dear 
where  is  our  little  Mary  ? 


George  Walsh  is  the 
alarmed  recipient  of 
Mary's  first  screen  love 
making. 


(  >n  account  of  the  ver\ 
heavy  studio  overhead 
expenses,  it  is  possible 
that  Mar)  will  begin 
work  on  another  story — 
probably  Dorothy  Ver- 
non of  Haddon  Hall  be- 
fore she  is  thru  this  other 
story. 


Salomy  Jane,  the  old 
Bret    Hante    favorite    is 
soon  to  be  seen  in  pic- 
tures under  the  direction 
of    George    Melford. 
Jacqueline     Logan     with 
Lefty   Flynn,   who  is  to 
be    benceforth    officially 
Maurice    Flynn,    is   in   the    high    Sierras 
making  the  picture.    The  picture  is  to  be 
made   from   Paul   Armstrong's   dramatic 
version  of  the  storv. 


Estelle  Taylor,  who  is  working  in  a 
picture  to  be  called  "The  Children  of 
Jazz"  under  the  direction  of  Jerome 
Storm,  has  had  the  bad  luck  to  be  named 
for  the  second  time  by  a  jealous  wife; 
this  time  by  the  spouse  of  a  camera  man 
named.  Barnes.  Before  it  was  by  Seena 
Owen. 


Rob  Wagner,  the  author,  is  beginning 
his  career  as  a  Lasky  director  with  a 
picture  to  be  called  "Fair  Week"  of  which 
Walter  Hiers  will  be  the  star.  Most  of  it 
will  be  "shot"  in  Pleasanton  a  town  in 


Above,  Lupino  Lane;  the  Italian  come- 
dian just  out  of  the  hospital  buys  a — er — 
souvenir  in  case  he  needs  it.    Right,  Bull 
Montana   "among   his   books."    The    great 
star  reads  .ffischylus  every  night  before  he 
goes   to   bed.    Below,   Gene   Sarazen   world' 
champion  golfer  and  Ann  Perdue  to  whom 
is   reported    engaged 


People    get    arrested    for    this    sort    of 

thing    but    Walter    Hiers    is    willing    to 

risk  it 


Photograph  hy 
(iren  beaux 


(Sixty-one) 


CLASSIC 


Northern   California   beloved   of    location   experts ;   it 
looks   exactly   like   New   England. 


Norma  Talmadge  is  starting  on  the  biggest  produc- 
tion of  her  entire  career.  It  is  a  French  story  called 
"The  Ashes  of  Vengeance."  It  is  expected  to  cost  in 
the  neighborhood  of  $700,000 ;  there  will  be  over 
$10,000  worth  of  swords  alone.  In  the  story  Norma 
falls  in  love  with  a  young  nob'eman  who,  to  save  the 
life  of  a  sister,  has  become  the  bonded  servant  of  a  rival. 
The  peculiarity  of  the  picture  is  that  Norma  does  not 
appear  until  well  along  toward  the  middle  of  the  pic- 
ture. In  honor  of  the  affair,  Norma's  devoted  husband, 
Joseph  Schenk  has  had  a  gorgeous  dressing  room  built 
for  her  on  the  stage  and  a  special  bungalow  in  the  studio 
for  her  to  rest  in. 

*       *       * 

Renee  Adoree,  after  plugging  along  in  pictures  for 
several  years,  has  suddenly  burst  out  as  a  star  of  the 
most  brilliant  effulgence.  Reginald  Barker  discovered 
her  while  making  a  big  Canadian  picture  and  considers 
her  as  the  big  "find"  of  the  year.     Miss  Adoree  was 


formerly  a  professional  dancer  and  is  the  wife  of  Tom  Moore. 


Jackie  Coogan  had  to  starve  all  during  the  making  of  Oliver  Twist. 
He  is  now  working  in  a  picture  in  which  he  complains  plaintively  that 
they  keep  him  stuffed  to  the  muzzle  with  spaghetti  all  the  time. 


Little  Ben  Alexander,  who  played  the  marvelous  part  in  Griffith's  "Hearts 
of  the  World"  has  come  to  light  again.  He  is  to  be  "Penrod"  in  a  film 
version  of  "Penrod  and  Sam"  directed  by  William  Beaudine.  He  will  be 
supported  by  a  big  cast  which  includes  Irene  Rich,  William  Mong,  Rockliffe 
Fellows,   Mary   Philbin  and   Gareth   Hughes. 


Baby  Peggy  also  occupied  the  central  part  of  the  public  eye  for  a  time 

last  week  when  she  signed  with  Sol  Lesser,  the  producer,  for  a  series  of 

feature  pictures. 

*         *         * 

The  real  estate  bug  is  biting  again.  Douglas  and  Mary  Fairbanks  have 
bought  ten  acres  in  the  rear  of  their  studio  on  Santa  Monica  Boulevard 
by  way  of  investment.  Little  Pauline  Garon  has  bought  a  place  in  the 
Wilshire  district  and  has  sent  for  her  father  and  mother  in  Montreal. 
Alice  Howell,  when  she.  saw  all  this  easy  money  floating  around  in  real 

(Continued  on  page  66) 


At  the  top  of  the  page  is 
Buddy  Messing  or,  Century 
Comedies'  youthful  comedian 
and  his  leading  lady,  little 
Sadie  Campbell.  Center  is  Tom 
Mix  holding  his  own  wife  on 
the  top  of  the  world.  Hope  he 
doesn't  mean  to  drop  her.  Left, 
Mary  and  Doug  six  years  ago, 
holding  up  a  picture  producer 
in  the  time  honored  fashion. 
The  unfortunate  man  is  Al 
Lichtman  at  present,  president 
of  the  Al  Lichtman  Corpora- 
tion which  releases  Preferred 
Pictures 


(Si.rty-tivo) 


Are  you 

especially  fastidious 
about  void  mamcui 


w: 


rOMEN  who  are  exceptionally  critical  about 
a  manicure  should  "do"  their  nails  the  Cutex 
way.  For,  this  new  method  of  manicuring  not  only 
eliminates  all  dangerous  and  disfiguring  cutting  of  the 
cuticle,  but  it  leaves  the  finger  tips  soothed  and  com- 
forted, the  nails  immaculate  and  lovely. 

Moreover,  the  Cutex  way  of  manicuring  is  quick 
and  easy.  It  takes  but  five  or  ten  minutes  once  or 
twice  a  week. 

You  just  dip  an  orange-wood  stick  wrapped  with 
cotton  in  Cutex  Cuticle  Remover  (a  cleansing,  anti- 
septic liquid  developed  by  Science  for  the  care  of  the 


nails),  work  it  under  the  nail  tips  and  around  the  base 
of  the  nails,  gently  pressing  back  the  cuticle.  Then, 
rinse  the  finger  tips  in  water,  and  wipe  them  off.  Now, 
examine  the  nails  closely,  and  you  will  see  that  every 
tiny  flake  of  dead  skin  has  disappeared,  ugly  stains 
have  vanished,  and  the  nail  rim  is  thin,  even,  and 
beautifully  shaped. 

Then — for  a  Jewel-like  Polish 

Of  Culex  Polishes  there  are  6ve — the  paste,  cake,  stick, 
powder,  and  liquid  forms.  All  give  a  brilliant,  lasting  lustre 
and  that  rose-pearl  glow  approved  by  Fashion  as  the  smart 
finish  to  a  manicure.  Obtainable  at  all  drug  stores  in  the 
United  Stales  and  Canada,   and  at  chemist  shops  in   England. 


=£Xjtex 


New  Cutex  Powder 
Polish 

A  scented,  rosee  powder 
of  velvet  smoothness  that 
gives  a  dazzling  lustre.  No 
buffer  required.  Just  a  few 
strokes  of  the  nails  across 
the  palm  bring  out  a  full 
and  brilliant  polish  that  lasts 
for  many  days.  In  the  at- 
tractive rose  and  black  Cutex 
package.     Price,  35c. 


EVERYTHING  FOR  THE  MAN/CURE 


Send   for  this   Introductory  Manicure  Set        „_1«.   /  ~)  .-_„<, 

Sol  •     t  t      c-     c        i  •     \a  — ontu  /  £  cenio 

ufncient    for   oix   Complete   Manicures 

Fill  out  the  coupon  below,  and  mail  it  with  12 
cents  in  coins  or  stamps  for  the  Cutex  Introduc- 
tory Manicure  Set  containing  trial  sizes  of  Cutex 
Cuticle  Remover,  Powder  Polish,  Liquid  Polish, 
Cuticle  Cream  (Comfort ),  emery  board,  and  mani- 
cure stick,  enough  for  six  complete  manicures, 
address  Northam  Warren,  114  West  17th  Street, 
Sew  York,  or,  if  you  live  n  Canada,  Dept.  N-S, 
200   Mountain   Street,   Montreal. 


Northam  Warren,  Dept.  N-6 
114  W.    17th  St..   New   York,   N.  Y. 


/  enclose  12  cents  for 
Cutex  Introductory 
Manicure  Set. 


Name. 


Street 

(or    P.   O.    Box) 

City 


Write  your 
name  and  ad- 
dress plainly 
on  this  cou- 
pon and  mail 
with  12  cents 
in  coins  or 
■  tampsto-day. 


Slate 


(Sixty-three) 


Katinka  From  Chaiive-Souris 

The  most  original  and  popular  show  of  the  past  season  in 
New  York  was  the  "Chauve-Souris,"  that  glorified 
Russian  vaudeville  that  has  set  everyone  to  humming 
the  March  of  the  Wooden  Soldiers.  Now  Herbert 
Brennon  has  re-created  a  bit  of  it  for  the  screen.  Just 
have  patience  and  you  can  see  for  yourself  what  it  is  like. 
He  has  interpolated  the  Katinka  episode  pictured  here 
in  his  newest  picture  "The  Rustle  of  Silk" 


(Sixty-four) 


I 


What  ten  million  motor  cars  have  taught 
women  about  their  skin 


The  method  they  have  learned 
to  depend  on 


I  wa  unbroken  lines  of  cars  wind  along  the  pop- 
ul.n  motoi  roads  Everyone  is  motoring  week- 
ending at  the  beach,  or  the  country  club,  or  just 
driving  for  tin-  pleasure  of  it.  Fine  dust  settles  in 
their  skin  and  the  wind  brings  .1  dr)  tightness. 

^i  et  many  women's  complexions  are  younger 
ami  lo\ elier  than  ever  before ' 

The  severe  exposure  of  motoring  lias  taught 
them  liow  importantiit  is  to  Hiul  the  right  wa\  to 
care  foi  their  skin,  keep  it  beautiful  and  supple  in 
spite  of  all  exposure. 

Pod  ay  millions  of  women  have  found  a  method 
so  wonderful  in  results  that  in  all  the  world  it  is 
used  more  than  any  other  Pond's  Two  Creams. 
They  leave  your  skin  softer,  more  supple  than  you 
could  have  dreamed.  They  give  just  that  finishing 
touch  ot  loveliness  you  have  always  wanted. 

A  fine  light  cleansing  that  never  leaves  your 
face  heavy  with  cream  gives  the  beautiful  supple- 
ness you  want  anil  then  wipes  entirely  oft!  1  his 
is  why  millions  of  women  prefer  to  cleanse  with 
Pond's  Cold  Cream. 

A  marvelous  freshening,  an  adding  ot  youth 
and    unfailing    protection.    No    wonder    that    the 
women  of  the  United    States   alone   use  several 
millions  of  jars  and   tubes  of  Pond's  Vanishing 
Cream  every  year! 

TRY  THIS  FAMOUS  METHOD 
See  the  wonderful  improvement  in  your  skin 

Doth:  With  the  finger  tips  apply  Pond's  Cold  Cream  freely. 

1  In  very  tint'  oil  in  it  is  able  to  penetrate  every  pore  of  your  skin. 
Let  it  stay  a  minute — now  wipe  it  off  with  a  soft  eloth.  The  black 
on  the  cloth  will  show  vou  how  carefully  this  cream  cleanses.  Your 
skin  looks  Iresh  and  is  beautifully  supple. 

nootfa  on  Pond's  Vanishing  (.'ream  lightly 
over  your  whole  face.  It  you  wish,  rouge  —powder.  How  smooth  and 
velvety  your  face  feels!  How  new  and  charming  the  reflection  in 
your  mirror!  The  appearance  of  your  skin  for  the  whole  day  will 
prove   R>  you   how    wonderful   for  your  skin   these  two  creams  are. 

Always  after  a  motor  or  railroad  trip,  cleanse  with 
Pond's  Cold  Cream  and  finish  with  the  Vanishing  Cream 
and  powder.  To  see  how  these  two  creams  will  improve 
your  skin  use  this  method  regularly.  Begin  now  by 
huving  both  creams  in  jars  or  tubes  in  any  drug  or 
department  store.      The  Pond's  Extract  Co. 


removes  coarsening  dirt — restores  suppleness 
defies  exposure — holds  the  powder 


Photo  by  I  l 

Florence  Nash  <ay  she  likrs  Pond''  Cold  Crt am  bfcauu  it  f/ewj  i 

feeling  so  refreshed — not  heavy  and  oily.  And  that  Pond's  1'amthine  Crrum 
realty  keep!  her  shin  wonderfully  smooth  and  fresh. 


Exposure  starts  these  troubles  or 
makes  them  worse 

Sunburn,  Windburn.  Chapping 

I'he  daily  repetition  of  weather  damage  docs  more  to  aj  rhan 

anv  other   single   factor     But   the   proceei  if   IO  gradual   that  ciu; 
specially   severe  occasions   you   do   not    notice   it    until    your   skin    ha, 
ilefinitclv  coarsened.  Do  not  let  this  happen.   For  the  insidious  every* 
du\  exposure  use  the  same  merhoil  that  sa  m  youl  skin  from  rhe  .  i 
sive  damage  of  a  long  motor  ride  or  a  day  on  tin 

properly  oiled  hv  a  nightly  cleansing  with  Pond's  Cold  Cream  Then 
always  in  the  morning,  smooth  on  Pond's  Vanishing  Cream  It  forms  a 
delicate  hut  sute   protection.     I  his  method    will    keep   sour   skin   smooth 

and  young  years  longer  than  would  otherwise  he  possible. 
Premature  Wrinkles,  Scaling,  Peeling 

These  are  especially  the  troubles  of  a  dr  \  skin  To  a  v  ..id  thi  m  v  ...j  must 
protect  VOUrtelf  from  all  exposure  and  keep  youl  .Lin  Soft  das  and 
night.  Cleanse  with  plenty  of  Pond's  Cold  Cream  nightly  anJ  leave 
some  on  over  night  I  his  will  gixc  your  skin  the  oil  it  needs  so  ! 
and  keep  it  from  scaling  and  peeling.  Then  it  will  not  develop  little  linei 
thjt  grow  into  wrinkles. 

But  do  not  let  the  exposure  of  the  day  undo  the  results  of  this  nightly 
oiling.  Evety  morning  smooth  on  Pond'*  Vanishing  Cream  liberally, 
prevent  your  >km  from  drying  our  again,  -\lwas  s  earn  a  tube  with  yosi 
on  motor  trips  to  counteract  their  drying,  ageing  influence. 

That  Distressing  Shine 

Sometimes  shine  is  due  to  a  dry.  tight  skin,  and  motoring  ot  even  the 
slightest  daily  exposure  aggravates  the  condition  Vou  must  apply  an 
extra  amount  of  Pond's  Cold  Cream  at  night  after  the  ilean,mg  and 
let  it  stay  on.  Sec  how  gladly  youl  Am  will  absorb  the  hnc  light  "i1  ol  / 

this  cream,  how    it  will   soften   anil   relax   and   the  shine  disappear 
Put  on  the  Vanishing  Cream  in  the  morning  to  keep  this  sup  pit  m    -  / 

through  the  day  and  he  sure  to  carry   it   with   you   anil   dm    it  , 

freuuentlv  on  any  occasion  of  unusual  exposure.  ' 

Accumulation  of  dirt  and  fat  in  the  pores  ^ 

Sometimes  the  oil  in  your  skin  accumulates  in  the  glands         / 
and  attracts  dirt  and  bacteria       lust  that   blows  into        •         I  h.    i 
your  face  when  motoring,  or  the  dail)    soot  ot  .us  >.- 

stteets.     Your   complexion    is    dulled,   disfigured         /     lJiF.  Hudson 
You    need    specially    careful    cleansingS      Pond's  *  St   .  New    Y"fk 

Cold  Cream  is  so  light  it  penrttatcs  the  glands  / 

and    takes   out    excess   oil  and  din  together.        /      tntUtKli  f„, 

!^0.,.h.'5_c.v!rv,.'!,.'t,".a".'1  *J"f y".™ I  Si"     /       cial  introdu,  ton  tul.es 

'         of    the     tWO    cTsHtHII   cwrv 

/^       normal    >km    nml*-      enough 

ol  viih  cream   t'.ir   rwo  *crk»* 


motor   or   railroad    trip,    and     you 
avoid  a  dull,  mudilv   » in 


C,Y  MEROUS  n  HI  s  - 

M  \II  COUPON 

\MIH  10c  TODAY 


/ 


/ 


-/ 


... 


lit   t      LUCl 


dd 


/ 


(Sixty  -five) 


The  Hollywood  Boulevardier  Chats 


(Continued  from  page  62) 


estate  a  year  or  so  ago  tossed  up  her  film  job ;  galloped 
forth  to  make  a  fortune ;  made  it  and  has  now  returned  to 
the  screen  prepared  to  say  "Oh  I  dunno"  at  any  fresh 
director. 


An  assortment  of  celebrities  adorns  "Wandering  Daugh- 
ters" now  being  made  at  the  United  Studios.  Among 
them  are  Craig  Biddle,  the  young  Philadelphia  millionaire ; 
Lyman  T.  Gage,  Jr.,  son  of  the  former  secretary  of  the 
Treasury ;  Princess  Waldemar  Valkonsky  of  Russia, 
Antonio  Rolando,  son  of  a  millionaire  newspaper  owner 
of  South  America. 


It  is  said  that  Erich  Von  Stroheim  threatened  to  throw 
up  his  contract  with  Goldwyn  if  he  couldn't  have  Zazu 
Pitts  as  his  leading  lady  in  McTeague  which  is  to  be 
made  from  the  Frank  Norris  novel.  Consequently  Zazu 
is  to  have  the  part. 


Hollywood  in  the  screening — directors,  authors,  producers 
etc.  One  is  Rupert  Hughes'  "Souls  for  Sale"  and  the 
other  "Hollywood  and  the  Favorite  Child,"  made  on  the 
Lasky  lot.  The  latter  story  is  a  yarn  by  Frank  Condon 
about  a  selfish  flapper  daughter  who  dragged  out  her 
whole  family  from  Iowa  to  Hollywood  so  she  could  get 
into  pictures :  after  they  got  here,  every  one  of  her 
family  except  herself  got  a  studio  job. 


Fred  Niblo  is  having  a  ship  yard  employing  200  men 
built  for  his  forthcoming  pirate  picture  "Captain  Apple- 
jack." In  the  course  of  the  picture  he  will  use  a  whole 
fleet  of  boats — four  schooners,  two  brigs  and  a  frigate. 
Among  the  actors  who  will  take  part  in  the  picture  will 
be   Enid    Bennett,    Robert    McKim,   Thos.    Ricketts   and 

Matt  Moore. 

*       *       * 

Mary  Pickford  wants  to  adopt  the  beautiful  film  child 

Phi  1  li  pe    de 


With  the 
transfer  of 
Emmet  J  . 
Flynn  to  the 
Goldwyn  lot, 
the  young  lead- 
ing men  look 
up  hopefully ; 
for,  dont  y'  see, 
he  discovered 
both  Valentino 
and  Norman 
Kerry. 


George  D. 
Baker  is  com- 
ing West  to  di- 
rect Balzac's 
"The  Magic 
Skin"  for  the 
Achievement 
Films,  a  new 
producing  firm 
which  has  re- 
cently come 
here  from 
Philadelphia. 
Baker  is  the 
director  who 
made  "Revela- 
tion" with  Na- 
zimova. 


Two  big  pic- 
tures are  mak- 
ing a  concen- 
trated dash  for 
the  screen  as 
they  both  con- 
tain the  same 
unique  idea  ; 
that  of  using 
about  half  the 
celebrities  of 


Anna    May    Wong,    the    charming 
authentic  note  to  Priscilla   Dean's 


little    Chinese    girl    who    lends    an 
picture  "Drifting,"   a   Universal  film 


Lacey  who  was 
found  on  a 
French  battle- 
field  and 
brought  to 
America  by 
Edith  de  Lacey, 
an  English 
nurse.  Thus 
far,  Miss  De 
Lacey  has  re- 
fused Mary's 
offers. 


Gladys  Wal- 
ton was  sent  to 
jail  for  three 
days  for  speed- 
ing by  an  irate 
Los  Angeles 
judge.  She  told 
him  she  was 
nineteen  years 
old  and  had 
been  hitting  up 
the  pace  at 
thirty  -  three 
miles  an  hour 
thru  the  center 
of  town. 
"You'd  better 
go  home  and 
get  some 
clothes  that 
would  be  good 
for  jail,"  said 
His  Honor 
briefly.  "Three 
days."  Just  be- 
fore going  in, 
Miss  Walton 
was  edified  to 
learn  that  her 
future  cell 
(Continued  on 
page  74)      . 


(Sixty-six) 


At  the  end 
of  the  dance 

J7*ROM  the  ballroom  Boated  the  strain. 
a    of   a  waits,  and   from   out  beyond 

came  the  sleepv  niylit  sounds  the  late 
Call  ol  a  bird,  the  faint  whispering  of 
leaves  in  the  summer  hree/e. 

The  man  watched  the  woman  before 
him  in  the  mellow  glow  of  the  lanterns, 
drinking  in  her  loveliness  with  eyes  that 
could  not  leave  her  face. 

"What  is  it?"  she  asked  softly.  "You 
look  as  if  you  were  in  a  dream." 

"I  think  this  is  a  dream,  and  you  a 
dream  woman,"  he  answered;  "for  I 
never  saw  anyone  so  lovely!  There  is 
something  that  makes  you  stand  entirely 
alone,  in  a  delicate,  glowing  radiance.  I 
think  the  greatest  charm  of  all  is  your 
wonderful  coloring." 

The  last  notes  of  the  waltz  were  quiver- 
ing into  silence.  "That  is  the  end,"  she 
saiil.  "1  think  it  is  the  beginning,"  he 
answered,  still  watching  her. 


'•/  think  it  it  tht  beginning,"  he  anrsvercd- 


A  Happy  Last  Touch 


When  you  use  the  Pompeian  Beauty 
Trio  you  can  feel  assured  that  your 
skin  is  always  fresh  and  glowing,  and 
that  it  will  remain  so  almost  indef- 
initely. 

Pompeian  Day  Cream  is  a  vanish- 
ing cream  that  is  absorbed  by  the  skin, 
protecting  it  from  dust,  wind  and  sun. 
The  delicate  film  that  remains  on  the 
surface  after  the  Day  Cream  has  dis- 
appeared holds  powder  and  rouge  so 
well  that  constant  re-powdering  is  un- 
necessary. 

Pompeian  Beauty  Powder  is  of  so 
soft  and  fine  a  texture  that  it  goes  on 
smoothly  and  evenly.  A  light  coating 
will  last  a  long  time;  for  this  powder 
has,  to  a  remarkable  degree,  the  qual- 
ity of  adhering. 

The  Bloom  is  a  rouge  that  is  abso- 
lutely harmless.  It  comes  in  the  de- 
sired shades — light,  medium,  dark, 
and  orange  tint. 

Use  the  Pompeian  Trio  together  for 
Instant  Beauty;  for  great  care  has 
been  taken  that  all  Pompeian  Prep- 
arations blend  perfectly. 


Remember,  first  the  Day  Cream, 
next  the  Beauty  Powder,  then  a  touch 
of  Bloom,  and  over  all  another  light 
coating  of  the  Powder. 

"Don't  Envy  Beauty — Use  Pompeian" 
Pompeian  Day  Cream  {vanishing) 

6oc  per  jar 
Pompeian  Beauty  Powder  doc  per  box 
Pompeian  Bloom  (the  rouge)    6oc  per  box 


Pompeian  Lip  Stick  25c  each 

Pompeian  Fracrance,  a  talc     30c  a  can 
Pompeian  Nicht  Cream  50c  per  jar 

The  MARY  PICKFORD  Panel 

and  four  Pompeian  samples  sent 
to  you  for  10  cents 
Mary    Pickford,    the    world's    most    adored 
woman,  has  again  honored   Pompeian   Beauty 
Preparations  by  granting  the  exclusive  use  of 
her  portrait  for  the  new  1923  Pompeian  Beautv 
Panel.  The  beauty  and  charm  of  Miss  Pickford 
are  faithfully  portrayed  in  the  dainty  colors  of 
this  panel.    Size  28  x  j'/i  inches. 
For  10  cents  tee  tcill  lend  you  all  of  these: 

1.  The  1923  Mary  Pickford  Pompeian  Beautv 
Panel  as  described  above.  (Would  cost  from 
50c  to  75c  in  an  art  store.) 

2.  Sampleof  Pompeian  DayCream  (vanishing). 

3.  Sample  of  Pompeian  Beauty  Powder. 

4.  Sample  of  Pompeian  Bloom  (non-breakini: 
rouge). 

5.  Sample  of  Pompeian  Night  Cream. 


Pompeian    Laboratories,  x\it    Payne  Avenue,    Cleveland,    Ohio 
Alio  Made  in  Canada 

bay  (ream    Beauty  Powder     BIoom 


Tht  GM  Whc  II', is 
Out  of  I  >.itf 

II,      \ImI        )■  «N-I  I    I  t 

M    ago   I   ha. I  a  tall   I: 
Irirml.  She  came  in  wrarilv.   an.)  tank  inffi 
a  chair.  The  brilliant   altcrnoon   sunlight 
Nil   lull   m   lirr   lair,   an.)    I    ail  appallrd 
when  I  saw  how  pair  she  looked. 

"What It  the  matter?"  I  a%'..r  i, . 

ing  to  be  (old  'bat  the  was  ill. 

"Oh,  I'm  juit  tireil,"  she  said;  " *• 
tirril  I  ilnn't  care  how  I  look." 

I  was  so  indignant  that  for  a  moment  I 
could  not  speak.  There  ii  no  possible  ei- 
cufe  for  such  an  attitude! 

To  make  the  best  of  herself  is  the  con- 
ceded duty  of  every  woman,  \oung  or  old; 
and  a  modish  gown  means  very  little  when 
her  complexion  is  uncared  for. 

"Come  here,"  I  aaid  to  her,  "and  let 
me  see  what  I  can  do  for  you." 

First  I  used  a  vanishing  cream,  gently 
patting  it  into  the  skin.  This  was  I' 
peian  Day  Cream.  1  always  use  this,  N.r 
it  leaves  only  a  faint  creamy  film  on  the 
surface  and  holds  powder  and  rouge  so 
well.  Next  a  coating  of  the  soft,  clinging 
Beauty  Powder.  Then  a  bit  of  rouge 
blended  downward  and  outward  from  the 
cheekbone;  dusting  over  all  with  a  last 
touch  of  the  powder.  And  this  I  had  done 
to  only  one  side  of  her  face! 

I  turned  her  around  to  face  the  mirror. 
You  never  saw  anyone  so  surprised!  She 
looked  and  looked,  turning  from  side  to 
•ide;  and  I  don't  wonder,  for  she  saw  two 
entirely  different  girls,  and  one  was  so 
much  lovelier  it  seemed  incredible. 

"That  is  what  you  can  make  of  your- 
self every  day,  and  it  will  take  only  a  lew 
minutes,"  I  told  her. 

I  couldn't  help  laughing  at  her  aston- 
ishment; she  had  never  had  an  idea  she 
could  be  so  pretty.  She  realized  now  the 
mistake  she  had  been  making, and  w atched 
with  the  keenest  interest,  while  1  made 
the  other  side  of  her  face  just  as  charming, 
adding  at  the  last  a  touch  of  Pompeian 
Lip  Stick. 

She  didn't  say  very  much,  but  all  the 
afternoon  I  saw  her  eyes  straying  I 
the  mirror.  I  hoped  then  that  she  would 
profit  by  my  little  lesson,  and  I  know  now 
that  she  did,  lor  I've  never  seen  her  look- 
ing pale  and  weary  since. 


e  192.1.  Th«  romp»i»n  <•< 


[tOiMA^M- 


Specialist/  de  Beaure 


TEAR    OFF.    SIGN    AND    SEND 
POMPEIAN  LABORATORIES 

2Ut  Payne  Avenue,  Cleveland, Ohio 

Gentlemen:  I  enclose  loe  'a  dime  preferred)  (or  1923 
Art   Panel  of  Marv  Plckfon),  and   the  four  • 
named  in  offer. 


Addre-- 


Cit%_ 


y ,,...  .-».,.  ,    .  :r.  . 


writs  •rw.ir .  • 


(SLrty-seren) 


The 

Modern 

Movie 

Hero 


Photograph  hy  Freulic 


Time  was  when  a  motion  picture  hero  was  a 
slender  youth  with  beautifully  creased  trou- 
sers, slick  pomaded  hair  and  a  gentle  winning 
way.  But  a  new  sort  has  come  into  vogue — 
he-man  stuff  and  growing  more  popular  all 
the  time.  To  the  right  is  Eddie  Sutherland  a 
brilliant  young  athlete  of  the  screen.  Above  is 
Reginald  Denny  the  scrappy  protagonist  of 
the  popular  Universal  "Leather  Pushers" 
series 


Photograph  by  Richec 


Photograph  by  Evans,  L-  A. 


Left  is  the  newest 
recruit  to  these 
gymnastic  heroes, 
Charles  de  Roche. 
Robert  Ryan  is 
demonstrating  the 
toe  hold  to  him. 
It  looks  a  bit  un- 
pleasant 


(Sixty-eight) 


J~~iOSES  from  the  seven 
M.  exquiaite  rf«nr»i  given 
by  Marinoff  am  p/ir/  of" 
nia  training  There  i»  a 
Crrrian  D«m-e.  a  Clammical 
Toe  Dane*,  an  Oriantal 
Dance,  a  Butterfly  Dance. 
a  ChmemeDance.a  Spanish 
Dance  and  a  "Raitedy 
Ann"  Eccentric  Dance 


W 


i 


£> 


Classic  Dancing! 

Now  you  can  learn  at  home  under  the 
personal  direction  of  SERQEl  MARINOFF 

SOMETIME  in  her  life,  every  girl,  every  woman  has  dreamed  of  dancing. 
There  is  no  more  charming  accomplishment  —  it  is  an  important  part  of 
the  cultured  girl's  education.  Whether  you  study  it  for  professional  or  for 
cultural  purposes  —  or  merely  to  enjoy  the  pleasant,  body  building  exercises  — 
it  will  bring  great  happiness  into  your  life. 

And  now  you  can  learn  dancing  at  home!  Here  is  your  opportunity  to  enjoy 
the  advantages  of  real  ballet  training  under  this  great  master.  Anyone  can 
learn  by  this  method.  It  is  simple,  easy,  delightful.  Marinoff  has  pupils  of  all 
ages.    He  teaches  every  pupil  individually. 


Marinoff  training  is  correct  training.  You  could  not  get  training  like  this  except 
in  the  studios  of  the  greatest  masters  of  the  dance.  Tarasoff  has  endorsed  the 
Marinoff  system.  Merriell  Abbott,  Director  of  the  Abbott  Dancers  [Chicagc 
Theatre,  Chicago],  says:  "A  beginner  who  knows  nothing  of  dancing  can  learn 
by  this  system."  Marinoff  training  includes  a  complete  outfit  —  a  studio  bar, 
practice  costume,  slippers,  phonograph  records  and  sheet  music.  This  is  fur- 
nished to  every  Marinoff  student  without  charge. 


Write 


for  free  portfolio  of  dancers'  pictures  and  full 
information  about  training  and  the  fees  for 
tuition.  Merely  send  coupon.  No  obligation. 


SW  CUrcwi     Man'nnff  —  SCHOOL  OF  CLASSIC  DANCING 

V«  OCIgCl     IVldrillUil  1924  Sunnv.ide  Ave.,  Studio  A- 127         Chicago.  111. 


M.  Sergei  Marinoff,  School  of  Classic  Dancing 
1924  SunnvsidV  Ave.,  Studio  A-l  27. Chicago 

Please  send  me  free  portfolio  ol  dancer*"  picture*  and  lull  informa- 
tion about  your  home  study  course  in  Classic  Dancing.  I  understand 
that  there  is  no  obligation. 


Nam*. 


Addrtts  . 


As,. 


(Sixty-nine) 


\  I  be  Movie  Lncyclopd€cJici 


Faithful  Fan. — Here  we  are  in  the  Merry  Month  of  May. 
Yes,  Barbara  LaMarr  is  playing  in  "Captain  Apple  Jack."  Billie 
Dove's  right  name  is  Lillian  Dove.  Yes,  indeed,  I  always  manage 
to  keep  busy.     Idleness  is  the  key  of  beggary. 

Caroline  Sunshine.- — Robert  Frazer  in  "Fascination."  Ethel 
Clayton  and  Malcolm  McGregor  in  "Can  a  Woman  Love  Twice?" 
Yes,  Eileen  Percy  and  Kenneth  Harlan  with  Irving  Cummings  in 
"East  Side — West  Side." 

Dorothy  F. — Well,  we  men  only  demand  that  a  woman  should 
be  womanly ;  which  is  not  being  exclusive.  Glad  you  liked  the 
chat  with  Pauline  Garon  last  month.  No,  William  S.  Hart  is 
not  living  with  his  wife  Winifred  Westover.  Jane  Novak  in 
"Divorce."     If  I  understand  correctly,  she's  had  one  already. 

Adam  &  Eve. — Please  ter  meet  you !  As  Addison  says  "As 
vivacity  is  the  gift  of  women,  gravity  is  that  of  men."  Yes, 
Sarah  Bernhardt  was  born  in  Paris  in  1845  and  died  March  25, 
1923.  She  was  planning  to  make  a  picture  called  "La  Voyante" 
which  was  to  be  a  story  of  her  life,  before  she  died.  Malcolm 
McGregor  is  not  married.  Anita  Stewart  married  to  Rudolph 
Cameron,  and  Douglas  Fairbanks  was  married  to  Beth  Sully. 

Tell  Me.— Anything !  Well  I  have  found  out  that  folks  who 
never  do  any  more  than  they  get  paid  for,  never  get  paid  for 
any  more  than  they  do !  Mabel  Normand's  last  picture  was 
"Suzanna"  and  that  is  her  real  name.  Mildred  Davis  at  the  Hal 
Roach  Studios,  Los  Angeles,  Cal. 

Chigo  H. — Well  I  have  learned  that  true  wisdom  consists  not 
in  seeing  what  is  immediately  before  our  eyes,  but  in  foreseeing 
what  is  to  come.  Douglas  Fairbanks  is  40.  Nigel  Barry  does 
not  give  his  age.  That  is  very  expensive  stationery  you  use. 
Pretty  nice. 

Margaret  E. — Well  I  am  glad  to  hear  it,  but  as  someone 
once  said,  dont  always  be  talking  of  your  husband's  devotion.  It 
makes  less  fortunate  women  hate  you  and  the  rest  disbelieve  you. 
Joseph  Schildkraut  is  28.  Yes,  he  is  married,  and  is  playing  in 
"Peer  Gynt"  en  the  stage.  His  wife  was  Elsie  Bartlett.  Write 
me    again,    I    liked   yours. 

Guillermo. — Of  course  you  can  get  all  the  back  numbers  by 
writing  to  our  circulation  department;   25   cents   each  you   know. 

Jacob  E. — You  say  all  married  women  are  not  wives — speak- 
ing of  bells,  the  Liberty  Bell  at  Philadelphia  was  cast  in  London 
in  1752  and  when  the  bell  reached  Philadelphia  it  was  cracked 
when  it  was  rung  to  test  the  sound,  which  necessitated  recasting. 
On  July  4,  1776  the  bell  was  rung  for  two  hours  by  an  old 
bellman,  who  was  so  filled  with  enthusiasm  and  excitement  that 
he  could  not  stdp.  It  weighs  about  2000  pounds.  Bobby  Vernon 
is  with  Christie  Comedies,  and  he  did  play  opposite  Betty  Comp- 
scn  when  she  was  with  Christie. 

Betty  Comtson  Admirer. — Yes,  address  her  at  Famous  Players, 
1520  Vine  St.,  Hollywood,  Cal. 

Just  Teddy. — Yes,  I  am  getting  just  one  dozen  dollars  a  week 
for  answering  questions.     Really.     Yes,  still  live  in  the  hall  room, 
and  have   my   buttermilk   daily.     Thomas    Meighan   and   Leatrice 
Joy    with    Lasky.      Priscilla    Dean 
with   Universal. 

Movie  Fan. — I  can  see  that.  No 
Ramon  Navarro  is  not  married,  and 
he  is  24.  ■  When  you  have  learned 
to  make  business  a  pleasure,  and 
pleasure  a  business,  you  have  mas- 
tered the  science  of  living.  I'm 
very  happy. 

Natural  Redhead.  —  Yes,  tears 
are  the  strength  of  women.  The 
plainest  man  who  pays  attention  to 
women  will  sometimes  succeed  as 
well  as  the  handsomest  who  does 
not.  Lewis  Stone  with  Lasky  and 
Ramon  Navarro  with  Metro.  Bessie 
Love  and  James  Kirkwood  are  play- 


This  department  is  for  information  of  general  interest 
only.  Those  who  desire  answers  by  mail,  or  a  list  of 
film  manufacturers,  with  addresses,  must  enclose  a 
stamped,  self-addressed  envelope.  Address  all  in- 
quiries: The  Answer  Man,  Classic,  Brewster  Build- 
ings, Brooklyn,  N.  Y.  Use  separate  sheets  for  matters 
intended  for  other  departments  of  this  magazine.  Each 
inquiry  must  contain  the  correct  name  and  address 
of  the  inquirer  at  the  end  of  the  letter,  which  will  not 
be  printed.  At  the  top  of  the  letter  write  the  name 
you  wish  to  appear,  also  the  name  of  the  magazine  you 
whh  your  inquiry  to  appear  in.  Those  desiring  imme- 
diate replies  or  information  requiring  research,  should 
enclose  additional  stamp  or  other  small  fee;  otherwise 
all  inquiries  must  wait  th«ir  turn.       Let  us  hear  from  you. 


ing  with  Mrs.  Wallace  Reid  in  "The  Living  Dead."    Harry  Carey 
in  "The  Man  From  the  Desert."     Write  me  again. 

Donica  D. — No  I  am  not  planning  to  get  married  next  month 
There  are  plenty  who  are  tho.     But  modesty  in  women  is  a  virtue 
most  deserving,  since  we  do  all  we  can  to  cure  her  of  it.     Betty 
Blythe  has  just  finished  "The  Girl  Who  Got  Everything."    Leave  it 
to  Betty.     Francis  Ford,  Peggy  O'Day  and  Jack  Perrin  in  "The 
Fighting   Skipper." 
H.   Marie. — No  record  of  the  players  you  mention. 
Brown    Eyes. — Of   course   I   am   for   the,   I   wont   say  weaker 
sex,   because   they   are   much    stronger    than    men.     As    Emerson 
said   "Women   know   at   first   sight   the   character   of   those   with 
whom   they   converse.     There   is   much   to   give   them   a    religious 
height   to   which   men   do   not   attain."      Pearl   White   has   reddish 
brown  hair.     Clara  Horton  in  "The  Call  of  the  Wind." 

Billie  R.  A.  P. — Whow!  You  want  the  address  of  18  players. 
I'm  about  to  expire.     Is  there  no  rest  for  the  weary? 

Mrs.  F.  F.  Mc. — Oh  I'm  not  such  an  old  man  that  I  dont  sit 
up  and  take  notice.  If  you  intend  to  live  into  old  age,  study 
it  while  you  are  yet  young ;  and  do  not  be  an  entire  novice  when 
you  get  there.  Bebe  Daniels  is  not  married.  Victoria  Forde  is 
Mrs.  Tom  Mix.  Bebe  Daniels  and  Gloria  Swanson  with  Lasky. 
Write   me   again. 

Beautiful  Iowa. — Beautiful  letter,  but  all  about  Valentino. 
Why    not. 

Olga. — Knowledge  is  power  every  time.  Better  that  the  feet 
slip  than  the  tongue.  The  tongue's  not  steel  yet  it  cuts.  Anyway 
I  cant  hear  you.  Pola  Negri  is  to  start  on  "Don  Csssar  de  Bazan" 
just  as   soon  as   she   finishes   "The   Cheat." 

William  G.  C. — I'm  sorry,  but  I  cannot  help  you  dispose  of 
your  scenarios.  Most  companies  are  buying  stage  plays  and  book 
rights.  Send  a  stamped  addressed  envelope  for  a  list  of  film 
manufacturers. 

Douglas  McL.  Admirer.— Drop  your  hat  and  somebody  may 
bring  it  to  you ;  drop  your  pocketbook,  and  somebody  may  carry 
it  off.  Money  fits  any  one.  Here  you  are :  Ethel  Barrymore 
born  in  Philadelphia  in  1879;  George  Beban  in  San  Francisco, 
1873;  Edmund  Breeze  in  Brooklyn  in  1871;  Arnold  Daly  in 
Brooklyn  in  1875  and  Arthur  Ashley  in  Brooklyn  in  1886.  Miss 
Dupont's  first  name  is  Margaret.  She  was  Margaret  Armstrong 
ence.  Yes,  the  "Hettontot"  has  been  done  in  book  form. 
Louise  S.— Interview  with  Richard  Dix  in  February  1922  issue. 
Sparky  Dear.— Of  course  I  take  g09d  care  of  myself.  The 
human  system— mental,  moral  and  physical — is  such  a  large  affair, 
that  it  is  hard  to  ruin  it  in  all  its  departments ;  but  it  can  be  done, 
if  you  keep"  right  at  it.  Norma  Talmadge  is  27,  five  foot 
two  inches.  Katherine  MacDonald  is  five  foot  eight,  and  the 
rumor  that  she  was  to  be  married  is  all  off,  so  she  says,  and 
she  intends  to  be  an  old  maid.  Ha,  ha.  You  know  she  was 
Mrs.   Malcolm   Strauss  once. 

Lena  T—  Well   I'd  hate  to  tell  you  what  I  think  of  some  of 
the  pictures.     Rockcliffe  Fellowes  in  "Stranger's  Banquet."     Ken- 
neth Harlan  in  "The  Girl  Who  Came 
Back."    Mae    Murray    and    Ramon 
Navarro  with  Metro. 

Cutie  Rosebud. — There  are  three 
things  that  women  throw  away— 
their-  time,  their  money  and  their 
health.  So  you  want  to  watch  out. 
Address  Mary  Pickford  at  the 
United  Studio,  5341  Melrose  Avenue, 
Los  Angeles,  Cal.  Nazimova  is 
playing  in  "Dagmar"  on  the  stage. 
Jerne  Blue  Eyes. — You  are  one 
of  those  who  seem  to  want  this 
department  to  be  devoted  to  answer- 
ing questions  about  myself.  I  much 
prefer  to  remain  in  the  background 
and    to    be    known    by    my    works. 


(Seventy) 


What    i    i-.it,    how     i    ileep,    how    long 

peel  i"  ii\>\  die  length  ol  nu  I 
the  lite  of  mj  iboet,  etc.,  etc.,  will  ell  be 
u'it  on  tiblei  of  itone  for  the  benefit 
,.!  !*>>[<  i  !i\,  but  i«'t  the  pretenl  I  prefer 
to  retire  Into  innocuoui  desuetude,  ;is  far 
.••,  myself  am  concerned,  and  devote  these 
previous  pages  to  tin.-  interests  ol  m 
rherefore  k null >  shoo  fly,  donl  bother  me 
Address  l  loyd  Hughes  at  the  fnc  Studios, 
Culver  City,  I 

Cuuous     Priscilla   Dean  is  married  to 

Wheeler    Oaktnan,    Bryanl    Washburn    is 

.id    to    Mabel    Forrest    and    Dorothy 

Dalton   has   been   married    to    Lew    Cody. 

.    Terry  is  playing  in  "Scararnouche." 

I'nr     Ki"       So    you    want     a    name     tor 

your  pfirls'  club.     What  next     Call  it  the 
Chloris,  the  goddess  oi  flowers,  or  Kama, 

the   1  [indoo  god  Of   love. 

Mari  Movies. — Poor  child  you  have 
\our  troubles  with  I'.liot  Mae  Murray  at 
Metro.  1 025  Lillian  Way.  Los  Angeles, 
Cal.  Malcolm  McGregor  with  Metro  also. 
Before  marriage,  woman  is  a  queen;  after 
marriage,  a  subject.  Tell  me  more  about 
your    favorites. 

JUST  Ma.— Yes,  indeed  Elsie  Ferguson 
is  playing  in  "The  Wheel  of  Life*'  on  the 
Stage.  Of  course  I  am  always  glad  to 
hear  what  you  like  in  this  magazine.  \\  e 
want    to    please    you,    you    know. 

Margaret  S. — All  the  way  from  Liver- 
pool, too.  I  say,  old  dear,  you  can  get 
a  list  of  the  correspondence  clubs  if  you 
send  me  a  stamped  addressed  envelope. 
Dont  put  an  English  stamp  on  the 
envelope  tho.  Yes,  J.  Stuart  Blackton  is 
back  in  this  country,  and  I  am  glad  to  say 
he  is  once  more  an  officer  in  the  Vitagraph 
Company  which  he  helped  to  start  years 
ago. 

Dorothy.  —  You  say  men  would  be 
saints  if  they  loved  God  as  they  love 
women.  I  confess.  Yes,  Ethel,  Lionel  and 
John  Barrymore  are  brothers  and  sister. 
Xo,  Valentino  will  not  be  seen  in  pictures 
for  two  years. 

Acnes  C. — By  "Iris  In"  we  mean  when 
you  see  just  a  small  part  of  the  film  thru 
the  lens,  and  gradually  you  see  the  whole 
picture  on  the  screen.  Fox  is  going  to 
produce  "The  Fool"  for  the  screen.  Vir- 
ginia Brown  Faire  in  "The  Vengeance  of 
the  Deep"  with  Ralph  Lewis.  Tom  Moore 
is  coming  back  to  the  screen. 

S.  Moxty. — Why  I  believe  it  was  Mar- 
shall Xeilan  who  discovered  Wesley 
Barry'-  Alice  Brady  with  Lasky.  Lillian 
Gish  not  married.  John  Bowers  was  the 
policeman  in  "Manslaughter."  David 
Powell  is  with  Famous  Players  and  Theo- 
dore Kosloff  is  playing  in  "Children  of 
Jazz." 

Little  Rose;  Ditto  Dotty;  Galee  P.; 
Doris  Rose;  Frances  S. ;  Doris  M. ;  Miss 
Bloomer;  Marjorie  M.;  Pete;  L.  C. ; 
Helex  M. ;  Lorraine;  Jewel  and  Vaud- 
v.u.LiAN — Sorry  to  put  you  in  the  also  rans, 
but  your  questions  have  all  been  answered 
above. 

Murrel  from  Baltimore. — Well,  La 
Rochefoucauld  says,  "It  is  valueless  to  a 
woman  to  be  young  unless  pretty,  or  to 
be  pretty  unless  young."  I  dont  agree 
with  him.  I  know  lots  of  pretty  women 
at  forty-five.  •"Glimpses  of  the  Moon" 
will  be  released  soon.  Lon  Chancy  is  with 
Universal.  Shirley  Mason  with  Fox,  and 
Viola    Dana    with  Metro. 

Us  Girls— Hello, girls.  You  want  more 
of  Joseph    Striker.     I'll  tell   the   Editor. 

Captain  Joe.— You  know  that  Balzac 
said,  "The  man  who  enters  his  wife's 
dressing-room  is  either  a  philosopher  or 
a  fool."  Take  heed,  young  man.  Robert 
Leonard  is  Mae  Murray's  husband.  Xo 
children  for  the  Meighans.  Gloria  Swan- 
son  in  "Bluebeard's   Eighth  Wife." 

Irene  P.— Monte  Blue  will  play  the 
(Continued    on    page    72) 


)<S) 


L 


"    *3 


That  Jiving 
Odeur! 

Here  is  gayety  and  life,  a  new 
enticement — the  fragrance  of  liv 
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VlVANTE 

— as  different  from  the  odeurs  one 
now  knows  as  a  garden  in  the  spring- 
time from  the  stopper  of  a  bottle — 
a  miracle  in  perfume  making! 

As  exclusive  as  a  coronet! 

As  intriguing  as  an  affair  d'amour! 

As  tantalizingly  feminine  as  the  sub' 
tlety  of  a  smile ! 

C'est  tres  important 

So  as  to  avoid  the  faux  pas  of  discord  in  one's 
scheme  of  fragrance — a  creme  of  one  scent, 
poudre  of  another,  rouge  of  yet  another!  — 
L'odeur  Vivante  wafts  its  personality  through- 
out  all  articles  de  toilette  by  Lournay. 


PARIS 

7  Rue  de  L'Isly 


NEW  YORK 
366  Fifth  Avenue 


%l:" 


&4 

■ 


You  may  obtain  a  imall  vial  of 
Lournay  Vivante  by  tending  15 
cents  to  our  American  address 


[Ml 


Serenty-one) 


$15.00 

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L 


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Sample 


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Lilac,  Crabapple. SI. 60 
Lily  of  the  Valley. 
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Komanza . . .    $2.50 

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fiowcf  Drops 

^x  Send  The  Coupon  NowL^ 

rS    Paul  Rieger  &.  Co.,  (Since  1872)     ^ 

140   First  Street.  San  Francisco 

Enclosed  find  20c  for  which  please  send   me 

sample  bottle  of  Rieger's  Flower  Drops  in  the 

odor  which  I  have  checked. 

D  Lily  of  the  Valley       D  Rose      D  Violet 

O  Romanza  O  Lilac  Q  Crabapple 


Name... 
Address. 


D  Souvenir  Box — $1.00  enclosed. 

O $ enclosed. 

^\       Remember,  if  not  pleased  roar  mow  will  be  returned. 


Osgood    Perkins    in    his    picturesque    role    in    the    Film    Guild 
production    of    "The    Scarecrow"    promised    for    early    release 


The  Movie  Encyclopaedia 

(Continued  from  page  71) 


doctor  in  "Main  Street."  Madge  Kennedy 
will  do  "The  Purple  Highway"  when  she 
returns  from  Japan.  So  you  would  like 
Miss  Dupont  to  use  her  first  name,  rather 
than   Miss.    Glad   you   like   Classic. 

May  F.-  B. — Universal  City  and  Holly- 
wood are  very  near  each  other. 

Margaret  N. — Be  sure  that  your  husband 
carries  each  day  the  impression  that  he 
left  at  home  that  morning  the  most  charm- 
ing, cheery,  freshly  gowned  woman  in  the 
city.  Leatrice  Joy  is  with  Lasky.  Col- 
leen Moore  with  Vitagraph.  Richard  Bar- 
thelmess  was  born  in  New  York  in  1897. 
Baby  Peggy  is  with  Century  Comedies, 
Los  Angeles,  Cal. 

Jane  Acer. — Leatrice  Joy  is  married  to 
Jack  Gilbert,  and  her  last  picture  was 
"Minnie." 

Grace  D. — The  popular  belief  that  it  is 
unlucky  to  spill  the  salt  probably  orig- 
inated from  Leonardo  da  Vinci's  picture 
of  "The  Last  Supper,"  in  which  Judas 
Iscariot  is  represented  as  spilling  the  salt. 
Or  da  Vinci  may  have  so  painted  it  to 
embody  in  his  picture  a -then  popular  super- 
stition. A  gift  of  bread  and  salt  was  a 
token  of  friendship;  salt  was  a  sign  of 
amity ;  so  spilling  a  man's  salt  may  have 
betokened  enmity.  Enough  about  that. 
Lloyd  Hughes  with  Ince.  Clara  Young 
does  not  give  her  age. 

L.  M.  L. — Thanks.  I  am  glad  you  trust 
me.  To  be  trusted  is  a  greater  compli- 
ment than  to  be  loved.  No,  William  Dun- 
can is  not  dead.  Charlie  Chaplin  in  "The 
Pilgrim." 

W.  A.  D.— No.  She  never  does.  Betty 
Compson  is  not  married.  Glenn  Hunter 
has  signed  a  five-year  contract  with 
Famous    Players-Lasky. 


Peggy  O. — So  you  dont  want  Pearl 
White  to  enter  a  convent.  No,  neither  do 
I.  Last  report,  Blanche  Sweet  was  still 
living  with  her  husband.  Malcolm  Mc- 
Gregor is  playing  opposite  Ethel  Clayton 
in   "The   Greater  Glory-" 

Alice  A. — Of  course,  I  am  over  seventy 
years  old.  My  beard  isn't  that  old,  tho. 
Elaine  Hammerstein  is  an  American.  She 
is  twenty-six ;  address  her  at  the  Selz- 
nick,  United  Studios,  Los  Angeles,  Cal. 

Brown  Eye  Billey. — Yes,  Betty  Comp- 
son is  twenty-five.  Vincent  Coleman  is 
married  to  Marjorie  Grant. 

Suffomore. — You're  right,  the  whisper 
of  a  beautiful  woman  can  be  heard  further 
than  the  loudest  call  of  duty.  Betty  Comp- 
son is  playing  in  "The  White  Flower,"  and 
Pola  Negri  in  "The  Cheat." 

Florence  Mc. — Yes,  Norma  Talmadge 
is  twenty-seven.  Gareth  Hughes  played  in 
"Kick  In."  His  right  name  is  Ramon 
Sammanyagos.  Lila  Lee  opposite  Thomas 
Meighan  in  "The  Ne'er  Do  Well."  Valen- 
tino was  born  in  Castellaneta,  Italy. 

Blonde;  Margaret  R. ;  F.  B.;  Arline 
G. ;  Petie;  Butter  Cup;  Buffalo; 
Donah  ;  Katherine  MacDonald  Ad- 
mirer; Betty  H.:  G.  H. ;  Walter  Bebe 
Daniels;  Jeanne  E. ;  Peggy;  Thais; 
Irma  T. ;  April  K. ;  Wanda  P. ;  Molly 
O.;  Katherine;  Pat;  Eleanor  A.;  B. 
B. ;  Blue  Eyes;  Nan;  Dorothy  F. ; 
Ruth  O. ;  Movie  Fan  ;  Billie  A. ;  and 
Jazimova  Sorry  to  put  you  in  the  also- 
rans,  but  your  questions  have  been  an- 
swered up  above.     Write  me  again. 

North  Rustico. — Yes.  some  movies  do 
cost  as  much  and  more  than  $2.00  a  seat 
in  New  York   Citv.     You  were  right. 


(Seventy-two) 


Flashes  From  the  Eastern  Stars 

ontintttd  from  pagt  53  • 

the  difference  In  their  sizes  in  the 
picture  yen  will  remember  thai  tlu- 
waa  prett)  brave  Wolheim  ia  a 
giant  of  ovei  twi>  hundred  pounds 
and   Marion   is  a  slender  ^hp  of  a 

Pr1,  .     • 

rhe  next  misfortune  was  that  ;ill 

the  mules  employed  gol  a  bad  case 

of    Kleig    eyes!     Oi    course    they 

wouldn't   work  and  production  \\a> 

held  up  for  two  days  until  they  could 

find  sonic  blind  mules  which  would 

serve  just  as  well. 


Balieff's  Chauve-Souris,  thai  glori- 
ously original  Russian  Vaudeville 
has  passed  its  five  hundredth  per- 
formance. Not  a  word  of  English 
is  spoken  at  these  performances, 
which  makes  it  a  rather  remarkable 
record. 

Gloria  Morgan,  daughter  of  one  of 
our  richest  and  finesl  families  who 
recently  became  the  bride  of  Regi- 
nald C.  Vanderbilt,  has  a  small  part 
in  "Enemies  of  Women"  a  Cosmo- 
politan picture  now  running  on 
Broadway. 

Robert  J.  Flaherty.  F.  R.  G.  S., 
producer  of  ''Xanook  of  the  North," 
has  left  for  the  Samoan  Islands  to 
film  for  Paramount  a  South  Sea 
picture  similar  in  treatment  to  the 
Eskimo  production.  He  was  guest 
of  honor  at  a  testimonial  dinner  at 
the  Waldorf  given  by  the  publisher 
and  editor  of  Asia  Magazine.  Lloyd 
Griscom.  former  U.  S.  Ambassador 
to  Japan,  was  toastmaster  and  the 
guests  included  people  prominent  in 
motion  pictures,  art,  literature, 
science,  journalism  and  public  af- 
fairs. 

After  five  postponements  of  his 
sailing  date  brought  about  by  the 
success  of  "The  Fool,"  Channing 
P'ollock  will  actually  go  to  France 
late  in  April  for  the  production  of 
"The  Sign  on  the  Door"  at  the 
Renaissance  Theatre.  The  French 
version  of  "The  Sign  on  the  Door" 
has  been  made  by  Andre  Pascal 
i  Baron  Henri  de  Rothschild)  and 
the  role  of  Mrs.  Regan,  played  here 
by  Marjorie  Rambeau  and  in  Lon- 
don by  Gladys  Cooper,  will  fall  to 
Louise  Gauthier. 


WHY 

By   Margaret   Mayfield 

I'm  not 

Particularly   beautiful,   charming    or    wise, 

B"t  when  I  asked  you  why  you  loved  me, 

\  ou  said :   Because  you  are 

Adorably    pretty,    charming    and    wise ! 

I  wonder  why? 


It  was  a  pity 
no  one  told  him 

HI",   was  an   honor  man   in   his  class  at  college — popular 
with  every  one — giving  promise  of  carving  his  notch 
high  up  on  the  ladder  of  success. 
An    unusual    business    opportunity    came    his    way    shortly 
after  he  was  out  of  school — better  than  most  young  men  are 
fortunate  enough  to  secure.      He  certainly  started  out  with 
a  bang.     Every  one  remarked  about  it. 

•  •  *  F|ve  years  passed.  Howard  Chapman,  who  had  set  out 
so  brilliantly,  was  still  almost  precisely  at  the  point  where  he 
started.  Other  young  men'  who  hadn't  nearly  his  opportunity  had 
out-distanced   him  each  year. 

What  invisible  thing  was  it  that  held  Chapman  back?  Some 
of  his  closer  friends  undoubtedly  knew  but  didn't  have  the  heart 
to  tell  him.     It  was  really  a  pity. 


That's  the  insidious  thing 
about  halitosis  (unpleasant 
breath).  You.  yourself,  rarely 
know  when  you  have  it.  And 
even  your  closest  friends  won't 
tell   you.    . 

Sometimes,  of  course,  halitosis 
comes  from  some  deep-seated 
organic  disorder  that  requires 
professional  advice.  But  usually 
— and  fortunately — halitosis  is 
only  a  local  condition  that  yields 
to  the  regular  use  of  I.isterine 
as  a  mouth-wash   and  gargle. 

It  is.  an  interesting  thing  thai  this 
well  known    ant-  his    been 


in  use  for  yeari  for  surcica'  dress- 
ings, possesses  these  peculiar  i  roper- 
ties  as  a  breath  deodorant.  It  halts 
food  fermentation  in  the  mouth  and 
leaves  the  breath  sweet,  t'resh  and 
clean.  So  the  s\stem.itic  use  of 
I.isterine  puts  you  on  the  safe  and 
te  side.  You  know  your  breath 
is  right.  Fastidious  people  every- 
where are  m;ikmg  it  a  regular 
of    tli.'ir    dail)     routine. 

with    I.isterine.      He    sells    lots    of    it. 
It   has  dozens   oi  different   uses   as  a 
safe   antiseptic   and   has  been    <• 
as  such   for  a  half  a  cental 

that 
conies    uitl-    every    bottle 
Pharmacn. 
U.    S.    A 


HALITOSIS 


use 
LISTERINE 


Seventy-three) 


Your  Figure 

Was  Charm  Only  as  You  Are  Fully  Developed 

BEAUTY  OF  FORM 

can  be  cultivated  just  the  same  as  flowers  are 
made  to  blossom  with  proper  care.  Woman, 
by  nature  refined  and  delicate,  craves  the 
natural  beauty  of  her  sex.  How  wonderful  to 
be  a  pel  feet  woman] 

Bust  Pads  and  Ruffles 

never  look  natural  or  feel  right.  They  are  really 
harmful  and  retard  development.  You  should  add 
to  your  physical  beauty  by  enlarging  your  bust- 
form  to  its  natural  size.  This  is  easy  to  accomplish 
with  the  NATIONAL,  a  new  scientific  appliance  that 
brings   delightful   results. 

FREE  BEAUTY  BOOK 

II  you  wish  a  beautiful,  womanly  figure,  write  for  a 
copy  of  the  treatise  by  Dr.  C.  S.  Carr,  formerly  pub- 
lished in  the  Physical  Culture  Magazine,  entitled: 
"The  Bust— How  It  May  Be  Developed."  Of  this 
method  Dr.  Carr  states: 

"Indeed,  It  will  bring  about  a  develop- 
^»y  merit   of  the   busts  quite  astonishing." 

This  valuable  information,  explaining  the  causes  of  non-development,  together  with  photo- 
graphic proof  showing  as  much  as  five  inches  enlargement  by  this  method,  will  be  sent  FUEE  to 
every  woman  who  writes  quickly.     Those  desiring  book   sent  sealed,  enclose  4c  postage. 


THE  OLIVE  COMPANY 


Dept.  210 


CLARINDA,  IOWA 


The  American  Beauty  Has  Been  Chosen! 

At  last  the  difficult  task  has  been  completed.  Too  late  for 
editorial  space  in  this  number  the  judges  named  the  winner  of 
the  American  Beauty  Contest  which  has  been  conducted  in  the 
four  Brewster  Publications. 

Next  Month  You  Will  Know  Who  She  Is 

Already  the  cuts  of  her  new  photograph  have  been  made  and 
the  story  about  the  judges'  final  decision  is  now  being  prepared. 
So,  without  any  doubts,  the  announcement  will  appear  in  the 
July  number. 

There  Are  Honorary  Mentions  Too 

Of  course  the  winner  was  selected  from  a  certain  few  and  the 
remaining  members  of  that  select  group  have  been  given  hon- 
orary mention 

Dont  Miss  The  Judges'  Decision 

in 

&/>e  July  Motion    Picture    Magazine 


HOW  TO  OBTAIN  A  PERFECT   LOOKING   NOSEI 

HIS    DAY    AND    AGE    attention    to 

r    appearance    Is    nn    absolute    neces- 

If    you     expect     to     make     the     most 

life.      Not   only    should    you    wish    to 

r     11  k     attractive     as     possible,      for 

own    self-satisfaction,    which    Is    alone 

vorth    your   efforts,    but    you    will    flud 

orld    In    general    Judging    you    greatly, 

wholly,    by    your    "looks,"    therefore 

1    "to    look   your    best"    at    all    times. 

no  one  to  see  you   looking  other- 

;    It    will    Injure    your    welfare!       I'pon 

impression    you    constantly    make    rests 

ilure  or   success  of  your   life.     Which 

lie    your    ultimate    destiny? 

newest       greatly       improved       Nose 

"Trados  Model   2.r>,"   U.   8.    Patent, 

corrects    now    all    Ill-shaped    noses    without    operation,    quickly, 

safely,     comfortably     and     permanently.        Diseased     cases     ex- 

pted.      Model    26    Is    the    latest    in    Nose    Shapers    and    sur- 


passes all  my  previous  Models  and  other  Nose  adjuster  patents 
by  a  large  margin.  It  has  six  adjustable  pressure  regulators. 
Is  made  of  light  polished  metal.  Is  firm  and  tits  every  nose 
comfortably.  The  inside  Is  upholstered  with  a  fine  chamois 
ami  no  metal  parts  come  In  contact  with  the  skin.  Being 
worn  at  night  it  does  not  interfere  witli  your  dally  work. 
Thousands  of  unsolicited  testimonials  on  hand,  and  my  fifteen  years  of  studying  and  manufacturing 
X"m  Siiapcrs  is  at  your  disposal,  which  guarantees  you  entire  satisfaction  and  a  perfectly  shaped 
Dose.  Write  today  for  free  booklet,  which  tells  you  how  to  correct  111-sbaped  noses  without  cost 
If  not   satisfactory. 

M.  TRILETY,  Face  Specialist                        1897         Ackerman  Building,  BINCHflMTON.  N.  Y. 
Also  For  Sale  ol  First  (last  Drug  Stores. 


Little  Old  New  York 

(Continued  from  page  31) 

A  Patricia  in  poke  bonnet  and 
frilled  gown  was  hard  to  deal  with. 
A  trembling  girl  who  told  her  ex- 
traordinary story  truthfully  and  tear- 
fully managed  to  move  the  Town 
Council  more  than  it  would  have  in- 
dividually been  willing  to  admit.  A 
timid  fluttering  bit  of  femininity  who 
sat  beside  and  held  the  hand  of  the 
man  whose  fortune  she  had  Stolen 
presented  an  ethical  problem  that  was 
too  much  for  the  Town  Council.  Its 
moral  sense  had  been  outraged.  Some- 
tiling  assuredly  must  be  clone. 

But  what? 

Finally  old  John  Jacob  Astor  came 
to  the  rescue  of  the  Town  Council's 
dilemma.  Larry  and  Pat — er — Miss 
Patricia  would  better  take  a  trip  to 
England  until  things  blew  over.  He 
personally  would  see  that  there  was  a 
minister  on  the  boat  to  marry  them. 
Larry  and  Patricia  looked  at  each 
other  in  joyous  surprise.  This  was 
the  best  news  in  the  world  for  them. 

Later,  in  Patricia's  own  garden — 
rather  Larry's  own  garden — or — er — 
that  is — Larry's  and  Patricia's  gar- 
den, Patricia  murmured  something 
about  the  luck  of  the  Irish.  "And 
anyway,"  she  added,  "the  money  is 
just  as  much  mine  now,  as  tho  it  was 
really  mine." 

Which  cryptic  utterance  Larry 
seemed  to  understand  very  well,  be- 
cause he  said,  "Perfectly  right  Paddy 
darling — as  long  as  you  take  me  with 
it." 


The   Hollywood    Boulevardier 
Chats 

(Continued  from  page  66) 

companions  had  been  entertaining 
themselves  during  the  afternoon  by- 
trying  to  kill  the  jail  matron. 


Richard  Walton  Tully  is  bringing 

over   a    French   actor,    Maurice   Ca- 

nonge  to  take  the  part  of  "Zouzou" 

in  Trilby.     A  Parisian  actress,  Mile. 

Lafayette     will     take     the     part    of 

Trilby. 

*     *     * 

As  an  indication  of  the  present 
scarcity  of  actors,  Tully  Marshall  is 
acting  in  four  pictures  at  once ;  he 
is  Louis  XT  in  "The  Hunchback  of 
Notre  Dame" ;  Professor  Futvoye  in 
the  "Brass  Bottle" ;  the  hermit  in  the 
"Talisman"  which  will  be  the  first 
picture  to  be  made  by  the  new  Frank 
Woods  producing  corporation  and 
has  a  part  in  a  play  called  "Twenty 
Dollars." 


(Scvcnty-faur) 


imagine    1 


v  Lunch  With  Gl  >ria 

mtinutd  from  page  3  I ) 

tabic  at  which  sat  most  of  the  distin- 
guished high-salaried  scenario  writ- 
of  the  motion  picture  industry 
"The)   will  nol  lei  an  author  tell  a 
j  that  is  like  lif< 
"But  would  the  public  like  real  life 
as  it  really  is?" 

"I   wonder,"  Gloria  mused.     And 
then   she   added.     "Of  course   they 
wouldn't    believe    it. 
wouldn't  believe  it  myself. 

"For  instance  there  is  my  director. 
Sam  Wood.  The  other  night  he  was 
held  up  on  the  street  by  some  ban- 
dits. One  of  them  poked  a  revolver 
against  Ids  ribs  and  told  him  to 
throw  up  his  hands.  Sam  said  they 
could  kill  him  if  they  wanted  to  but 
he'd  be  darned  if  he  would  throw 
up  his  hands.  Could  you  make  any- 
body believe  that  on  the  screen — a 
young  fellow  with  every  brilliant 
promise  in  life,  ready  to  die  rather 
than  to  hold  his  hands  up  over  his 
head?  The  bandit  couldn't  believe  it 
himself  apparently,     lie  ran  away. 

"Just  so.  yon  see  every  actress 
on  the  screen  make  wild  clutching 
gestures  in  moments  of  great  trag- 
edy. Of  course  that  is  contrary  to 
nature.  Fear,  terror,  dismay  are  all 
emotions  that  contract.  If  you  are 
really  and  truly  terrified  you  cant 
scream:  your  throat  contracts.  Your 
shoulders  sort  of  hunch  into  your 
body  :  yon  grow  small  :  you  shrink, 
"i  hie  time  I  saw  a  man  being  sen- 
tenced to  be  "hanged.  lie  didn't  do 
the  way  they  do  on  the  screen.  lie 
acted  like  an  embarrassed  boy  who 
has  to  speak  on  Friday  afternoon  at 
the  high  school,  lie  had  a  dinky  lit- 
tle hat  which  he  kept  fingering  in  the 
most  careful  and  painstaking  way. 
When  it  was  over,  he  slid  back  into 
his  seat  as  tho  being  hanged  didn't 
matter  so  much  if  he  didn't  have  to 
stand  up  in  the  presence  of  a  crowd. 
"Some  daw  1  imagine,  some  great 
screen  genius  will  come  along  and 
discard  all  these  conventionalized 
methods  with  one  gesture." 

"At  that."  said  Gloria,  with  a  sud- 
den change  oi  tone.     "I   want  t 
on  the  speaking  stage  some  day." 
"So  that's  the  big  ambition'" 
"The  big  ambition   is  twins."  said 
Gloria.     "1  want  to  be  a  great  actress 
in  plays  that  have  words  and  I   want 
to  lie  a  really  successful  mother.     If 
you    could    see    that    baby    of    mine, 
you    would    realize    that    she    is    my 
masterpiece.    She  is  the  sweetest  .  .  ." 
But    when    these    young    mothers 
start  like  that,  experience  teaches  us 
that  it  is  high   time  to  look  at  the 
watch  and  hustle  back  to  the  studio. 


or? 


enf 


vers 


of  the  On\ 


— a  mv9tic  fragrance  of  Oriental  flowers. 

,nj~  This  rare  bouquet  i-  only  one  of  many  delight- 
fa]  Colgate  perfumes  from  which  yon  may  (boo-. 
vour  favorite  —  all  blended  with  exquisite  care 
from  the  finest  essences  the  world  produt 

Throe  little  vials  of  perfumes,  with  jn  interesting  l>«>"k- 
!■  i  trl line  how  to  < -h< ><•-.-  i  perfume  thai  fits  your  personal- 
ity, «i!l  be  sent  you  for  a  2<-  .-tamp  to  cover  |">-tage. 


COLGATE     &     CO. 


Depl.  tS 


199 


PARIS 


FULTON     >  I. 

■    YORK 


(Seventy- five) 


>I.  \i  35   the   lips   of  your 
at     the     lop    of 
each  cheel   bone,     Tush  gently  up- 
ward. 

The  sagging  of  the   cheeks   disappears. 
Your  Angers  are  doing  the  wort  thai  sag- 
ging,   pulled-out.    weakened    muscles    should 
be  doing. 

NOW  RELAX 

Remove  ,\<>m-  Angers.     What   a  change! 
Is  ihis  the  \\  ay  von  will  continue  to  live 
— 11 1 1 bran!  it'ui.  show  hie  and  exaggerat- 
ing your  age  in  even    lini  '■ 

Place  your   fingers  once   more  and 
again  make  your  face  attractive,    iimv 
differenl   you   look.     Make  the  change' 
permanent ' 

YOU  CAN! 

Ymi  can  mould  your  face  back  to  youth - 
fulnesSj    prettinesa  and   uormal  contour   as 
easily    as   the    Greek    Sculptors    moulded   their 
beautiful  statues — taking  a  Utile  off  this  face 
and  putting  a  littlt-  on  heir  and  then-  wher- 
ever it  gave  a  beautiful  effect. 

Dr.      Lnu  lun's      FACE      AND      NECK 

BEAUTIFIEB    will    do    this    for    your 

face.      CJsed    only    a   few   minutes  each 

day:  this  unusual  device  will  bring 

a  new  flow  of  healthful  life  blood 

to  the  sluggish   parts. 

After     each     treatment    you 


will    notice   firmer  tissues,    loss 
of  flabby  cheeks,   filled  in  hol- 
lows   and     wrinkles,     and    a    smoother, 
clear*  r  and    more  colorful  complexion. 

NATURAL  TREATMENT 

Dr.    Lawlou's   FACE  AND  NECK   BEAU- 
TJKIKIl    is    absolutely    natural    in    its    treat- 
bunt,      .\s    exercise    develops    the    muscles   of 
the  anus  and  legs,   so  does  the  BEAUTI- 
FIER develop  the  muscles  of  the  face  and 
neck.    Burely,    harmlessly,    permanently,  j 
The  outfit    is   simple.     The   wonderful  ' 
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TONIC    and     Dr.     Lawton's    attractive, 
illustrated    BEAUTY    BOOK. 


* 


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Hundreds  of  women  have  written  us  fjrateful  letters, 
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clude 20c  to  cover  postage  and  insur- 
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But  write  today! 


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120  West  70th  Street, 
New  York  City.    Dept.  2S6 


Ask  Ziegfeld==He  Knows 

Flo  Ziegfeld  is  a  genius  when  it  comes  to  picking 
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their  girls  with  perfect  faces  and  figures.  How 
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Wouldn't  You  Help  Her  Too? 

The  young  girl  who  stands  with  reluctant  feet — 
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thing  in  her  life.  Give  her  a  chance  to  come  into 
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TRADEMARK  KEG. 

BATHASWEET 


Half  Chinese  and  Wholly 
Lovely 

{Continued  from  page  41) 

half  caste  children.  Somehow  or 
other,  she  met  the  wife  of  a  movie 
director  at  a  party  and  .  .  .  Well, 
of  course,  you  can  guess  the  rest. 

"'Say  something  in  Chinese,"  I 
challenged. 

"I — I  cant,  I  dont  know  any." 

"You  ought  to  be  ashamed  of 
yourself." 

"I  am." 

And  then  she  explained.  "I  used 
to  speak  Chinese  when  I  was  a  child, 
but  somehow  I  got  out  of  the  way 
of  it.  I  am  awfully  proud  of  my 
Chinese  blood  tho.  It  gives  me  a 
little  thrill  of  pride  when  I  hear  some 
one  say:  'She  looks  Chinese.' 

"It  seems  to  me  sometimes  as  tho 
I  were  two  persons.  Especially  when 
1  get  angry.  My  mind  seems  to  be 
French  and  I  get  all  stirred  up.  Then 
way  clown  in  my  soul  something  old 
and  oriental  seems  to  say  to  me 
"There,  there,  child,  it  doesn't  matter ; 
nothing  matters.'  And  I  calm  down 
again.  It  seems  as  tho  the  European 
side  of  my  nature  kept  suggesting 
things  for  me  to  do  and  the  Chinese 
part  of  me  sat  in  critical,  calm  judg- 
ment on  the  project." 

"Everything  in  the  world  seems  to 
have  been  discovered  by  the  Chinese. 
I  suppose  they  had  motion  pictures  a 
couple  of  million  years  before  we  ever 
heard  of  them,"  I  suggested. 

She  laughed.  "Well  I  wouldn't  say 
that ;  but  it  is  true  that  my  father's 
people  were  telling  stories  in  the  mo- 
tion picture  way  when  your  father's 
people  were  wandering  around  killing 
animals  with  their  hands  and  tearing 
the  raw  meat  with  their  teeth." 

??????? 

"Well,"  she  answered.  "Telling 
stories  by  pictures  is  merely  getting 
back  to  the  realms  of  suggestive  art. 
That  is  to  say,  discarding  words 
which  are  an  impediment  to  the  im- 
agination of  the  hearer.  The  Chinese 
have  been  telling  stories  that  way  for 
countless  ages.  For  instance,  Chinese 
poetry  eliminates  this  clutter  of 
words.  A  Chinese  poem  will  only 
indicate  the  symbols  upon  which  the 
imagination  is  to  fasten  itself.  A 
poem  will  read  like  this: 

"A  tower 

"A  dark  lake 

"A  Woman's  face  at  a  window 

"Villain  lurking  in  shadow. 

"Lover  with  lute,  etc.  etc. 

"If  that  isn't  what  they  call  'Pic- 
ture stuff'  then  I  dont  know  what  is!" 

What  I  answered  was,  "fust  in- 
deed." 

What  I  was  thinking  was,  "Girl, 
if  you  aren't  picture  stuff,  then  I 
dont  know  what  is." 


(Seventy-six) 


I 


The  Heavy 
ontimttd  from  page  37) 

right  side  of  the  fence,  despite  my 
questionable  personality,  I  trusl  my 
audiences  will  be  more  kindly  in 
their  thoughts  of  me." 

\t  this  time  Mr.  Torrence  is 
working  with  Lon  Chanej  in  "The 
Hunchback  of  Notre  Dame,"  at  the 
Universal  studios.  This  will  l>e  a 
mammoth  production  and  will  keep 
liim  bus)  for  months.  In  this  picture, 
our  erst-while  comedian  will  be  seen 
as  a  king  of  the   Paris  underworld. 

"I  wouldn't  return  to  the  speaking 
stage— or  to  the  East,  for  worlds," 
laughed  this  versatile  giant.  "We 
are  building  our  home  here  now,  out 
at  the  end  of  Hollywood  Boulevard 
just  ;i-  you  enter  beautiful  Laurel 
Canyon,  and  where  the  gorgeous 
mountains  will  greel  us  continually. 
Outside  of  my  work  at  the  studios, 
my  <mly  interests  are  home,  my 
piano,  nn  golf,  and  my  family.  We 
indeed  a  happy  three." 

Then  1  was  introduced  to  "num- 
ber three,"  Ian  (O.K.)  Torrence,  a 
sturdy  lad  of  fifteen  who  will  soon 
be  as  unbelievably  tall  and  firmly 
knit  as  his  father. 

Mr.  Torrence  is  a  native  of  Edin- 
burgh, Scotland.  Following  years 
of  study  in  piano  and  voice  at  Stutt- 
gart, Germany,  he  taught  music  in 
his  home  town.  Then  came  further 
study  at  the  Royal  Academy  of 
Music.  London,  where  he  was 
awarded  the  Westmoreland  scholar- 
ship, and  a  gold  medal  for  opera. 

It  was  following  this  training  he 
began  his  stage  career  in  comic 
opera,  and  appeared  in  the  last  work 
of  the  famous  Sir  Arthur  Sullivan, 
just  prior  to  that  writer's  death.  For 
ten  years  he  played  at  the  Savoy. 
Lyric,  Gaiety,  and  Adelphi  theaters 
in  London  and  in  the  provinces.  In 
1911  he  came  to  America. 

"Those  ten  years  were  rilled  with 
hard  work,  many  disheartening  ex- 
periences, and  utter  misery  at  times." 
Mr.  Torrence  said  dreamily.  But 
my  coming  to  America  brought  great 
luck.  My  first  appearance  in  this 
country  was  for  Al  Woods,  in  'The 
Only  Girl,'  and  'The  Night  Boat.'  I 
was  with  the  latter  when  I  got  my 
chance   for  pictures." 

So  when  you  see  Ernest  Torrence 
again,  tho  he  may  be  cruel  to  the 
"nth"  degree,  remember  the  many 
steps  he  has  taken  to  reach  his  goal. 
First  as  a  musician,  then  a  singer,  an 
actor,  a  comedian,  and  now  a  heavy. 
Admire  him  for  his  perseverance 
and  undaunted  ambition,  which 
nothing  could  kill,  even  tho  it  landed 
him  in  the  hardest  role  of  his  life. 

O.  yes  indeed.  "One  may  smile 
and  smile,  and  be  a  villain  !" 


m 


a 


i 


You  Must  Fight 

The  film  on  teeth,  or  you  may  suffer 


Under  old  brushing  methods,  few 
escaped  tooth  troubles.  Beautiful  teeth 
were  seen  less  often  than  now. 

In  fact,  tooth  troubles  constantly  in- 
creased—  became  alarming  in  extent. 
That's  what  led  to  this  new  method, 
which  has  brought  to  millions  a  new 
dental  era. 

Those  dingy  coats 

That  viscous  film  you  feel  on  teeth 
is  their  chief  enemy. 
It  clings  to  teeth, 
enters  crevices  and 
stays.  Food  stains, 
etc.,  discolor  it.  Then 
it  forms  dingy  coats. 
Tartar  is  based  on 
film.  That's  why  teeth 
lose  luster. 


Avoid    Harmful   Grit 

Pepsodent  ctutHes  the  film  and 
removes  it  without  harmful 
gcourintr-  lt~  polishing  acrenl  is 
tax  softer  than  enamel.  Never 
usea  Mini  combatant  »  hlch  con- 
tains harsb  irrit. 


Film  also  holds 
food  substance  which  ferments  and 
forms  acids.  It  holds  the  acids  in  con- 
tact with  the  teeth  to  cause  decay. 
Germs  breed  by  millions  in  it.  They, 
with  tartar,  are  the  chief  cause  of 
pyorrhea.  Thus  most  tooth  troubles 
are  now  traced  to  film. 

Almost  universal 

Film-coated  teeth  were  almost  univer- 
sal. The  ordinary  tooth  paste  could  not 
effectively  combat  film.  So  dental  science 
set  out  to  find  effective  film  combatants. 


Two  methods  were  developed.  One 
acts  to  curdle  film,  one  to  remove  it, 
without  any  harmful  scouring. 

Able  authorities  proved  these  meth- 
ods effective.  Then  a  new-type  tooth 
paste  was  created,  based  on  modern 
research.  These  two  great  film  com- 
batants were  embodied  in  it. 

The  name  of  that  tooth  paste  is  Pep- 
sodent,  which  leading  dentists  of  some 
50  nations  are  advising  now. 

Fights  acids  too 

Pepsodent  also 
multiplies  the  alka- 
linity of  the  saliva. 
That  is  there  to  neu- 
tralize mouth  acids, 
the  cause  of  tooth 
decay. 

It  multiplies  the 
starch  digestant  in  the  saliva.  That  is 
there  to  digest  starch  deposits  which 
may  otherwise  ferment  and  form  acids. 
Thus  every  use  gives  manifold  power  to  these 
great  tooth-protecting  agents  That  was  not  done 
before. 

For  beauty's  sake 

People  who  see  the  Pepsodent  effects  will  al- 
ways  use  it,   if  only  for  beauty's  sake. 

Send  the  coupon  for  a  10-Day  Tube.  Note 
how  clean  the  teeth  feel  after  using.  Mark  the 
absence  of  the  viscous  film.  See  how  teeth 
whiten    as   the    film-coats    disappear. 

This  test  will  be  a  delightful  revelation.  Cut 
out   the  coupon   now. 


ate.   II  «:       &a_> 


REG.  US. 


The  New-Day  Dentifrice 

A  scientific  film  combatant,  which 
whitens,  cleans  and  protects  the 
teeth  without  the  use  of  harmful 
grit.  Now  advised  by  leading  den- 
tists the  world  over. 


10-Day  Tube  Free 

THE  PEPSODENT  COMPANY, 

Dept.  957.  1104  S  Wabash  Ave.  Chicago.  111. 

Mail  10-Day  Tube  of  Pepsodent  to 


Only  one  tube  to  a  family. 


(Seventy-seven) 


You  Cant  Forget 


There's  nothing  so  wonderful,  so 
truly  alluring  as  beautiful  EYES.  If 
you  long  to  possess  the  charm  of 
clear,  bright,  bewitching  EYES,  use 
Murine. 

This  time-tested  lotion  preserves 
and  enhances  the  youthful  glow  and 
sparkle  of  the  EYES.  After  a  day  in 
the  open,  Murine  is  delightfully 
soothing  and  refreshing  to  EYES 
irritated  by  sun,  wind  and  dust. 
EYES  cleansed  daily  with  'Murine 
retain  their  beauty  throughout  ad- 
vancing years.  It's  perfectly  harm- 
less—  contains  no  belladonna  or 
other  hurtful  ingredients. 

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it  is  a  rouge  plus  a  protective  cream. 
It  blends  with  amazing  naturalness,  its  orange 
color  changing  to  a  becoming  pink  as  soon  as 
applied  to  the  skin.  For  added  loveliness, 
it  should  be  used  on  the  lips  and  the  tips  of 
the  ears. 

PERT  lasts  all  day  or  evening  until  you 
remove  it  yourself  with  cold  cream  or  soap 
and  water.  At  drug  or  department  stores, 
or  by  mail,  75c.  a  jar. 

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The  Madness  of  Youth 

(  Continued  from  page  57) 


him,  stripping  off  her  mask.  "I 
wondered  what  had  become  of  you," 
she  said.  "So  you're  here,  Louise." 
Javalie  spoke  without  surprise.  The 
dancer  nodded.  "Yes,  I'm  here.  What 
are  you  going  to  do  about  it  ?  After 
all,  Jaca,  did  you  suppose  that  you 
could  do  what  you  did  do  to  me 
without  ever  hearing  of  it  again?" 

"What  do  you  consider  that  I 
'did'  to  you?" 

"The  writers  of  fiction  would  say 
that  you  had  broken  my  heart.  As 
I  probably  have  none,  you  have 
merely  made  me  hate  yen."  She 
laughed,  mockingly.  (  How  differ- 
ent from  the  delicate  mockery  of 
Nanette!)  "How  funny  you  look 
in  your  religious  rags !"  she  said. 
"How  funny  it  will  be  when  I  tell 
them  who  you  really  are !" 

Javalie  leaned  toward  her. 
"Please,"  he  said,  "dont  do  that. 
I've  been  waiting  three  years  for  this 
chance.  Dont  spoil  it.  If  I'm  suc- 
cessful', and  T  will  be  if  you  will  help 
me,  I'll  divide  with  you  .  .  .  I'll  .  .* . 
I'll  go  away  and  marry  you  .  .  . 
only  let  me  get  the  money  in  that 
safe!  Later,  after  your  dance,  I'm 
going  to  speak  to  the  guests.  I  want 
in  make  my  final  effect.  They  be- 
lieve you  a  famous  vampire.  Help 
me  .  .  .  pretend  that  you  are  a 
convert  to  my  spiritual  fervor. 
Think,  Louise,  money  and  a  far 
country   .    .    .   think!" 

Louise  looked  at  him,  narrowly. 
If  be  had  been  thinking  of  her  per- 
sonally he  would  have  seen  that  he 
was  safe.  There  was  love  of  him  in 
her  eyes.  She  nodded.  "All  right," 
she  said,  "speak  your  little  speech, 
Jaca,  and  I'll  pretend  that  you've 
saved    my    soul." 

Javalie  spoke  to  them.  He  stood 
on  the  balcony  with  the  summer 
winds  ruffling  his  sacerdotal  rags  and 
the  moonlight  encircling  his  head 
like  a  halo.  He  told  them  he  was 
speaking,  not  of  religion  but  appeal- 
ing to  their  better  selves,  to  the  spir- 
its that  lived  in  their  bodies,  to  their 
hearts.  .  .  .  The  faces  looking  at 
him  were  stirred  and  strange  when 
be  had  finished.  Old  Theodore  P. 
Banning  kept  clearing  his  throat. 
Nanette  shifted  from  one  foot  to  the 
other  and  her  eyes  ceased  their 
mi  H-king  and  became  tender  and  ab- 
sorbed. Under  cover  of  the  rose- 
bushes Ted  moved  nearer  to  his  wife 
and  was  silent  while  she  told  him  her 
sweet  secret.  And  at  the  very  end 
the  beautiful  dancer  stepped  from 
the  »roup  and  knelt  beneath  the  bal- 
cony  where- Javalie  stood.  "I  want 
lo  ask    forgiveness  of  my  sins,"  she 


pleaded.  She  could  have  had  no 
more  emotion  if  she  had  been  in 
earnest.  What  an  actress  she  was, 
Javalie  thought,  and  his  fine  lips 
curled. 

The  Banning  estate  was  quiet  with 
sleep.  Theodore  P.  alone  was  awake, 
sitting  in  his  library  pondering  the 
events  of  the  evening.  To  him  came 
the  holy  man.  Javalie.  "Why  dont 
you  go  to  bed?"  be  asked  his  host, 
"you  look  tired  .  .  .  worn."  Ban- 
ning nodded.  "I  am,"  he  said.  Javalie 
stood  before  the  older  man  and 
passed  his  hands  over  the  grey  head. 
"Then  sleep,"  he  began  to  intone, 
"sleep  .  .  .  sleep  .  .  .  sleep  .  .  ." 
Banning  relaxed  and  closed  his  eyes. 
When  his  breathing  was  quiet  and 
his  hands  limp  Javalie  took  him  by 
his  arm  and  led  him  softly  to  the 
great  vault  in  the  other  room.  "Open 
this,"  he  commanded  and,  automat- 
ically, perfectly,  Banning  obeyed. 
As  he  did  so.  Javalie  jotted  down  the 
combination  in  a  note-book  and  then, 
as  quietly,  led  the  tranced  man  back 
to  his  chair. 

Javalie's  mission  in  the  Banning 
home  was  complete.  Where  was  the 
victory?  Where  the  wine  of  tri- 
umph ? 

As  be  turned  to  leave  the  room, 
the  older  Banning  being  now  relaxed 
into  normal,  quiet  slumber,  he  found 
Pete  Reynolds  waiting  for  him.  "So 
that's  your  game,   is  it?'    he  asked. 


grimly, 


"thought 


so.       I've     been 


watching  you. 

Javalie  nodded.  "A  crook/'  he 
said.  "yes.  One  of  the  best.  Are 
you  going  to  spill  the  beans?" 

"I  might  not."  Reynolds  said,  "for 
a — consideration." 

The  two  men  entered  into  an 
agreement,  and  Javalie  promised  to 
have  the  money  extracted  within 
twenty-four  hours. 

The  only  person  who  did  not  sleep 
in  the  Banning  home  that  night  was 
Jaca  Javalie.  The  only  man  who 
could  find  no  peace  was  the  man  who 
had  brought  peace  to  the  household. 

Tn  the  morning  Ted  came  to  his 
father  and  told  him  that  he  was  go- 
ing away  with  his  wife  to  work  for 
her  with  his  own  hands.  Javalie 
had  showed  him  what  he  was  doing, 
he  said.  He  wanted  to  "begin 
again  ..."  He  thought  that  he 
could.  Old  Theodore  P.  took  his 
grown  son  info  his  arms  and  kist  him 
as  he  bad  not  done  since  Ted  was  a 
boy.  "I'll  build  you  a  house,  son." 
he  said,  "and  you  can  start  in  that." 
{Continued  on   page  80) 


(Seventy-eight) 


NoWonder  Rouge  Never  Gave 
a  Natural  Color ! 

But  at  last  Science  has  solved  the    \ 
baffling  Secret  of  Nature's  own 
lovely  flush  / 


SCIENCE  now  discloses  thai  no 
known  shade  of  purplish  red — 
the  familiar  color  of  rouge— can 
ever  duplicate  Nature's  perfect  ar- 
tistry. Xo  matter  how  skilfully  rouge 
IS  applied,  the  task  is  impossible. 

In  creating  the  wonderful  new 
Princess  Pat  Natural  Tint,  the  ureal 
handicap  of  rouge  came  to  lii/ht !  The 
startling  discovery  was  made  that  to 
obtain  perfect  results,  such  as  Nature 
gives,  the  color  used  iiu<si  positively 
change  upon  the  skin  after  it  is  ap- 
plied. Xo  wonder,  then,  that  rouge 
never  gave  a  natural  color! 

No  more  amazing  development  has  ever 
been  accomplished  in  beauty's  name  than 
the  finding  of  Princess  Pat  Tint.  No 
more  fascinating  story  has  ever  been  told 
than  the  long  search  by  a  famous  English 
Scientist  for  the  mysterious  "X-Tint" 
which   should   duplicate    Mature. 

Like  many  gr°at  discoveries,  chance 
gave  the  inspiration  and  a  happy  accident 
brought  about  the  final  triumph.  Chance 
led  the  famous  creator  of  Princess  Pat 
Tint  to  banteringly  criticize  the  tell-tale 
rouge  upon  the  cheeks  of  a  feminine 
acquaintance.  She  in  turn  challenged  her 
critic  to  use  his  vast  store  of  know! 
to  produce  something  better.  Thus  ;i 
scientist  turned  his  hand  to  a  task  which 
had  baffled  the  cosmetician  since  rouge  was 
first  used. 

Search  was  made  first  for  some  actual, 
definite  color,  which  would  simulate  the 
marvelous  beauty  of  Nature's  handiwork 
when  the  cheek  is  divinely  mantled  with 
soft  pink  and  creamy  white.  Time  after 
time  the  attempt  was  made  to  perfect 
ordinary  rouge,  to  so  modify  the  familiar 
purplish  red  that  it  would  appear  natural. 
But  with  every  resource  of  science  avail- 
able, the  effort  proved  futile. 

Rut  the  scientist  worked  on,  with  his 
assistant  the  subject  for  experimentation. 
Casting  aside  red  tints  as  impossible,  hun- 


dreds of  differ- 
ing shadings  of 
delicate 

were  used.  Many 
were  an  improvement, 

but  none  perfect. 

Then  accident   step- 
ped   in,   and    bj 
chance     a     rare     and 
costly    ingredient    was 
nied.     The  result  was 
an   unknown   shade  of 
delicate  orange,  beau- 
tiful  indeed,   but   nol    the   color   one   would 
ordinarily    select    to    match     Nature's    per 
feet   complexion. 

Idly  enough,  this  new  shade  was  tried 
upon  the  assistant's  cheeks.  And  then  a 
wonderful  thing  happened,  Instantly  the 
coloring  underwent  a  subtle  alteration.  The 
orange  tint  changed  upon  the  shin!  The 
scientist  exclaimed  in  amazement!  For  be- 
neath his  startled  gaze  there  had  appeared 
the  absolute  perfection  of  Nature's  own 
coloring,  the  blending  of  delicate  pink  and 
white  that  marks  the  transparent  beauty  of 
the  famous  English  Complexion.  The  amaz- 
ing "Million  Dollar  Beauty  Secret,"  Prin- 
cess  Pai  Tint,  had  at  last  been  discovered. 

Princess  Pat  Tint  Is  Waterproof ! 

Still  the  scientist  was  not  satisfied.  He 
determined  to  make  this  new  tint  water- 
proof. And  such  wonderful  success  at- 
tended his  efforts  that  one  may  actually 
go  in  bathing  without  the  slightest  impair- 


"The  Amazing  Million  Dollar  Beauty 
Secret  Had  At  Last  Been  Discovered" 


ment  of  coloring.  Princess  Pat  Tint  on 
the  cheeks  will  not  run  or  streak,  even  if 
rubbed  with  water.  Perspiration  does  not 
affect  it.  Yel  it  vanishes  instantly  beneath 
a  touch  of  cream  or  the  use  of  soap. 
Princess  Pat  Tint  comes  in  only 
shade,  of  course:  fur  the  one  shade  /'lends 
perfectly  with  mplcxionl     It 

perfect  in  daylight  as  under  artificial  light. 
So  it  is  no  wonder  that  Princess  1'at  Tint 
has  become  a  sensation — the  demand  in 
\ew  York,  Chicago,  and  other  large  cities 
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as  fast  as  possible. 
Meanwhile,  how- 
ever, we  will  be 
glad  to  -end  Prin- 
cess Pat  Tint  free 
very  woman 
who  reads  this  ad- 
vertisement. 


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Ernst  Lubitsch  Had  No 
Traditional  Ideas  About  Mary— 

That  is  why  Harry  Carr's  story  with  this  European  director, 
who  after  his  continental  success  has  come  to  America  to  direct 
Mary  Pickford,  is  so  unusually  interesting.  And  besides  dis- 
covering just  what  Lubitsch  thinks  of  America's  Sweetheart, 
Harry  Carr  gives  you  a  vivid  impression  of  the  dynamic  little 
master-man  himself.   .    .    . 

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establishing  an  amateur  movie  company  in  your  town.  And 
these  articles  are  written  by  experts  who  have  already  over- 
come all  the  difficulties  which  would  arise  in  an  undertaking  of 
this  nature. 

There  are  pages  upon  pages  of  new  pictures  too — and  the 
latest  news — and  more  good  things  generally  than  there  is 
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The  Madness  of  Youth 

(Continued  from  page  78) 

In  his  room  Javalie  was  reading  a 
note  from  the  dancer,  Louise.  She 
told  him  that  the  joke  was  on  her. 
That  last  night,  in  the  garden  as  she 
had  knelt  at  his  feet,  the  game  had 
suddenly  become  reality  to  her.  The 
words  she  had  meant  to  say  with  her 
lips  had  come,  somehow,  from  her 
heart.  "She  was  going  away,  back  to 
her  own  people.  ..." 

Javalie  was  strangely  shaken.  His 
two  natures  rose  and  fought  within 
him.  He  had,  like  Louise,  come  to 
this  house  to  play  a  skilfully  con- 
trived role,  and  lo,  like  Louise,  too, 
the  role  had  become  reality.  These 
people  had  accepted  him.  His  ex- 
hortations had  come  true.  He  felt 
suddenly  defiant.  He  would  shake 
off  this  weakness,  this  softness,  that 
had  come  to  him  as  to  the  whole 
household.  He  went  unsteadily  from 
his  own  room  to  the  vault  room. 
The  family  were  in  the  garden.  He 
would  accomplish  his  mission  and 
steal  away.  It  would  all  be  over,  the 
moonlight,  Nanette  .   .   . 

The  vault  room  was  heavy  with 
silence.  He  had  the  combination 
clearly  before  him,  but  somehow  the 
room  revolved.  He  couldn't  seem 
to  see  very  well,  to  stand  very  firmly. 
He  gave  a  little  moan  and  fell  to  the 
ground  in  a  sorry  heap. 


When  he  came  to,  he  was  in  Na- 
nette's arms.  The  elder  Banning  was 
standing  over  them.  Young  Ted  was 
speaking.  "A  common  thief."  he 
said,  "I'll  phone  for  the  police.  Dad." 
But  Nanette  held  him  closer.  "Dad," 
she  cried,  "Why,  Dad,  dont  you  sec? 
In  saving  our  souls,  he  has  saved  his 
own !" 


The    elder    Banning    nodded. 


"I 


think  that's  true,  Ted,"  he  said  to 
his  son,  "I  think  Nannie  is  right.  .  .  ." 

Little  Madame  Jeanne  caught  her 
husband's  hand,  "That  is  right,  Ted," 
she  said,  softly,  "ah,  dont  you  feel 
that  it  is,  dear?" 

Javalie  had  risen  to  his  feet.  His 
white  face  corroborated  them  all. 
Nanette,  sobbing,  clung  to  her  father, 
"Dad  .  .  .  Dad  ..."  she  cried,  "I 
...  I  love  him  .  .  .  the  real  him 
.  .  .  the  him  that  saved  us  all  .  .  . 
dont  you  see?" 

Javalie  raised  her  hand,  and  kist 
it,  and  was  still.  They  had  their 
right  to  judge  him  .  .  .  these  people 
whom  he  had  saved  and  would  have 
robbed. 

Ted  and  Jeanne  were  silent,  too. 
The  elder  Banning  took  his  daugh- 
ter's hand  and  placed  it  in  Javalie's. 
"I  see,  Nannie,"  he  said,  "I  think  I 
see.   ..." 


(Eighty) 


I    reign  Films 

I  ^  ontinued  from  page  2 

'Polikuschka"  i  rom  the  stor)  ol  I  .eon 
r/olstoi  featuring  the  famous  Russian 
artist  Moskwin  who,  I  am  informed, 
is  at  present  in  America.  The  other 
sts  figuring  in  this  photoplay  be 
long  tn  the  famous  Russian  compam 
Stanislavski. 

ITALY 

I  have  not  very  much  to  say  about 
Italy  as  iu>  changes  of  particular  in 
teres!  have  happened  there  since  I 
wrote  my  last  article.  If  I  tell  you 
what  I  have  seen  during  my  different 
visits  to  that  country  you  may  judge 
better  what  the  situation  is. 

1  it  us  >tart  with  Rome,  some 
months  ago,  just  when  we  heard  that 
the  second  industry  in  Italy  was  pic- 
ture production.  Let  us  enter  a  shop 
called  "<  Md  England"  and  go  to  the 
top  Hour  where  one  can  get  tea  and 
other  refreshments.  At  the  time  of 
which  I  am  speaking  we  could  find 
mbled  at  different  tables  pro- 
ducers, artistes  and  other  cinema  fans. 
Let  us  approach  a  table,  by  chance, 
and  be  indiscreet  and  hear  what  is 
said. 

./  producer. — I  dont  know  what  to 

do.     Miss  X (here  the  name  of 

a  well-known  artiste)  has  promised 
to  appear  in  one  of  my  pictures  and 
when  I  told  her  that  1  had  reserved 
for  her  the  role  of  the  girl  who  be- 
comes old  she  refused  to  play.  And 
yet  the  role  is  a  first  class  one.  She 
replied:  "Well,  1  always  want  the 
public  to  see  me  young  and  not  old." 
And  do  you  know,  old  chap,  con- 
tinued the  producer,  the  oldest  part 
she  will  take  in  the  picture  does  not 
give  her   true   age.      She   is   to   play 

Miss  F in  my   film  and  appear 

thirty-five  and  she  is  now.  well,  I 
think  she  must  be  nearly  forty. 

Another  producer. — Well  you  can 
arrange  that.  Try  to  make  your 
heroine  twenty-five  instead  of  thirty- 
five  and  things  will  he  settled.  But 
what  about  me?  My  leading  lady 
left  me  and  she  has  formed  her  own 
company,  do  you  understand?  It  is 
not  a  question  of  age. 

Now.  my  dear  reader,  let  us  leave 
our  tea  shop  as  we  have  heard  enough, 
in  fact,  more  than  we  could  learn  by 
many  visits  to  the  studios  and  better 
than    by    interviewing    many    people. 

GERMANY 
Before  the  war.  Germany  had  al- 
ready some  good  stars.  Among  these 
was  Asta  Neilsen  an  artiste  who  was 
said  to  be  of  Danish  origin.  She  ap- 
peared principally  in  German  films 
and  made  wonderful  creations,  one  of 
her  best  successes  being  "The  Down- 
fall." What  I  remember  of  this  film 
which  I  saw  more  than  ten  years  ago. 


Pomdby L/oit  Wilson,  at- 
tractive I'm  amount  motion 
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.  Ingram's  Rouge — "Just  to  show  the  proper 
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is  that   it   was  the  story  of  a   stage 
actress  or  dancer. 

Now,  I  understand  that  a  new  film 
has  been  made  which  has  the  same 
name  and  which  tells  us  the  story 
of  a  young  actress  whose  first  hus- 
band has  been  very  cruel  to  her  and 
who  falls  to  such  a  low  state  that  she, 
who  was  once  a  beautiful  woman,  is 
not  even  recognized  by  the  man  she 
loves  after  some  years  during  which 
she  has  been  separated  from  him.  I 
do  not  think  this  to  be  the  plot  of 
"The  Downfall"  which  I  saw  before 
the  war,  but  it  has  a  certain  likeness. 


Hungry  Hearts  of  Hollywood 

(Continued  from  page  20) 

a  sea  tramp.  But  he  happened  to  get 
started  on  Western  stories  and  made 
such  a  success  that  the  public  will  not 
accept  him  in  any  other  kind  of 
stories.     So  that's  that. 

Monte  Blue  wants  to  be  a  director. 
Every  time  he  gets  out  in  front  of  a 
camera,  his  heart  aches  with  longing 
to  be  on  the  other  side  of  the  instru- 
ment telling  some  inspired  actor  how 
to  do  it. 

Helen  Ferguson  wants  to  be  a  short 
story  writer  with  her  name  adver- 
tised in  the  magazines.  It  might  be 
that  she  will  fulfil  her  ambition. 

Marie  Mousquini,  down  at  the 
Harold  Lloyd  studio,  has  a  curious 
jambition.  She  wants  to  be  a  busi- 
ness woman.  She  never  had  the 
^.lightest  idea  of  being  an  actress.  She 
got  a  job  in  the  business  department 
of  the  Roach  studios  and  she  was  so 
pretty  and  attractive  and  general  col- 
orful and  had  so  much  personality  that 
they  dragged  her  away  by  main  force 
and  put  her  in  front  of  a  camera. 
She  never  has  gotten  over  the  han- 
kering to  be  a  business  young  lady 
with  a  lot  of  carol  index  stuff  lying 
around  —  a  stenographer  —  no  not  a 
stenographer,  probably  a  dictograph 
— at  her  elbow — sales  charts  with  col- 
ored pins  and  all  such  junk. 

Charley  Ray  wants  to  be  a  producer 
of  stage  plays.  His  movie  career  is 
just  a  stepping  stone  to  Broadway. 
Some  day  he  will  be  a  David  Belasco 
with  a  wistful,  sad  smile  and  teaming 
millions  trying  to  get  into  his  theater. 

Jackie  Coogan  endures  fame  and 
wealth  because  he  knows  that  he  still 
has  time  enough  before  him  to  gain 
his  life's  ambition  which  is  to  be  a 
fireman.  Not  just  an  ordinary  fire- 
man tho.  Jackie  aims  high.  He  will 
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life  except  to  be  the  fireman  who  sits 
up  in  the  poop  deck  of  a  hook  and 
ladder  wagon  and  steers  the  machine 
down  thru  the  traffic,  making  all  the 
limousines  climb  up  on  the  sidewalk 
to  get  out  of  the  way. 


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STATEMENT  OF  THE  OWNERSHIP,  MANAGE- 
MENT, CIRCULATION,  ETC..  REQUIRED  BY  THE 
ACT  OF  CONGRESS  OF  AUGUST  24,  1912,  of 
CLASSIC  pul  lislicd  MONTHLY  at  175  DL'FFIELD 
ST.,  BROOKLYN,  N.  Y'..  for  APRIL  1st.  1923.  State 
of  NEW  YORK.  County  of  KINGS.  Before  me,  a 
NOTARY  PUBLIC  in  and  for  the  State  and  County 
aforesaid,  personally  appeared  the  PRESIDENT  of  the 
CLASSIC  and  that  the  following  is.  to  the  best  of  his 
knowledge  and  belief,  a  true  statement  of  the  ownership, 
management  (and  if  a  daily  paper  the  circulation),  etc.. 
of  the  aforesaid  publication  for  the  date  shown  in  ihe 
above  caption,  requited  by  the  Act  of  August  24.  1912, 
embodied  in  section  443.  Postal  Laws  and  Regulations, 
printed  on  the  reverse  of  this  form,  to  wit:  1.  That  the 
names  and  addresses  of  the  publisher,  editor,  managing 
editor,  and  business  managers  are:  Publisher,  BREW- 
STER PUBLICATIONS,  INC..  175  DL'FFIELD  ST., 
BROOKLYN,  N.  Y.  Editor.  SUSAN  ELIZABETH 
BRADY,  175  DL'FFIELD  ST..  BROOKLYN,  N.  Y'. 
Managing  Editor.  ADEI.E  WIHTELY  FLETCHER, 
175  HI  FFIEI.D  ST..  BROOKLYN.  N.  Y.  Business 
Manager.  GUY'  L.  HARRINGTON,  175  DUFFIELD  ST.. 
BROOKLYN,  N.  Y.  2.  That  the  owners  are:  (Give 
names  and  addresses  of  individual  owners,  or.  if  a  cor- 
poration, give  its  name  and  the  names  and  addresses  of 
stockholders  owning  or  holding  1  tier  cent  or  more  of 
the  total  amount  of  stock)  EUGENE  V.  BREWSTER. 
175  DUFFIELD  ST..  BROOKLYN,  N.  Y.  CARLE- 
TON  E.  BREWSTER.  BAYSHORE,  LONG  ISLAND. 
N.  Y.  3.  That  the  known  bondholders,  mortgagees,  and 
other  security  holders  owning  or  holding  1  per  cent  or 
more  of  total  amount  of  bonds,  mortgages,  or  other 
securities  are:  (If  there  arc  none,  so  state.)  NONE. 
4.  That  the  two  paragraphs  next  above,  giving  the  names 
of  the  owners,  stockholders,  and  security  holders,  if 
any,  contain  not  only  the  list  of  stockholders  and  se- 
curity holders  as  they  appear  upon  the  books  of  the 
company  but  also,  in  cases  where  the  stockholder  or 
security  bolder  appears  upon  the  books  of  the  company 
as  trustee  or  in  any  other  fiduciary  relation,  the  name 
of  the  person  or  corporation  for  whom  such  trustee  is 
acting,  is  given;  also  that  the  said  two  paragraphs 
contain  statements  embracing  affiant's  full  knowledge 
and  belief  as  to  the  circumstances  and  conditions  under 
which  stockholders  and  securiey  holders  who  do  not 
appear  upon  the  books  of  the  company  as  trustees,  hold 
stock  and  securities  in  a  capacity  other  than  that  of  a 
bona  fide  owner;  and  this  affiant  has  no  reason  to 
believe  that  any  other  person,  association,  or  corpora- 
tion has  any  interest  direct  or  indirect  in  the  said  stock, 
bonds,  or  other  securities  than  as  so  stated  by  him.  5, 
That  the  average  number  of  copies  of  each  issue  of  this 
publication  sold  or  distributed  thru  the  mails  or  other- 
wise, to  paid  subscribers  during  the  six  months  preced- 
ing the  date  shown  above  is  .  .  .  (This  information  is 
required  from  daily  publications  only.)  EL'GENE  V. 
BREWSTER,  (Signature  of  editor,  publisher,  business 
manager  or  owner.)  Sworn  to  and  subscribed  before  me 
this  2nd  day  of  OCTOBER.  1922.  E.  M.  HEINE- 
MANN.      (My  commission   expires  MARCH   30th).    1924. 


(Eighty-two) 


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mtinued  from  page 

influence,  an  invaluable  mean  ■  "i  edu- 
cation. In  the  litiK-  t. ii  awa)  t< 
ii  is  the  one  thing  tin-  people  have. 
They  keep  abreast  of  the  new  s.  'I  hey 
relieve  the  terrible  monotony  ol  a 
small  town  ami  no  "tic  knows  what 
that  is  until  they  have  lived  in  <>i 
lis  -din-  to  tin-  movies.  It  brings 
romance  to  lives  absolutely  lacking  in 
that.  It  affords  entertainment  to  a 
people  who  would  never  get  it  any 
other  way.  It  teaches  them  history. 
It  Familiarizes  them  with  tin-  classics 
they  would  otherwise  never  have  even 
heard  <>i . 

"Now  1  know  what  T  am  talking 
about,"  said  Mr.  Bushman  with  con- 
viction. "We  went  thru  all  these 
little  towns  on  our  vaudeville  tours. 
We  came  in  contact  with  all  these 
people.  They  all  knew  us — from  pic- 
tures.    It  was  beautiful  to  me. 

"Why,  these  housewives  that  were 
never  out  of  their  own  kitchens  learn 
to  ^rt  their  tables  from  the  movies. 
They  acquire  a  very  workahle  set  of 
manners.  They  learn  how  to  dress. 
You  know  these  things  are  ordered 
better  now  than  they  used  to  he.  It 
is  safe  now  for  people  to  copy  the 
things  they  see  in  the  movies,  man- 
ners, clothe>.  customs,  houses,  decora- 
tions, and  so  on.  I  can  only  repeat 
that  I  think  that  the  motion  picture 
is  the  greatest  force  in  the  world. 
I  believe  it  has  a  message  to  bring 
to  all  peoples.  And  I  am  glad  and 
proud  to  be  a  part  of  it." 

Xow  we  know  that  most  of  these 
things  have  been  said  before,  but  we 
have  never  heard  them  said  with  such 
a  ring  of  conviction,  sincerity  and 
truth.  Somehow,  when  Francis  X. 
Bushman  told  us  these  things,  they 
took  on  a  new  vitality.  We  believed 
them.  We  suddenly  became  enthusi- 
astic about  our  job.  We  wanted  to 
make  our  magazine  bigger  and  better. 
Yes,  we  truly  did.  And  we  too.  were 
glad  and  proud  to  be  a  part  of  this 
great   industry. 

Surely  if  a  man  can  do  that,  can 
manage  to  lift  a  job  out  of  the  hum- 
drum, to  make  of  his  own  life  a 
consecration  to  an  ideal,  to  imbue 
others  with  a  new  purpose,  then 
surely  there  will  he  a  place  for  him 
once  more  in  the  hearts  of  an  adoring 
following. 

The  romantic  youth  has  become  the 
worth  while  man  .  .  .  but  he  still  has 
that  thick  mop  of  leonine  hair,  that 
wont  ever  stay  slicked  down  .  .  . 
the  buoyant  step  of  youth  .  .  .  the 
eager  look  of  an  adventurer  in  life 
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The  return  promises  to  be  interest- 
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Earle  E.  Llcderman 
at  he  Is  to-day 

Useless  as  a 
Rabbit's  Tail 

The   best    thing   a    rabbit    can    do   with    liis 
tail  is  to  ail  en  it      And  'I,  it 
use  as  some  in.  n   maki  There 

are    so    many    Rat-chested, 
nuns   walking    thi  thai    a 

real     live    man     is    a     c  <: 

man    of    today    lias   aboni    as   much    ambition 

li     he    i 
>  arils,  be   puffs  like  a   strain    I 
and    (eels    as    though    '  to  die. 

And.    take   it    from    me,   lie    isn't    far   from    it. 

("tit    it    out    fellows.       Don't    In-    a   Caki 
If   you   ever   knew   the   joys  of  a  real    healthy 
.ii   would    start    this  minute  to  Ret  one. 
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The   undertaker  1  on    you.  but   Rive 

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It  Is  ■  ; 

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surrouDdlnc    ■  ith    you 

purifying 

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Name 

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State 


(Eighty-three ) 


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The  Celluloid  Critic 

(Continued  from  page  47) 

RUPERT  HUGHES  lias  taken 
his  magazine  story,  "Souls  for 
"Sale"  (Goldwyn),  and  given  it  a 
screen  dressing  and  we  must  hand  this 
gifted  author  and  director  credit  for 
fashioning  a  picture  which  takes  the 
spectator  on  a  fanciful  flight  thru 
filmland.  Mr.  Hughes  has  assembled 
over  thirty  players,  many  of  whom 
are  headliners,  and  piloted  them 
around  Hollywood  sets.  He  gives  us  a 
large  close-up  of  studio  activities — of 
the  lives  of  the  screen  gentry  on  loca- 
tion. And  while  he  shoots  his  scenes 
he  waxes  satirical  in  his  titles.  Yet 
beneath  the  humorous  surface  is  the 
story  of  the  rise  to  stardom  of  a  girl 
who  stumbled  upon  a  company  mak- 
ing a  "sheik"  picture.  She  had  run 
away  from  a  criminal  husband. 

Mr.  Hughes  would  have  us  believe 
that  his  tale  is  typical  of  the  manner 
in  which  a  star  is  made.  But  the 
atmosphere  is  the  most  important  fea- 
ture of  the  play  and  one  is  allowed 
to  get  an  eye-ful  of  the  directors, 
Stroheim,  Niblo,  Neilan  and  Chaplin. 
Chaplin?  Indeed,  the  King  of 
Comedy  is  caught  for  a  brief  moment 
with  the  megaphone.  The  climax 
ushers  in  a  thrilling  chapter  culled 
from  the  circus  formula. 

The  story  becomes  artificial  toward 
its  conclusion  and  the  cast  is  too  large 
to  allow  any  individual  player's  study 
to  be  absorbed  by  the  spectator.  Yet 
"Souls  for  Sale"  is  interesting  be- 
cause of  its  novelty  and  the  humorous 
twists — to  say  nothing  of  the  atmos- 
pheric touches. 

WE  turn  to  Pola  Negri  who 
looks  almost  like  a  new  dis- 
covery in  Paramount's  "Bella 
Donna."  Having  the  advantage  of 
American  methods  of  screen  techni- 
calities, she  is  able  to  display  a  charm 
which  was  lost  in  German  produc- 
tions. So  miich  for  Yankee  lighting 
and  photography.  The  picture  em- 
bellishes her  emotional  gifts  so  that 
she  appears  to  be  a  different  person- 
ality entirely.  Yet  it  may  be  that  her 
art  is  so  limitless  in  expression  that 
each  new  picture  brings  out  some 
heretofore  hidden  appeal. 

It  is  a  sumptuous  production — a 
positive  revelation  from  a  scenic 
standpoint.  George  Eitzmaurice  has 
achieved  the  well-nigh  impossible 
task  of  creating  a  genuinely  atmos- 
pheric Egypt,  London  and  Venice — 
so  much  so,  that  nothing  of  the  studio 
is  stamped  upon  it.  It's  a  passionate 
tale  of  an  oversexed  woman  who  is 
carried  away  in  the  arms  of  Intrigue, 
Caprice,  Adventure  and  Tragedy. 
The  magnetic  Pola  is  superb 
(Continued  on  page  86) 


Hundreds  of  Women 

Are  Now  Making  Money 
Thru  The  Treasure  Chest 


If  you  are  a  woman  and  want  a  de- 
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Treasure  Chest. 

Our  Club  has  progressed  far  beyond 
the  experimental  stage.  It  has  been 
proven'  time  and  time  again,  that  most 
any  woman  who  wants  money  and  is 
not  afraid  to  work  for  it,  can  increase 
her  income  very  satisfactorily  thru  our 
plan. 

The  Treasure  Chest  is  conducted  under 
the  auspices  of  Beauty,  the  magazine 
of  beauty  secrets  for  everywoman.  The 
work  of  Club  members  is  taking  sub- 
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For  every  subscription  secured,  a  very 
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Think  what  it  would  mean  to  you  to 
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month.  It  is  very  possible  for  you  to 
realize  this  amount.  Judging  from 
what  our  other  members  are  doing,  you 
should  easily  earn  $25.00  a  month  by 
devoting  only  a  few  hours  each  day 
to  our  work. 

IT  COSTS  NOTHING  TO  JOIN 

It  costs  you  nothing  to  join  our  money 
making  club.  Everything  you  need  to 
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money.  And  we  are  willing  to  pay  you 
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Now  is  the  best  time  of  all  the  year  to 
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may  possess.  As  a  member  of  our  Club 
you  can  help  your  friends  and  acquaint- 
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In  addition  to  this  being  a  profitable  occu- 
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too.  Wouldn't  you  like  to  try  it?  For 
further  particulars  address  a  letter,  post- 
card or  the  handy  coupon  below  to 
KATHARINE  LAMBERT,  Secretary, 
Treasure  Chest,  Beauty,  175  Duffield  St., 
Brooklyn,  N.  Y. 

KATHARINE  LAMBERT, 

SECRETARY,  THE  TREASURE  CHEST, 

BEAUTY,   175  Duffield   Street,   Brooklyn,   N.   Y. 

Please    tell    how    T    can   make   money   thru   The 
Treasure    Chest. 

Name' 

St.  and  No 

City State 

(Eighty-four) 


Ijew^rk  poes  wild! 


Amazing  Slendaform  takes 
Manhattan  by  storm! 


"l/'EW    YORKERS  are  very  blase 
«y  V       and    sophisticated.      It  requires 

V.    something    quite    sensational 
startle  them  out  of  their  ennui. 

But  they  have  a  new  thrill  now! 

Men  and  women  who  have  dieted  and 
drugged  themselves,  who  have  ennervated 
their  systems  in  Turkish  Rooms,  who  have 
poured  pounds  of  so-called  reducing  salts 
in  their  baths,  who  have  jumped  around 
in  violent  exercises  that  played  havoc  with 
their  hearts — 

— these  folks  have  found  a  thrill! 

They  have  found  that  getting  thin  is  a  matter  ol 
moments.  No  apparatus  is  required.  It  can  all  be  done 
in  the  quiet  of  one's  own  bathroom!  They  have  dis- 
red  Slendaform,  the  harmless  amaiing  liquid 
cream  that  melts  away  the  fat-cells  and  reduces  fatty 
areas  almost  immediately,  with  only  external 
application. 

Cleo  Madison,  noted  screen  beauty,  took  off  sev- 
eral inches  in  a  brief  treatment,  and  is  now  on  the 
way  back  toCalifornia  with  six  jars  of  Slendaform  for 
some  of  her  triends.  George  Trimble,  important 
officer  of  the  Actors  Equity  Association  who  always 
wore  a  19'  ..  collar,  now  wears  an  18.    He  also  reduced 


?."'  '"eh"  in  the  waist.     Frank   W.  Goodale  says. 
Results  are  astounding.   They  are  visible   after  few 
applications." 

A  certain  famous  actress,  upon  being  refused  the 
opportunity  to  play  the  character  of  the  debutante 
in  anew  film,  used  Slendaform  and  returned  to  the 
studio.  The  director  was  surprised,  delighted,  and 
gave  her  the  coveted  part. 

hlew  York  has  a  new  thrill!  Druggists  claim  that 
never  in  their  expetiencc  has  anything  of  the  kind 
so  d  so  fast  as  Slendaform.  Kalish.  with  three  stores, 
w/l  *?'  'ars  in  a  fcw  weeks-  What  is  the  answer  I 
Why  this  sudden  leap  in  public  sales? 

It  works  i.  That  is  the  reason  !  You  simply  pat  it  on 
the  part  \ou  wish  to  reduce  and  the  fat  melts  away. 
It  is  almost  magical  in  its  accomplishment. 

Money  Back  Quarantee 

If,  aftet  using  Slendafoim  according  to  the  simple 
directions  on  each  jar,  you  arc  unable  to  see  results, 
we  cheerfully   refund  your  money  in  full. 

No  offer  could  be  fairer  than  this;  it  is  proof  posi- 
tive that  Slendaform  actually  reduces  as  we  say  it  will. 

All  druggists  are  now  being  supplied,  but  it  will 
be  months  before  the  Slendaform  Laboratories  catch 
up  with  the  demand.  In  the  meantime  if  you  want 
a  jar  or  two  you  mav  have  to  send  direct  to  the  New 
York  office  at  500  Fifth  Avenue,  and  we  will  supply 
you. 


HARMLESS!  Eminent  doctors,  great  universities  and 
famous  obesity  specialists  certify  that  Slendaform  is 
absolutely   harmless.     Send   for  copies  of  their  letters. 


Slend 


enze  ivi 


ith 


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500  Fifth  Avenue,  New  York  for 
free  booklet,  "The  New  Art  of  Slend- 
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Slendaform  Corporation,  Dept   C.  (  . 

SCO  Fifih  Avenue.  New  York 

Please  send  me  a  full-sired  regular  I 
form.     I  will  rav  postm.in  upon  delivery.     You  agree  to 
return  my  money  in  case  I  get  no  results. 


(Eighty-five) 


^>€//X^X^0Cf30^>COC/<0O'/00W 


-Silt/New  Science  oF 

Womanly 
Charm 


x  LI.OW  a  demure  little  wren  of  a  girl  was  changed  V 

V  *^  almost  overnight  into  an  attractive  Bird-of-  X 
x  Paradise  woman — how  she  who  had  been  neglected  ^ 

V  by  her  young  men  acquaintances  suddenly  became  A 
K  a  center  of  attraction,  and  within  a  few  weeks  the  x 
X  radiant  bride  of  the  man  she  had  loved  in  vain  for  A 
S  years — this  is  the  theme  of  a  letter  received  today.  N 
x  Hundreds  of  other  letters  just  as  wonderful  have  X 
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The  Celluloid  Critic 

(Continued  from  page  84) 

against  such  a  colorful  background — * 
a  background  which  abounds  in 
elaborate  carnival  scenes,  desert  sand- 
storms and  massive  reproductions  uf 
oriental  architecture.  A  gripping 
document  which  is  dramatically  effec- 
tive and  optically  pleasing  and  finely 
interpreted  by  the  star  and  a  company 
that  has  seemingly  caught  some  of  her 
verve  and  vitality. 

RUPERT  HUGHES  is  not  the 
only  sponsor  of  screen  novelties 
'  for  the  month.  He  must  make 
room  for  Maurice  Tourneur  whose 
production,  "The  Isle  of  Lost  Ships" 
(First  National),  stimulates  the  im- 
agination and  excites  the  pulse  with 
its  fanciful  story  of  adventure,  con- 
flict and  romance  in  the  Sargasso  Sea 
— where  all  floating  wreckage  drifts 
to  find  sanctuary.  The  corpses  of 
these  dead  vessels  lend  an  uncanny 
atmosphere  which  is  rich  in  its  color- 
ful appeal.  Human  derelicts  find 
refuge  among  them  —  the  sole  sur- 
vivors of  ill-fated  cruises. 

It  is  stark  melodrama  punctuated 
with  fanciful  adventure  and  romance 
and  the  acting  contributed  by  Milton 
Sills,  Walter  Long  and  other  com- 
petent players  is  in  perfect  harmony 
with  the  vigorous  tale. 

IN  turning  to  Jackie  Coogan  we  dis- 
cover him  in  a  trite,  hackneyed 
story  "Daddy"  (First  National), 
which  is  worthy  of  patronage,  how- 
ever, because  of  the  presence  of  the 
inimitable  youngster.  Follow  little 
John  thru  his  tender  moments  with  an 
aged  musician  and  shed  a  tear  over 
him.  There  is  no  backbone  to  the  plot 
and  it's  unduly  artificial  featuring  as 
it  does  a  mother  who  leaves  her  tem- 
peramental husband  and  takes  her 
child  with  her.  Follow  Jackie  thru  his 
efforts  to  get  his  grandparents  out  of 
the  poorhouse  as  he  parades  the  city 
streets  begging  silver  with  his  elo- 
quent eyes  and  his  violin  playing.  The 
elderly  musician,  the  tutor  of  the  lad's 
father,  dies.  Which  offers  a  moment 
of  heart  interest  and  pathos.  And  the 
parent  conveniently  meets  the  boy. 
Result,  happy  days  for  all  concerned 
except  the  mother  who  for  some  rea- 
son or  other  has  passed  into  the  Great 
Beyond. 

With  Jackie  in  nearly  every  scene 
the  opus  is  saved  from  traveling  the 
quick  road  to  oblivion.  We  will  for- 
get it  easily  when  the  circus  story, 
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STORIES  of  moonshine,  feudists 
and  revenuers  among  "them  thar 
hills"    have    become    so    conven- 
tional that  "The  Trail  of  the  Lone- 


Wintergreen- 
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\  -ell  actresses   ill   i  i  tlic 

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some    Pine'    i  Paramount  >   does  not 

i  much  entertainment 
l  'ox's  tale  has  been  used  as  a  model 
for  this  type  <>i"  pictures.  So  it  musl 
be  called  the  grand-daddy  of  them  all. 
Most  everyone  is  familiar  with  the 
story  u liicli  it'  it  hasn't  been  read,  at 
lca-.i  has  been  seen  a  score  of  til 

Mary  Miles  Minter  is  the  little 
mountain  wildflower  wlio  develops  a 
romance  with  the  young  "furriner." 
And  before  the  youth  from  the  city 
is  able  to  takeheraway  from  her  cabin 
we  are  given  a  deal  of  local  color,  a 

fair-tO-middlin'  climax  when 
feudists  tote  their  guns  into  the  town 
and  some  highly  picturesque  settings. 
Ernesl  Torrence  suggests  the  typical 
mountain  moonshiner.  He  compels 
attention  with  every  expression  which 
flits  across  his  face— a  graphic  study 
of  a  son  of  the  soil  down  "thar"  in  o'F 
Kaintuck." 

Tl  I  E  odds  are  ten  to  one  that,  if 
"Enemies  of  Women"  (Cosmo- 
politan) had  been  produced  on  a 
modest  scale,  it  would  have  been  dis- 
missed as  stereotyped,  dull  stuff.  But 
the  sponsors  have  loosened  the  purse 
strings  lavishly — so  much  so  that  the 
picture  becomes  one  of  those  million 
dollar  productions.  And  by  giving  it 
truly  sumptuous  settings  and  an  au- 
thenticity of  background  as  it  per- 
tains to  Monte  Carlo  the  artistic  side 
of  the  picture  saves  it — tbo  much  of 
its  value  is  found  in  the  more  than 
excellent  interpretation  by  Lionel 
Barrymore  as  a  wealthy  degenerate 
and  Alma  Rubens  as  an  adventuress. 

The  war  comes  sparing  none  but  a 
group  of  wilful  men  who  scoff  at 
women.  Yet  these  wealthy  bounders 
catch  the  spirit  of  sacrifice  and  dis- 
cover their  souls.  The  story  has  gaps. 
You  will  find  them  when  the  adven- 
turess pleads  for  money  from  the  rich 
Russian  to  send  to  her  boy  at  the 
front,  and  when  she  refuses  to  tell 
him  that  she  has  a  son  at  all — altho 
ber  pride  is  so  monumental  that  she 
would  cry  ber  relationship  from  the 
housetops. 

There  is  a  thrilling  scene  when  the 
terrorists  storm  the  prince's  castle — 
and  the  war  strips  are  the  real  stuff. 
The  director  deserves  a  compliment 
for  trimming  his  battle  scenes  and 
handling  the  exceptionally  large  cast 
in  masterly  fashion.  It  is  colorful. 
Make  no  mistake  about  it. 

But  its  highlights  are  its  rich  back- 
grounds and  Barrymore's  portrayal. 

WILLIAM     de     MILLE    gets 
down  to  human  values  much 
better  than  brother  Cecil.     He 
is    not    afraid    to    tackle    a    character 
study.  "Grumpy"  (Paramount),  and 
mould  it  into  an  absorbing  little  pic- 
( Continued  on  page  8°) 


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D  •     l     secrets  based  on  the  arts  of ' 

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"MAKING  BEAUTY  Yd. 

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(Eighty-seven) 


Susie  had  the  Courage  of  a  Pioneer 


That  is  why  she  dared  to  leave  the  harbor  of  her  home  in  a  little  Western 
town  and  come  to  New  York 

And  then  New  York  put  her  courage  to  the  test. 

Hired  to  Live  the  Life  of  Another 

But  Susie  did  not  flinch. 

She  dared  accept  an  opportunity  which  would  have  tried  the  courage 
of  women  less  brave 

And  putting  the  disillusion  and  disappointment  which  had  come  to  her 
away  from  her  mind,  Susie  went  on 

Susie  Cast  off  Her  own  Identity  Like  an  Old  Dress 

And  became,  for  the  nonce,  the  glamorous  Magda  Basarov,  the  motion 
picture  star 

Where  Magda  Basarov  was  invited,  Susie  went 

And  no  one  was  the  wiser 

Siisie  wore  the  Basarov  gowns  —  emulated  the  Basarov  accent  —  and 
affected  the  Basarov  mannerisms 


VyiTHOUT    a    doubt 
Susie   Takes    a 

Chance    is    one    of     the 

greatest  stories  written  in 
years.  Be  sure  to  read  it — 
in  the  Motion  Picture 
Magazine.  Lucian  Cary, 
the  popular  and  well-liked 
magazine  writer,  is  the 
author. 


SUSIE 

TAKES 

A 

CHANCE 


MYSTERY  .  .  .  sus- 
pense .  .  .  surprise 
.  .  .  strange  situations  .  .  . 
developments  still  stranger 
.  .  .  characters  so  real  and 
human  that  they  will  re- 
mind you  of  people  you 
know  .  .  .  all  woven  with 
supreme  skill  into  an  ab- 
sorbing story  entirely  un- 
like anything  else  you  have 
ever   read. 


A  New  Kind  of  Story  by  Lucian  Cary 

In  the  July  Motion  Picture  Magazine 


(Eighty-eight) 


THEBATHER 

l\MI 

HKAU 

•I  1 1  I  1 

belp    admiring    It    be- 
iij     the     beau)} 

loll.         till' 

tl 

deptha,    the    aa?    light. 

In  feet  all  thai 

nuk.-  1I1I1  picture  »liai 

I 

A  PICTURE 

1 1  rain  at - 

III     Individuality 

In  their  an  col 

.\  I10  Know,  un- 

apprecl- 

aii*    the    every    beauty 

and     l..y.  ltn.->s     of     till*' 

mi   tcchnlc  will  Bud  In 

Utd      ."ir 

lection  s»i>n  ullt  bo 
I  complete  without  It  ami 
I  .iily     stari.il 

CvntieU  1013  well  with  It. 

ire  making  Iho  utility  In 

framed,    mounted   on    rli  li 
lln"   plain    plcttirt'.t   to  suit   tho 
•.  furnish,  d   111  glreu   belo 
riain  Coplea     Mi. 1.  1  1  Plct'a 

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The  I  .ellulold  <  Critic 

( c  ontimicd  from  page  £ 

ture  storj ,     I  i  ue  he  has    I  heodore 
Roberta    who    ii    the    iras<  1 1 » 1 «.-    old 
lawyer,  gives  a  powerful  ch 
zation    one    which    easily    outrank* 
anything    he    has    heretofore    con 
tributed.    Some  might  nol  favor  iliis 
a<  tor  in  the  role  since  it  was  originally 
created  by  Cyril  Maude.    Bui  should 
they  reason  from  the  standpoint  thai 
because    Roberts    doesn't    ln<>k    like 
Maude  he  is  incapable  of  i^i\  ing  a  coi 
rect    rendition?     This    is   a    foolish 
argument     with     nothing    to    stand 
upon    except    the    original    creation 
which  paints  a  pleasant  fancy  which 
one    doesn'l     likr     to     spoil. 
Theodore  Roberts  in  "Grumpy"  and 
enjoy  character  acting  at  its  best. 

THE  TIGER'S  CLAW"  i  Para- 
mount i  presents  us  with  the  old 
moth-eaten  story  of  the  disap- 
pointed  lover  who  exiles  himself   to 

India  where  he  falls  in  love  with  a 
half-caste  girl — and  wonder  of  won- 
ders, he  marries  her!  Bang  j 
the  racial  hairier,  you  say?  But  wait ! 
The  white  girl  comes  down  from 
England  and  so  they  conveniently  kill 
off  the  native.  <  >h  yes  it  contains 
some  thrills.  The  young  engineer  is 
rescued  by  the  half-caste  from  some 
man-eating  tigers  and  out  of  gratitude 
for  saving  his  life  he  is  tied  in  the 
hands  of  holy  wedlock.  But  the 
arrival  of  the  English  charmer  com- 
pels the  author  to  paint  the  pretty 
Hindu  as  faithless  to  her  marriage 
vows.  Some  of  the  atmosphere  is 
»ood  and  Aileen  Pringle  is  fetching 
as  the  half-caste.  Jack  Holt  tries  to 
be  real. 

HAVE  you  been  watching  Buster 
Keaton  the  past  year?  Wont 
you  agree  with  us  that  his 
comedies  are  vastly  more  entertaining 
than  half  the  features  which  come 
under  your  notice  ':  I  'ay  particular  at- 
tention to  "The  Love  Nest"  <  First 
National)  and  enjoy  a  rollicking 
laugh  in  following  Buster's  take-off 
of  a  whaling  adventure.  He  has  in- 
jected several  new  gags  and  inciden- 
tally, employs  the  dream  situation. 
But  it  isn't  so  irritating  in  this  in- 
stance because  there  is  no  indication 
that  he  has  been  asleep  until  the 
finish.    It's  a  whale  of  a  comedy. 

SOME  marvelous  backgrounds  of 
Tahiti  do  much  toward  compen- 
sating for  a  highly  theatrical 
story  of  the  South  Sea  formula 
in  the  Goldwyn  expression,  "Lost  and 
Found."  Really  it  is  wild  melodrama 
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bis  wife  and  child,  is  nearly  negative. 
Perhaps  die  original  tale,  "Captain 
Blackbird,"  possessed  some  virtues. 
But  they  haven't  been  transferred  to 
the  screen  version.  There  is  much 
ado  over  tribal  rites  and  customs  and 
these  bits  are  saturated  with  hokum. 
Pauline  Starke  and  Antonio  Moreno 
and  George  Siegmann  struggle  brave- 
ly to  appear  convincing.  Miss  Starke, 
incidentally,  is  miscast. 

IT'S  difficult  to  imagine  just  what 
Mack  Sennett  was  thinking  of 
when  he  wrote  "Suzanna"  (Allied 
Producers  and  Distributors)  a  tale  of 
ancient  vintage  which  carries  none  of 
his  customary  satire  or  burlesque. 
He  turns  to  the  babies-shifted-in- 
their-cradles-at-birth  formula  and 
writes  it  around  a  Spanish  setting 
and  places  Mabel  Normand  in  the 
role  of  a  lowly  peon.  And  Mabel 
doesn't  show  any  of  her  flair  for 
comedy.  We  must  say  that  audiences 
will  probably  be  amused  with  her — 
at  least  for  old  time's  sake.  You  know 
the  story  now.  The  old  servant  comes 
forward  with  a  confession  which 
gives  the  girl  a  chance  to  receive  for- 
giveness from  the  noble  don.  The 
latter's  rebellious  son  steals  her  away 
from  a  tempestuous  toreador.  The 
pursuit  is  on  and  a  fight  on  the  edge 
of  the  cliff  (horses  are  used)  brings 
the  fiesta  and  the  happy  ending. 

We  look  for  much  brighter  things 
from  the  Sennett  lot.  George  Nichols, 
you  are  wasted  here. 


A  GARDEN 
By   Margaret  Mayfield 

I've  a  garden 

In  my  heart 

Where  flowers  grow 

Pale  blooms  blossomed  there 

Until  your  kisses 

Made  red  roses  live. 

Their   perfume  you   and   I 

Alone  may  breathe 

If  your   love  dies 

There  will  be 

Only  withered  flowers  there 

Despair  in  my  heart 

Death  in  the  garden ! 


THREE  TIMES  TEN 
Gamaliel  Bradford 

For  all  her  fragile  ways  and  white 

Demeanor  like  a  lily. 
She  took  a  singular  delight 

In  making  men  look  silly. 

She  had  a  face  would  fit  a  nun 

Devoted  to  the  Savior ; 
But  she  was  hardly  such  a  one, 

To  judge  from  her  behavior. 

She  played  the  deuce  with  scores  of  men ; 

But  only  to  discover 
That  she  was  left  at  three  times  ten 

With  not  a  single  lover. 


V 

"I  AM  GLAD  '  *' 
TO  RECOMMEND  \^. 
YOUR  WORK  TO 
WOMEN  WHO  NEED  MONEY" 

If  you  are  a  woman  and  need  more 
money,  then  you  will  be  interested 
in  what  we  have  to  offer  you. 

Mrs.  Fannie  Jones,  the  lady  whose 
picture  you  see  above,  is  very  en- 
thusiastic over  our  money  making 
plan  for  women.  She  heartily  rec- 
ommends it  to  every  woman  who 
may  be  in  need  of  an  increased 
income. 

Time  and  time  again  we  have 
proved  that  it  requires  no  previ- 
ous business  experience  to  make 
money  with  us.  It  is  the  rule  and 
not  the  exception  for  a  new  worker 
to  earn  from  75  cents  to  $2.50  an 
hour  from  the  start. 

YOU  CAN  MAKE  GOOD  TOO 

No  matter  what  your  position  in  life 
may  be,  there  is  a  place  for  you  on 
our  staff  to  make  money.  You  might 
be  a  busy  mother,  a  stenographer  or 
clerk,  a  school  girl  or  young  lady 
engaged  to  marry — if  you  want  more 
money,  we  can  show  you  how  to  get 
it   without   a   cent   of   expense   to  you. 

This  is  your  big  opportunity. 

The  work  we  will  give  you  to  do  is 
not  hard.  Because  others  on  our 
staff  like  it,  we  feel  sure  you  will 
like  it  too.  If  you  enjoy  calling  on 
your  friends  and  acquaintances  and 
talking  to  them  about  clothes,  beauty 
secrets,  or  moving  pictures,  then  we 
are  positive  you  will  enjoy  working 
for  us. 

Briefly,  the  work  is  taking  subscrip- 
tions for  the  Motion  Picture,  Classic, 
Shadowland  and  Beauty — the  fastest 
growing  group  of  magazines  in  the 
field   today. 

Everything  that  you  will  need  to  work 
with  is  furnished  absolutely  free.  In 
addition  we  will  send  you  a  little 
booklet  giving  full  instructions  for 
carrying  on  the  work. 

Do  you  want  more  money?  Then  send 
in    the   coupon    today. 

■cut  here  ■ 
Subscription  Department 

BREWSTER   PUBLICATIONS,   Inc., 

175  Duffield  Street, 
Brooklyn,    N.    Y. 

I   am   interested   in   having-  more  money. 
Please  tell  me  about  your  plan. 

Name. 

St.   and  No. 

City : State. 


(Ninety) 


Manufacturers,  Distributors 
and    Studios    of 
Motion  Pictures 

Outside  New  York  City 


•  i'  hi     Film     Co.,     6227     Broadway, 
Chicago,   111. 

State    Film    Cn  ,    1  [ollj  wood,    * 
Bennett,  Chesl  3800  Mission   Rd., 

Los  Angeles,  Calif. 

>tudios,  Inc.,  184S  Alessandro  St., 
I  os  Angeh  -.   i  lalif. 

irj     Comedies,    6100    Sunset     Blvd., 
Hollywood,   Calif. 

Ii  -    Chaplin    Studios,    1420    I  a 
\\r  .    Los    Vngeli  s,   ( lalif. 
Christie    Film    Corp.,   6101    Sunset    Blvd., 

Hollywood,  Calif. 
Commonwealth    Pictures    Corp.,    220    So, 
State  St.,  Chicago,   111. 

in,  Jackie,  Prod.,  5341   Melrose  Ave., 
Los    \ngeles,  Calif. 

Dwan,  Mian,  Prod.,  66-12  Santa  Monica 
Blvd..  Hollywood,  Calif. 

Famous  Players  Laskj  Stndi>>>,  1520  Vine 
St.,   Hollywood,  Calif. 

Ford,  Francis,  Prod.,  6642  Santa  Monica 
Blvd.,   Hollywood,   Calif. 

Fox  Studios.  1401  Western  Ave.  Holly- 
wood, Calif. 

Goldwyn    Studios,   Culver   City,   Calif. 

Hart.  William  S..  Studios.  5544*4  Holly- 
wood Blvd.,  Hollywood,  Calif. 

Ijicc   Studios,   Culver    City,   Calif. 

Leah    Baird    Prod..   Culver   City,  Calif. 
Lloyd,  Harold,  Prod.,  Hal   Roach  Studios, 

Culver  City,  Calif. 

MacDonald,  Katherine,  Prod.,  945  Girard 
St..   Los   Angeles,   Calif. 

Mayer,  Louis  B.,  Studios,  3800  Mission 
Rd.,   Los  Angeles,  Calif. 

Metro  Studios,  1025  Lillian  Way,  Los  An- 
geles,  Calif. 

Morosco.  Oliver,  Prod.,  756  So.  Broadway, 
Los  Angeles,  Calif. 

Pacific  Studios,  San  Mateo,  Calif. 

Pathe  Freres,  1  Congress  St.,  Jersey  City, 

X.   1. 

Ray,   Charles.    Studios,    1425    Fleming    St., 

Los  Angeles,  Calif. 
Roach,  Hal  E.,  Studios,  Culver  City,  Calif. 
Rohertson-Cole    Studios,    780    Gower    St., 

Los  Angeles,  Calif. 
Roland,  Ruth,  Prod.,  Culver  City,  Calif. 

Sennett,     Mack.     Studios,     1712     Glendale 

Blvd.,   Los  Angeles,   Calif. 
Stahl,  John  M..  Prod..  3800  Mission  Rd., 

Los  Angeles,  Calif. 
Stewart,   Anita,    Prod.,   3800   Mission   Rd., 

Los  Angeles,  Calif. 

Talmadgc   Prod.,  5341    Melrose  Ave.,  Los 

Angeles,  Calif. 
Tourneur,    Maurice.    Prod.,    Ince    Studios, 

Culver   City,   Calif. 

United   Studios.   Inc.   T.n<    Angeles,   Calif. 
Universal    Studios,    Universal    City,    Calif. 

Vidor,   King,    Studio.   7200    Santa    Monica 

Blvd..   Los    Angeles.   Calif. 
Vitagraph     Studios,     1708    Talmadge    St., 

Hollywood,  Calif. 

Warner    Bros..    Bronson    Ave.  and    Sunset 

Blvd..  Hollvwood.   Calif. 
Weber.  Lois,  Prod.,  6411  Hollywood  Blvd., 

Hollywood.  Calif. 
Wharton,   Inc.,  Ithaca,  New   York. 


A  telephone  personality 


In  your  face  to  face  contacts 
with  people,  your  appearance,  your 
bearing  and  many  other  things  help 
you  to  make  the  right  impression. 
But  in  your  telephone  contacts 
there  is  only  one  thing  by  which 
you  can  be  judged — your  speech. 

An  effective  telephone  person- 
ality is  to-day  a  business  and  social 
asset.  Everybody  appreciates  the 
person  who  speaks  distinctly  and 
pleasantly,  neither  too  fast  nor  too 
slow,  with  a  clear  enunciation  of 
each  word,  with  lips  facing  the 
mouthpiece  and  speaking  into  it. 
In  business,  this  is  the  telephone 
personality  which  induces  favorable 
action  on  the  part  of  the  listener. 
To  the  salesman  it  may  mean  the 
difference  between  an  order  and 
no   order;    between   an   interview 


granted  and  an  interview  refused. 

Curiously  enough,  people  who 
are  careful  to  make  themselves  ef- 
fectively heard  and  understood 
face  to  face,  often  disregard  the 
need  for  effectiveness  in  their  tele- 
phone speech.  Perhaps  they  shout, 
perhaps  they  mumble,  perhaps  they 
hold  the  mouthpiece  far  from  their 
lips.  And  frequently  they  never 
realize  that  their  carelessness  has 
defeated  the  purpose  of  their  talk. 

The  Bell  System  maintains  for 
telephone  users  the  best  facilities 
that  science,  modern  equipment, 
skilled  operation  and  careful  man- 
agement can  bring  to  telephone 
speech.  But  these  facilities  can  be 
fully  effective  only  when  they  are 
properly  used. 


"  Bell  System  " 
American'Telephone  and  Telegraph  Company 
And   Associated    Companies 

One    Policy,    One    System,    Universal    Service,    and    all    directed 
toward  Better  Service 


REAL  PHOTOS 

OF    YOUR    SCREEN    FAVORITES 


oogn  tkh 


VOU.dmirf  rsof  the  .|cvcr  »ci  eon  .tars,  just  if  Ii 

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return  mall,  Renuinc  photo*  of  your  Movie  Favorites,  size  8x10, 
in  nrik-inal  poses  bv  the  Stars"  They 
are  beautiful  and  life-Use.  Wondor- 
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12forS5.00.  Make  your  selection 
NOW  from  this  list. 
Wallace  Reld  Jackie  Cooiran 

Pola  Nejrri  Clara  K.  Young" 

Mary  Miles  Minter    Frank  Mayo 
Mabel  Normand  Katherine 

Milton  Sills  McDonald 

Mary  Pickford  Mae  Murray 

pson  Charles  Ray 

Anita  Stewart  Nazimova 

Norma  Talmadlte      Charles  Chaplin 
Tearl    White  Marion  Davie* 

Earle  Williams 
Rodolph  Valentim 
or  any  of  the  other  popular  stars. 
50c  Each -12  for  So. OO 
Money  cheerfullyrefunded  I  f  not  satisfactory.  Send  moneye-rder, 
U.S.  bills  or  U.S.  stamps  with  name  and  address  plainlv  ■ 
S.  BRAM.     Deot.   133.     209  W    48th  Street.  New  York  City 
Sixoiof  prirrs  fa  d-.il.r. 


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L'l'P  It 

Cfuaran 
'  rlnjr. 

TALC    t.  ^vy    fiotolirSoo.  Alloa 
long  credit.    Wonderful  value*. 
Est.  1890   Address  Dapt. 625 


Baer  Bros.  Co. 

6    MAIDEN     LANE-    NEW  YORK 


(Ninety-one) 


WRITE  FOR  THE  MOVIES 

TURN  YOUR  TALENT  INTO  MONEY 


A  valuable  money  making-  field 

Try  it!    Mail  us  an  idea,  in  any  form,  at  once  for  J 
fret  examination   and  criticism.     We  give  our  hon- 
test  services  to   amateurs  who  would   convert  theirj 
thoughts    into   dollars.     No   experi- 
ence necessary. 
F"SHT*      Frit    booklet  sent  on  request. 
Cosmopolitan  Photoplay  Studio 
1S4  Nassau  St.,  New  York 
Suite  624,  Dept.  G. 


ASTOUNDING  OIFER? 

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mond ATOXCE.  Wear  it  SQdays.  Take  four  iull  weeks 
toconvince  yourself  thai  it  looks  emd  trill  wear  like  a 
solid  platinum  ring  worth  SXSO.OO  and  thai  you  can* 
not  duplicate  our  value  anywhere.  Then  payonly 
#/.«  a  month  untilvouhavepa.idonlgti9.60,  Ihrlowest 
price  at  which  thisrinp  has  erer  been  sold.  Otherwise 
return  ring  to  us  and  we'll  refund  money  by  return 
mail.  On  I  n  a.  limited  number  sold  on  this  plan-rush 
your  dollar  TOD  A  Y I 

Address  Dept.  S5-J 


O.&.flale&CojSi 

21-23  Maiden  Lane   NewYorlv 


Current  Stage  Plays 

(Continued  from  page  6) 

Palace. — Keith  vaudeville.  The  home  of 
America's  best  variety  bills  and  the  fore- 
most music  hall  in  the  world.  Always  an 
attractive    vaudeville   bill. 

Playhouse. — "Up  She  Goes"  is  a  musical 
version  of  Frank  Craven's  "Too  Many 
Cooks."  The  company  is  headed  by 
Donald  Brian  and  Gloria  Fay.  Fair  en- 
tertainment. 

Plymouth. — "The  Old  Soak,"  by  Don 
Marquis.  The  hit  of  the  season  so  far. 
Another  "Lightnin'."  Beresford  in  the 
title   role   is   particularly   engaging. 

Princess. — "Papa  Joe."  Mr.  Malatesta 
in  an  amusing  character  study  of  Italian 
life. 

Republic.  — ■  "Abie's  Irish  Rose."  An 
amusing  study  in  temperaments  and  the 
reconciliation  of  the  irreconcilable — that  is, 
the  Irish  and  the  Jews  join  hands. 

/vV/.rr.  —  "The  Enchanted  Cottage."  A 
charming  dream-type  of  drama  by  Sir 
Arthur  Wing  Pinero.  It  is  an  adventure 
into  the  realm  of  phantasy  that  succeeds 
in  enchanting  every  one  who  sees  it. 

Shuhcrt. — "Peer  Gynt."  Joseph  Schild- 
kraut  is  not  yet  mature  enough  to  play 
this,   he  makes   Peer  a  spoiled  boy. 

Thirty-ninth  Street.  —  Louise  Huff  in 
Rachel  Crothers's  new  play,  "Mary  The 
Third."  Miss  Crothers  reverses  the  old 
theme  whose  slogan  is,  "For  the  Children's 
Sake." 

Times  Square. — "The  Fool."  Unreal, 
impossible  and  moral  too  evident,  but  extra 
matinees  have  to  be  given  to  take  care  of 
the  crowds — so  there  must  be  something. 

Vandcrbilt. — "Elsie."  Another  •  musical 
comedy,  with  the  advantage  of  having  its 
musical  score  written  by  Sissle  and  Blake 
and  Carlo  and  Sanders. 


ON  TOUR 

"Anna  Christie."  Eugene  O'Neill  at  his 
best.      Worth    seeing. 

"A  Bill  of  Divorcement."  A  serious 
and  well-acted  drama. 

"Bombo."    Good  music  and  new  jokes. 

"Bulldog  Drummond."  A  mystery  play 
everyone  will  like. 

"Dulcy."  Demonstrating  that  beauty 
triumphs  over  brains. 

"Good  Morning,  Dearie."  Excellent 
musical   entertainment. 

"Lawful  Larceny."  A  crook  melodrama. 
Fair. 

"Make  It  Snappy."  Eddie  Cantor  is 
the   whole   show. 

"Nice  People."     A  comedy  of  manners. 

"Partners  Again."  A  Potash  and  Perl- 
mutter  comedy. 

"Red  Pepper."  A  typical  Mclntyre  and 
Heath  entertainment. 

"Sally."  One  of  the  best  musical  shows 
ever   written. 

"Shore  Leave."  Frances  Starr  weeps 
less   than   usual. 

"Six  Cylinder  Love."  A  domestic 
comedy  with  a  moral. 

"The  Circle."  An  excellent  comedy 
with   an  all-star  cast. 

"The  Gold  Diggers."  A  snappy,  color- 
ful comedy. 

"The  Hairy  Ape."  The  tragedy  of  a 
stoker.     Excellent. 

"The  Merry  Widow."  A  musical 
comedy   revival   that   is   making  good. 


OPPORTUNITY    MARKET 


AGENTS  WANTED 


Sell  Guaranteed  Hosiery.  Lowest  prices.  Sam- 
ple Outfit  FREE,  witii  patented  Demonstrator 
Sample  Case.  50  percent  more  sales  guaranteed, 
i"  i  i>i)     Bros.,     54-F     Burnside    Ave.,     New    York. 


HELP  WANTED— MALE 


Railway  Mail  Clerks  :md  other  Government 
positions  open.  Write  for  Free  List.  United 
Civil  Service  Training  Inst..  215-F  Dinan  Build- 
ing,  Detroit,   Mien. 

BECOME   A    LANDSCAPE   ARCHITECT!      Big 

salaries  paid,  very  fascinating  work.  We  tell 
yon    how.       Write    at     once!       Landscapers,     i-'T 

Union    League    Building.     Los     Angeles.     California. 

MOTION  PICTURE  BUSINESS 


$35.00  PROFIT  NIGHTLY.  Small  capital  starts 
yon.  Outfits  sold  on  installments.  No  experience 
needed.  Our  machines  are  used  and  endorsed  by 
Government      institutions.      Catalo       B  Atlas 

Moving    Picture   Co..    4J6    Morton    Rldg.,    Chicago. 

NEWS  CORRESPONDENCE 

EARN  $'ir>  WEEKLY,  spare  time,  writing  for 
newspapers,    magazines.      Experience    unnecessary; 

details  tree.     Press  Syndicate,   560,   St.  Louis,   Mo. 

OLD  MONEY  WANTED 


$2  TO  S500  EACH  paid  for  old  Coins.  Keep  all 
old  or  odd  money.  It  may  be  very  valuable.  Send 
10c  for  Ill's  Coin  Value  Book.  4x6.  Get  posted.  We 
pay  rash.    Clarke  Coin  Co.,  Ave.  11.   Le  Roy,   N.  Y. 


PATENTS 


PATENTS.  Write  for  Free  Illustrated  Guide 
Book.  Send  model  or  sketeh  for  free  opinion  of 
its  patentable  nature.  Highest  references.  Prompt 
Attention.  Reasonable  Terms.  Victor  J.  Evans  & 
Co..   621    Ninth,    Washington,   D.   C. 

PERSONAL 


ARE      YOU     BASHFUL,      SELF-CONSCIOUS, 

easily  embarrassed'.'  These  troubles  overcome. 
Send  dime  for  particulars.  L.  Veritas.  14011 
Broadway,     New    York. 


PHOTOGRAPHS 


Real  Mexican  Beauties.  Send  dollar  bill  for 
sample  assortment.  Aztec  Art  studios.  Apartado 
sto,    Dept.   G,   Tainpieo.    Mexico. 


PHOTOPLAYS 


Photoplays  wanted  for  California  producers; 
also  Magazine  Stories,  etc..  for  publication.  To 
beginners,  Plot  Chart  and  Details  Free.  Harvard 
Company.    '.JL'o,    San   Francisco. 

SS$  For  Photoplay  Ideas.  Plots  accepted  any 
form :  revised,  criticised,  copyrighted,  marketed. 
Advice  free.  Universal  Scenario  Corporation,  263 
Western    Mutual    Life    Bldg..    Los    Angeles. 


SHORT  STORIES 


EARN  $25  WEEKLY,  spare  time,  writing  for 
newspapers,  magazines.  Experience  unnecessary: 
details    free.     Press    Syndicate.   560    St.    Louis.    Mo. 

Stories    and    Photoplay    Ideas    Wanted    by    48 

companies:  big  pay.  Details  free  to  beginners. 
Producers'     League.    441.    St.    Louis.    Mo. 

Stories,  Poems,  Plays,  Etc.,  are  wanted  for  pub- 
lication. Good  ideas  bring  big  money.  Submit 
MSS.  or  write  Literary  Bureau,  134  Hannibal,  Mo. 

FREE  TO  WRITERS— A  wonderful  little  book 
of  money-making  hints,  suggestions,  ideas;  the  A 
P,  c  of  successful  story  and  movie  play  writing. 
Absolutely  Free.  Just  address  Authors'  Press, 
Dept.    14,    Auburn,    N.    Y. 


VAUDEVILLE 


GET  ON  THE  STAGE.  I  tell  you  how.l  Per- 
sonality, confidence,  skill  developed.  Experience 
unnecessary.      Send     6c     postage     for     instructive 

illustrated'  Sta^-e  Book  and  particulars.  O. 
LaDelle,   Box   5o7,   Los   ADgeles,    Cal. 


(Nincty-tii'o) 


Water- 
Wave 
Your 

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A  Nmc 

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Weymer  Magnetic 
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.\ir     scientifically     treated     comba     which 

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ll.MK      while     you     are     dressing         NO 

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lete  head  with  full  directions  by  mail 

$3.00.     Or  12  combs  (6  pair)  by  mail  $2.00. 

LCticn   guaranteed.     Write   today. 

WEYMER  WAVER    COMPANY 

Dopt.  10.    551E.i-.t47th  Street.  CHICAGO.  ILL. 


wporfluoajHAIRallGONE 


Forever  removed  by  the  Mahler 
Method  which  kills  the  hair  root 
without  pain  or  injuries  to  theslcin 

0  the  privacy  of  your  own  home 

SriKi  today  3  stamps  for  Frit  ZBookl't 

1  J.  MAHLER  CO.,  <6-B  Mahler  Park,  Providence.  R.  I. 


DEAFNESS      IS     MISERY 

I  know  beciuse  I'was  Deaf  ano  hid  Head  Noises 
(or  over  30  vein.  My  invisible  Antiseptic  Ear 
Drums  restored  my  hearing  and  stopped  Head  Noises, 
and  will  do  it  for  you.  They  are  Tiny  Megaphones. 
Cannot  be  seen  when  worn.  Effective  when  Deafness 
is  caused  by  Catarrh  or  by  Perforated,  Partially  or 
Wholly  Destroyed  Natural  Drums.  Easy  to  put  in, 
easy  to  take  out.  Are  "Unseen  Comforts."  In- 
expensive Write  for  Booklet  and  my  a  won* 
statement  of  how  I  recovered  my  hearing. 

A.  O.  LEONARD 

Suite  vl    70  Sth  Avenue         • 


New  York  CUT 


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STERLING 


DIAMOND 
8.  WATCH  CO 


Lstabllshed   1879  Sl.UOO.OOO  Stock- 

63  Park  Row-Dept  si 7  -New  York 


"  I  In-     M..::    |.  i    "        A     hOI  I 

mi  lodrama 

"  I  In     Pa    ing    i  how    ui    1921  " 
and  •■.in  i  ■ 

"  I  In    Ti  mil   about    lil.twl .."     A   i  .nil.  iK 
th.it   u  ill   pit  .ii    the   intelligi  i 

"To  Love."     Kn  excellent  ti  iangli    plaj 
i  ii .H  i      George,      Noi  man      I  inm      and 
Kniii  1 1  \\  .ii  wick  are  ili>-  compli  i< 


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THE  VIOLET  SPEAKS 

Bj    Doris   Kenvon 

Sister,   it   is  time   to  wake; 

On  the  hillside  runnels  break 

Their    long    ice-bound    sleep,   to    find, 

At  the  kiss  of  Mm  and  wind, 

Once  again  the  laughter  lo>t 

Mid  December's  blight  and  frost. 

thy  dreaming,  sister  dear; 
April's  tear-washed  skies  are  near, 
And  already,  all  day  long, 
Blue-birds  lift  a   venturous   song. 
Waken,    it    is    time    to 
Where    the    crocus,    thru    the    snow. 
Pushes   its  brave  head  of  gold 
Upward   thru  the   sleet   and  cold. 
Warmer  airs   shall   breathe   again, 
Mists   of   green   with    fragrant    rain 
Drift  ;ilnng  the  slumbering  hills, 
Where   the   morn    its    incense   spills. 

Waken,    sister,   wake   and    see 
How  the  young  year's  prophecy 
Of   fresh   fields  and  leafy  dells, 

Tendriled  vines  and  attared  bells, 
Even   now   begins   to  bear 
Sweet   fulfilment  everywhere. 


THE    CONCERT 

By  BuKt.ii  ii  ii   I  i  nubf.ro  Lee 

I   will  not  heed  this  tin 
Low     and    vibrant, 
iantly  sweet — 
I   shall  whisper 
A   platitude 
To  mj    companion — 
I   shall  not  listen. 
W'hu  is  he, 

Tins  player  with  souls, 
That   he   should    have   the   power 
To  make  my  heart  cry 
As  if  in  pain? 
I    shall   laugh  aloud  — 
Strike  a  discordant  note, 
In  all  this  sweetness — 
I   will  not  bare  my  soul 
For  everyone  to  see. 


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■  •ii  :i  notind  -  nni  in.-  principle     when  appUed 
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SUADOWLAND 


T  T  contains  articles  on  the  stage,  music,  art  and  books;  reproductions 
■*-  in  colors  of  pictures  by  foremost  artists ;  humorous  cartoons  and 
delightful  verse,  in  every  issue.  A  few  of  the  things  appearing  in 
Shadowland  for  June  are: 

'M.eister  Liszt,  the  Man 

Reminiscences  of  the  great  pianist  and  composer,  Franz  Liszt,  by 
one  of  his  pupils. 

Our  Standard  Bearers 

Thyra  Samter  Winslow,  the  author  of  Picture  Frames,  discusses 
the  change  in  standard  from  our  great-grandmother's  day  to  the 
present  time. 

On  the    \v  atermelon-seed  Circuit 

An  amusing  account  of  the  motion-picture  invasion  into  China  and 
the  enthusiasm  with  which  it  is  received. 

a  he  American  Short  Story 

The  peculiarities  of  certain  well-known  purveyors  of  short  fiction  are 
gently  satirized  by  R.  le  Clerc   Phillips,   English  writer  and  critic. 


June 


SUADOWLAND 


June 


utneo 

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Informal  SNAPSHOTS  of  MOVIE  STARS 


iriMiiud  ('ic  irudiui  »ilh  a  kodA  They  will  til  in  «  .rh  your  own  snapihois  >m 
ou  lev  than  you  would  pay  to  have  your  own  films  developed  and  printed  Sent 
inly  25  COWS  foi  ANY  lil  of  (he  following  [or  50  cent*  for  ail  i 

Wanoa  Hawut  ChaiueChafiui  Rnooirii  Valentino 

Jackie  Cuqcan  M«c  muuai  ur-ici  D*m 

Anita  Stfwa»j  Wallace  Rxid  AdNBi  Aveu 

Hawilo  l.u-ivo  Bill  Hart  L-imu  HucuE* 

Charlie  Ray  Claea  Kimball  Young  TOM  Mia 

eiCC&LANPHER  CO.  101  booth  UJJ  SUtcl.  U*  Aattk*  CaliL 


Advertising  is  the 
Sunlight    of    Business 

To  all  that  is  healthy  and  vital  in 
business,  it  means  increased  strength 
and  growth ;  but  advertising  is  a  fierce 
heat  which  withers  and  consumes  that 
which  is  unsound. 

A  business  which  is  not  a  good  business 
should  not  be  advertised.  A  business  which 
would  not  benefit  from  widespread  appre- 
ciation of  its  ideals  had  better  acquire  a 
new   set   of  ideals. 


A  PERFECT  NOSE  FOR  YOU 

"^iiuiiii 


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Whose  Fault   Is  This— 
Star,  Director,  or  Both? 

HI,  ho!  What  do  you  mean  Mr. 
Star,  using  a  pick  and  shovel, 
as  an  oil  scout  ?  In  view  of  the 
fact  that  oil  is  found  at  depths  of 
from  three  to  five  thousand  feet,  a 
derrick  is  used  to  drill,  and  it  some- 
times takes  a  year  before  pay  sand  is 
hit.  This  picture  was  shown  in  Tulsa, 
Oklahoma,  and  surrounding  towns. 
The  laugh  is  on  you. 

^sop,  the  wise  old  owl  of  Greece, 
once  said,  "Know  thyself."  Had  he 
lived  in  this  movie  age,  he  might  have 
changed  it  to,  "Know  thy  subject,  be- 
fore portraying  it." 

Who  ever  saw  a  fireman  coming  in 
from  a  long  trip,  without  a  speck  of 
smudge  on  his  face,  and  lily-white 
hands  nicely  manicured?  If  Maurice 
Barrymore  were  alive  today,  would 
he  or  any  of  the  old  school,  do  these 
things?  Even  among  our  best  of  this 
decade,  Guy  Bates  Post,  or  Tyrone 
Power,  the  smallest  detail  would  be 
correct,  because  they  are  not  of  the 
mushroom  variety.  I  saw,  with  my 
own  face  and  eyes,  a  typewriter  which 
lias  not  been  used  in  large  offices  since 
about  1900,  fa  blind  machine)  used 
in  a  late  picture.  What  office  girl  or 
boy,  would  not  notice  this  error? 

I  repeat,  what  d'you  mean?  If  you 
are  getting  five  thousand  dollars  a 
week,  six  square  meals  a  day,  eight 
days  a  week,  why  not  take  a  vacation, 
and  find  out  how  things  are  done  in 
real  life — not  reel  life?  Barnum  once 
said  the  public  loves  to  be  fooled. 
Yes,  perhaps,  but  dont  get  caught  at 
it.  For  the  blue-eyed  boy,  at  a  million 
a  year,  is  putting  a  screen  nail  in  his 
coffin,  every  time  these  mistakes  are 
made. 

Listen  to  this,  O  ye  Australian 
Crawlers  !  A  swimmer  was  swimming 
the  breast  stroke,  and  1"*  caught  a 
man  swimming  the  Australian  crawl. 
This  simply  ain't  done. 

In  a  court-room  scene,  the  defend- 
ant is  locked  in  a  cage,  on  the  other 
side  of  room  from  the  attorney,  who 
was  obliged  to  cross,  every  time  he 
conversed  with  his  client,  and  a  mur- 
der trial  at  that.  If  the  writer  does 
not  understand  his  subject,  the  long 
envelope  is  returned  with  a  "not 
suited  to  our  magazine"  inclosed  slip, 
a  most  depressing  sight ;  but  when  a 
celebrity  makes  a  picture  of  a  peniten- 
tiary scene,  without  ever  having  been 
even  in  a  real  honest  to  goodness  jail. 
the  dear  public  pays  out  their  hard- 
earned  shekels,  to  be  humbugged.  Is 
this  fair? 


I  ask  you,  is  it? 


Gene. 


(Ninety-four) 


I  he  Remedy  Foi   ( Censorship 

mtinued  from  page  11) 

were  i  Jeneral  Charles  II  *  '>!<■. 
fudge  Edward  B.  ( )'Brien,  the  I  [on- 
orable  William  1 1.  Carter  and  Mrs. 
Alfred  I  I  eatherbee.  Business  men, 
bankers,  professional  men  and  worn 
en,  labor  leaders,  ex  sen  ice  nun, 
club  women,  teachers  and  clergymen 
all  united  to  help.  These  united  t<> 
make  it  clear  to  the  voters,  men  and 
women  both,  that : 

i  !  )  "Censorship  means  thai  one  man  can 
determine  what  everyone  in  Massachusetts 
can  see.  What  man  i->  big  enough  and 
wise  enough  to  have  tlh^  power?  Are  we 
mi  weak  and  pictures  so  bad  that  cur  right 
oi  selection  shall  be  taken  from  u^? 

i  nsorship  mean-  fewer  pictures, 
advanced  prices  and  uninteresting  amuse- 
ment. 

(3)  "Present  laws  fully  protect  the  situ- 
ation and  prevent  the  showing  of  anything 
that  is  obscene,  indecent,  immoral  or  harm- 
ful. 

(4)  "Back  of  it  all  is  the  age-old  desire 
of  a  self-selected  few  to  run  a  community 
and  compel  all  people  to  do  their  will.  It 
is  not  the  common  good  that  the  reformer 
i-  concerned  about.  It  is  his  selfish  desire 
to  compel  everyone  to  adopt  his  peculiar 
standard-  and  ideals.  The  censor  who 
Ueves  that  adventure,  dancing,  cards  and 
the  showing  of  modern  life  is  wrong,  will 
classify  them  as  immoral  and  forbid  their 
showing  on  the  screen.  If  the  D 
narrow  and  bigoted  we  will  be  allowed  to 
see  nothing,  and  if  he  be  broad  and  care- 
less we  maj  see  things  which  present  laws 
make    impossible. 

(5)  "If  we  deliver  up  our  right  of  selec- 
tion   we    will    soon    be    ruled    entirely    by 

■  us  and  deprived  of  that  liberty  which 
h  is  made  our  country  possible.  There  may 
occasionally  be  pictures  which  are  open  to 
just  criticism  and  which  could  easily  be 
stopped  by  anyone  interested  enough  to 
bring  complaint  to  the  local  authorities. 
There  is  no  reason  or  argument  for  over- 
turning the  right  of  individual  selection 
by  the  establishment  of  censorship." 

What  was  the  result  of  this  en- 
lightened appeal  to  the  puhlic  intel- 
ligence: It  was  amazing.  According 
to  the  Boston  Transcript,  a  very  con- 
servative hut  a  very  great  newspaper  : 

"In  Massachusetts,  for  the  first  time  in 
the  United  States,  a  proposal  to  establish 
a  State  Censorship  of  Motion  Pictures 
came  to  popular  vote  and  was  rejected  by 
a  threefold  majority.  Such  a  defeat  of 
one  more  effort  to  regulate  the  pleasures 
of  a  contented  many  according  to  the  idea 
of  an  insistent    few  speaks   for  itself. 

The  remedy  for  censorship  is  now 
entirely  clear.  Organize  to  tight. 
Form  a  club  against  censorship  in 
your  own  home  town.  Go  to  your 
local  theater  owner  and  ask  his  help. 
particularly  if  you  need  a  meeting 
place.  Boost  good  pictures.  Stay 
away  from  the  poor  ones.  Co-operate 
with  your  state  organization.  If  you 
haven't  one,  create  one  as  they  did  in 
Indiana.  There  a  voluntary  state  or- 
ganization, in  return  for  the  co-opera- 
tion of  theater  owners,  recommends 
good  pictures. 


You  Can  Easily  Learn  to  Play  Any  Music  on  the 

HAWAIIAN  GUITAR 

Just  As  Hawaiian*  Do  -  Native  Instructors  Toaeh  You  QUICKLY! 


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HeTt'$cpTOofof  OUT 
Remarkable  Count 

H...  h.non.  V. 

vatuM  •  ■ 
It  ha-  t>rrn  two  m.xitha 
attire  1  hava  flni.hrj 
pour  eojarM  on  the  lit 
wallattlimtar  * 
play  anything  1  wish 
Tro-  OOUTM  waa  all  that 
i-ouKl  bo  d«-.|ir  I  and  1 
mm  perfectly  plrasr.) 
with  my  ptavlng  ability 
•  lnc«    nolanlng    your 


Koc.ter  School. 
3U  So    Franklin  St., 
Cblcaj 

Flrtt  Hawaiian  Conser- 
vatory of  Mualc.  Inc. 
1  ahall  cartaJnl]  I 

glatitorecommrrui  your 

cootm    whenever    tho 

chance  la  mine  to  do  ao. 
Mr.  W.  K.  Johnaon  haa 
not  phoned  me  yet.  and 
if  he  doea  not  phone  in 
m  day  or  ao.  will  write 
him.    Am  amdinir  a  let- 

:   .-.  HelanSlavIk 

today  which  1  think  may 
hrlp  to  seourr  hrr  *-n- 
rollmant.  and  I  ahall  be 
•rlaii  at  any  time  to 
write  a  personal  letter 
to  anyone  whom  you 
may  Munrrti. 
Your  former  student, 
W.  L.  Walker 


I'm  chanff   y- 
popular  music  quickly  »>n  I  hi  the  age  — 

i.vultan  Guitar  14  muiu'ul  knuwlcdtfr  nrtt-MUry. 

ONLY  FOUR  MOTIONS  TO  LEARN 


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From     $     ounces     to     H 
pound    a   day    melt    away 

.i-  if  hj 

Ra  Zo-Na  In 
warm  water.    Get  In  and 

relax- -that  is  the  secret 
•  arms,  neck,  boat  or  an*  part 

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>rt  Corner  YourFictures-Aibum 


where  poo  can  keep  them  Bit  0  tod 
•Djoy  them  always. 

s  Ef>5>cl 

Styles  | '.ir^rt Corners"}  Copra 
are  on  aale  at  Photo  Supply  and 
Albom  counters  everywhere.  They 
are  the  only  Quick.  Easy.  Artistic, 
No  Paste,  No  Fold  way  to  mount 
Kodak  Prints.  A  dime  briogs  1UO 
wod  samples  to  try.    Write 

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ONLY 


DOWN 


GENUINE 
DIAMOND 

Wrist  Watch 


MOTION    PICTURE   MAGAZINE 
175    Duffield    Street.  Brooklyn.    N. 


I 
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li-JLWtllD 
ADJUSTED 
REGULATED 


This  beautiful  wrist  watch  is  14  Kt.  solid 
gold,  set  with  4  genuine  blue  white  brilliant 
diamonds,  at  a  price  that  we  believe  to  be 
the  lowest  ever  offered  in  the  U.  S.  Send 
only  $2.00  down  as  a  guarantee  of  good  faith 
and  we  will  send  this  bargain  to  you.  The 
14  Kt.  case  is  HAND  ENGRAVED  and  will 
stand  U.S.  Government  assay. Silk  grosgrain 
ribbon  of  the  finest  quality,  with  14  Kt.  clasp 
attached. The  movement  is  15  jeweled  lever, 
adjusted  and  regulated  and  is  guaranteed  to 
give  you  complete  satisfaction. 

Genuine  BlueWhite  Diamonds 


■  «l  i.i  n 


>|.:irklini;.l»riHi:in!.full  nil.  ciiiuinr 

make  thla  il»'"  trr.  tan  -i  bunla  «  *.  m.,*.  m-.  .1. 
[f  roa  can  implicate  ii  (b»  l«  --  than  *<.  Vuo  v. . 

VUl    r.-liiml  ©1  it\    mil    vm    paid.     I>u\   on  our 

to  daya  in  <-  trial  plan      yon  « am  i  I 

Pay  Only  $4.00  Per  Month 

lor  ton  months.  Total  price  onli  S42.00. 
Send  rour  order  nad  are*U  aend  the  arrtal 
watch.  \\«'  bave  onlj  a  limited  huiiiIkt. 
•.o  doii'i  pin  ii  off,  W  rit*'  ti*r  our  biff  i 
tog  of  bargralna  in  dJansoDds,  nratenea. 
Jewelry  i  on  eaaj   oajanents. 

STERLING  w'^c0HN?ct 

Wholesale  Jewelers    Established  1879 
63  Park  Row.     Dept.  919.     NEW  YORK 


(Ninety-five) 


Beau  Brummell 

£iouid  JVail  Polish 

F)R  a  soft,  gleaming  polish  that 
lasts  for  several  days  without  peel- 
ing use  Beau  Brummell  Liquid  Nail 
Polish.  It  protects  the  nails  and  keeps 
the  cuticle  smooth  and  soft. 

And  Beau  Brummell  is  quick.  It 
gives  the  nails  a  delicate  tint  and  a 
wonderful  polish  in  just  twenty  sec- 
onds. Price  50c  at  drug,  department 
stores  or  by  mail. 

Send  a  dime  today  for  a  generous 
sample  large  enough  for  several  de- 
lightful polishes.  And  for  another 
dime  you  will  receive  a  sample  of 
Isabel  Cassidy's  Depilatory  Powder. 

ROELLY  CHEMICAL  CO. 
78  Grand  St.  New  York 


dhnpit  p^AAptiatuxh 

NONSPI  insures   immaculate  underarm 
hygiene— keeps  underarms  free  from 
moisture  and  slightest  taint  of  perspira- 
tion odor.     Used  for  years  by  innumer- 
able women  everywhere — now  consid- 
ered essential  to  good  grooming. 
Easily  applied.    Endorsed  by  phy- 
sicians  and   nurses.      Try    it— you 
will  never  be  without  it. 
SEND  4C    FOR    TESTING    SAMPLE 
SOc    (stoiral  months'   supply)    at  all  Itadint 
toiltt  and  drug  counters,  or  by  mail  [postpaid) 

The  Nonspi  Co.,  2642  Walnut  St. 
Kansas  City,  Mo. 


NONSPI 


^AM  ANTISEPTIC  LIQUIDy^ 


BE  A  CARTOONISvT 


ARTISTS  EARN  BIG  MONEY 

We  can  teach  you  drawing  In  your  home  dur-  \5-3^ 
Ing  spare  time.  Successful  artists  tarn  from 
>4n  to  $250  a  week.  Thousands  of  publishers 
and  advertisers  need  the  work  of  good  artists.  The 
MODERN  METHOD  is  an  easy  way  to  learn  to  draw 
original  pictures.  Write  today  fur  full  particulars  show- 
ing  opportunities   fot    juti.      State    your    age. 

MODERN    INSTITUTE   OF   ART 
Studio  3I0A  7   East  42nd   Street,   N.   Y.  C. 


SMALL 
SIZE 


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TRIAL 


PLATINUM 


14-kt.  Solid  White  Cold  Wrist  -Watch :  latest  Oval- 
Shape.  beautifully  engraved.  Silk  Ribbon  band. 
Guaranteed  Hubs  and  Sapphire  Jeweled  Movement 
and  Perfect  Time-keeper,  in  Velvet  Gift  Box. 
SPECIAL  ADVERTISING  OFFER.  Send  only  $2 
down,  watch  conies  to  you  postpaid,  yon  have  30 
days'  tune  to  decide  ami  convince.  If  you  keep 
nratch,  paj  balance  in  monthly  payments  at  your  own 
terms,  full  price  only  $18  Satisfaction  Guaranteed, 
deposit  promptly  refunded  upon  return  of 
watch      out   stock  la  limited,  ordei    pours  at  once. 

GUARANTY  WATCH  CO.,  Depf.4oN. snsIw %* 


Iris  In 

{Continued  from  page  48) 

tence  may  sound  a  bit  profounel  at 
first,  but  not  to  anyone  who  lias  seen 
"The  Glimpses  of  the  Moon." 
Woof ! 

4*      4*       4* 

The  so-called  tribute  to  Sarah 
Bernhardt  ended  with  the  highly  ap- 
propriate "sic  transit  gloria  niundi." 
"Do  you  .know  what  that  means?'' 
asked  the  movie-audience  mother  of 
her  movie-audience  child:  "No,"  an- 
swered the  little  one,  "what  does  it 
mean?"  "I  dunno,"  said  the  parent, 
mildly  indignant,  "it's  French.  It 
probably  means  'orrewar'  or  'good- 
bye' or  something." 

We'd  like  to  lay  down  a  modest 
waeer  on  her  third  choice. 


There  is  something  particularly 
laudable  in  the  basic  sentiment  of 
"Adam's  Rib."  By  reason  of  his 
Old  World  glamor,  romance  and 
gallantry  (undisputed)  a  handsome, 
exiled,  still  youthful  monarch  wins 
the  favor  of  the  wife  of  a  hard,  two- 
fisted,  steely  -  eyed,  cigar  -  smoking, 
equally  young  he-business  man.  And 
while  Love  is  carefully  toeing  the 
window-sill  for  a  good  take-off  what 
doth  the  busy  business  man  ?  Gad 
sir,  without  once  removing  the  cigar 
from  his  mouth,  he  buys  the  king's 
toy  kingdom  back  for  him  and  sends 
him  packing.  Magnificent,  isn't  it? 
A  true  monument  to  the  Successful 
Americans  of  Today.  Youthful 
Wheat  Wizard  Retains  JJ'ife's  Af- 
fections For  Regal  Ransom. 

And  let  me  tell  you  these,  Mister 
Man.  If  Mahomet  and  Joshua  and 
old  King  Canute  had  had  a  little  red- 
blooded,  modern  American  pep  and 
go,  you  wouldn't  have  seen  them 
take  back  talk  from  any  Law  in  the 
Universe.  No  sir !'  That  mountain 
and  sun  and  ocean  would  have  cut 
out  their  nonsense  and  snapped  into 
it! 

■£■  •£*  >%> 

Well,  as  Jackie  Coogan  said  to 
Charles  Dickens  as  they  were  filming 
"Oliver  Twist,"  "God  help  us,  one 
and  all !" 


MARY 
By  Edgar  Daniel  Kramer 

When  Mary  was  a  little  lass, 
She  wandered  off  to  school, 

And  with  her  went  her  little  lamb- 
Which  was  against  the  rule. 

Now  Mary  is  a  lady  grown. 
And  all  the  lads  are  dafif, 

The  while  they  gaze  in  ecstasy 
At  Mary's  dainty  calf. 


No  Papers  Tlb^GN 

No  References'  * 
No  Red  Tape  v 


Just  Send 
Your  Name 
Well  Send 
The  Pearls 


"  INDESTRUCTIBLE  PEARLS 

Genuine  French  pearls,  imported  from  Paris,  are 
now  offered  to  you  at  importer's  discount 
price.  Former  price  was  S30.00.  They  are 
24  inches  long,  strung  on  silk,  evenly  graduated, 
fitted  with  solid  gold  spring  safety  clasp. 

PAY  ONLY  $1.00  DOWN 

Send  SI. 00  deposit  to  show  good  faith,  or  pay  the 
post-man  SI. 00  on  delivery.  We  will  send  the 
pearls  the  same  day  your  order  reaches  us. 
If  satisfied,  pay  only  SI  .00  monthly  for  ten  months. 

DIAMOND  CLASP  FREE 

Each   purchaser  of  one  of  these  pearl  necklaces 
will  receive  a   14Kt.  solid  white  gold  clasp,  set 
with  a  blue-white  diamond  as  a  free  premium. 
FREE  GIFT  CASE.     The  pearls  come  in  a  hand- 
some gift  case  for  presentation  purposes. 

10  DAYS  FREE  TRIAL 

If  you  return  the  pearls,  we  will  return  your  de- 
posit. They  are  natural  pearl  color,  guaranteed 
never  to  break,  crack,  peel,  or  discolor  and  are  not 
harmed  by  water  or  cosmetics.  Send  your  name 
now  for  this  pearl  necklace.     We'll  ship  at  once 

STERLING   DIAMOND  &.  WATCH  CO. - 

Importers  of  Diaiimttdx  and  Pearls.    Est.  1879 
63  PARK   ROW,       DEPT.9I8  NEW   YORK 


YOUR 

EYES 

CAN  BE 

BEAUTIFUL 


Miracle  of  the  toilette,  as  famous  beauties  call  it  — 
accentuates  the  eyebrows  and  lashes.  Gives  them  a 
lustrous,  luxuriant  beauty.  Remember  that  beauty 
u  ,within  tne  eyes,  that  they  can  transform  your 
whole  face  to  an  appealing  lovliness— therefore  do  not 
neglect  your  eyes.  "MAYBELLINE"  darkens  and 
L  beautifies  eyebrows  and  lashes  instant- 
ly, is  harmless  and  greaseless.  Will  not 
spread  or  smear.  Used  by  girls  and 
women  everywhere.  Each  dainty  box 
.contains  mirror  and  brush.  Two 
shades:  Brown  for  blondes.  Black 
ffor  brunettes.  75c  AT  YOUR  DEAL- 
ER'S or  direct  from  us.  Accept  only 
genuine"MAYBELLINE."  You  will 
be_  delighted  with  results.  Tear  out 
this  ad  now  as  a  reminder. 

MAYBELLINE   CO..    4750-5  6  Sheridan    Road.  Chicago.  III. 


Are  You  Reading 

Magazine" 

July  Issue  on  the  News-stands 
June  6th 


_olitaire  ring  14K 
-      golds.,  guaranteed/ 

UUN   I  SEND  A  PENNY!  Send  only  rii 
address  and  paper  strip  which  fits 
:o  end  around  finger.    When  ring^ 
comes  deposit  only  $2.98 
postman.    We  pay  postage 
ckif  not  delighted 


,  CARAT  RINGS  $2.98.  Not  one  diamond 
nd  has  the  blue,  dazzling  bnl- 
v.  "Luxite  Diamonds."   They're 
,  PERFECT:  few   diamonds  are!     Stand 
d  and  all  other  tests.    Only  experts 
i  tell  you  haven't  paid  $1: 
engraved    vi  ' 


Beautiful   full- 

e   BAR  PIN,  set 

with  Luxite  Diamonds, 

platinoid  finish,  free  with  ring. 


GARFIELD  IMPORTING^.,  '•'g&^JRrc&T- 


(Ninety-six) 


The  Magic  Carpet 

"yOl'  could  sit  on  the  tabled  carpet  of  Bagdad  and  view 

the  world.     In  the  whisk  of  an  eyelash  it  would  carry 

you  any  place  you  wanted  to  go.    All  you  had  to  do  was  wish. 

Advertising  is  a  sort  of  magic  carpet.  Read  it  and  in  the 
twinkling  of  an  eye  you  can  review  the  merchandise  of  the 
world,  pictured  and  displayed  for  your  benefit. 

The  advertisements  introduce  you  to  the  latest  styles — the 
newest  comforts  for  the  home — the  best  of  the  world's  inven- 
tions. They  tell  you  how  to  buy,  where  to  buy  and  when 
to  buy.  They  keep  you  posted  on  things  necessary  to  feed 
and  clothe  you  and  your  family  and  make  you  comfortable 
and  happy. 

Read  the  advertisements  as  a  matter  of  education.  Read 
them  to  keep  abreast  of  progress. 

Read  the  advertisements  regularly. 


(Ninety-seven) 


Only  the  finely  textured 

fengHshClqy 


I  think  most  motion  pic- 
ture actresses  agree  on  one 
point  at  /east;  that  clay- 
ing has  come  to  stay  and 
that  the  best  c/av  by  all 
odds  is  that  creamy  Eng- 
lish Clay,  Terra-derma- 
lax 


Agnes  Ayres 


Claying  is  a  regular  part 
of  my  toilette  routine.  But 
I  use  nothing  but  the 
genuine  English  Clay — 
none  of  the  ordinary  mas- 
sage muds  for  me.  Terra- 
derma-lax  is  superior  to 


them  all 


Corinne  Griffith 


There  are  clays  and 
clays.  I  have  tried  them 
all,  but  have  found  none 
to  compare  with  the  im- 
ported English  Clay, 
Terra-derma-lax 

Marie   Prevost 


Clay?  Of  course  I  do. 
What  woman  doesnt 
•who  wishes  to  look  her 
loveliest  at  all  times?  But 
experience  has  taught  me 
to  use  nothing  but  the  pure 
English  Clay,  Terra- 
derma-lax  I  believe  it  is 
called.  I  have  found  it 
vastly  superior  to  all 
others 


Enid  Bennett 


EDWARD    LANGEB    FEINTING    CO..   INC., 
JAMAICA,     NEW     YORK    CITY. 


is  good  enough 
for  madame's  face 

'By  Martha  Ryerson 

245  Oxford  Street,  London,  W.  I.,  England 

Every  woman  who  prizes  a  beautiful 
complexion  should  clay  at  least  once  each 
week,  but  she  should  be  very,  very  par- 
ticular in  her  choice  of  clays;  she  should 
use  nothing  but  the  silky-textured 
Terra-derma-lax,  imported  from  England. 

This  English  Clay  has  skin-vitalizing 
power,  a  magnetic  quality  which  is 
totally  lacking  in  the  domestic  massage 
muds  now  flooding  the  market.  Andit  is 
absolutely  harmless  to  the  most  delicate  skin. 

When  applied  to  the  face  with  the  fi  nger- 
tips,  this  English  Clay  dries  quickly  in 
a  firm,  tingling  mask.  Forty  minutes 
later  it  is  whisked  away  with  a  moist  towel 
and  the  miracle  of  skin-beauty  is  complete. 

What  happens  is  really  this :  the  gentle 
magnetic  action  of  Terra-derma-lax 
cleanses  the  skin  perfectly,  cleanses  it 
in  a  way  that  no  amount  of  scrubbing 
with  soap  and  water  or  cold  cream  can 
cleanse  it,  drawing  out  from  each  tiny 
pore  every  dirt-speck,  blackhead,  per- 
spiration-clot, and  impurity  that  causes 
faulty  complexions. 

Get  the  English  Clay  habit;  actresses, 
society  women,  everyone  who  values 
youth  and  beauty  has  acquired  it.  Clay 
with  Terra-derma-lax  at  least  once  each 
week,  twice  is  not  too  often,  and  you  can 
have  a  gloriously  young  complexion,  the 
envy  of  all  your  friends. 

For  the  daily  cold  cream  bath  —  use  Terra-derma 
Creme,  the  Beauty  Twin  to  Terra-derma-lax — the 
English  Cold  Cream  with  an  English  Clay  base.  In 
its  velvety  softness,  this  cold  cream  is  unequaled  by 
any  other  product  on  the  market.  It  has  the  quality 
of  imparting  to  the  skin  its  own  exquisite  texture. 

For  sale  by  all  druggists  and  department  stores.    Tcrra- 
derma-lax,  $/.  Terra-derma  Creme  in  porcelain  jugs,  $1 

Terra-derma-lax 

ctht'English  Beauty  Clay 

(Ninety-eight) 


WT-TC^F 


llll      I  I  I      I  I     I 


!  I  I  1  I  I   I  '   I  >  ..  I   I  11  I   I   <  I  I  I   I  t  I  II  I  I  ft  II  i  II  .1   .    •  1  I   I   I       . 


You  need  not  be  embarrassed! 


When  you  go  to  the  beach  iln->  summer,  are 
you  u;(,iii^  tn  be  afraid  t<>  raise  your  arm? 
\ u-  you  going  t<>  shrink  from  the  scrutinizing 
glance  oi  your  t  riends? 


\       \'Ui  going  !'•  permit   unsightly  hair  on 

your    face,    arms,  underarms    .m<i    limb* 

spoil   the   freedom  which  awaits  you   at   the 
beach? 


Stillman's  Freckle  Cream 

Get  some  now ! 

Enter  the  freckle  contest  this  summer!   Prizes  to  103 
girls  who  have  the  greatest  number  of  freckles  to  lose. 

Start  any  time.  Have  your  picture  taken  "with  your  freckles 
on"  before  beginning  treatments.  After  the  freckles  are  all  gone, 
take  another  picture.  Send  both  in.  Contest  closes  October  15. To 
the  girl  who  started  with  the  greatest  number  of  freckles  will  be 
given  $25  and  her  choice  of  $5  worth  of  Stillman  toilet  articles. 

The  second  prize  is  $15  and  a  $5  assortment;  third  prize  is  $10 
and  the  same.  In  order  the  next  100  girls  will  be  given  their 
choice  of  $5  worth  of  Stillman  toilet  articles.  In  case  of  any 
tie,  duplicate  awards  will  be  given  to  each  tying  participant. 

Your  picture  will  not  be  printed.  No  winner's  name  will  be 
published  without  her  permission.  This  contest  is  not  for  adver- 
tising— but  to  interest  girls  in  seeing  how  gently  Stillman's 
Freckle  Cream  causes  freckles  to  fade  away,  giving  them  a 
clear,  white  skin.    Get  it  at  any  druggist.  Two  sizes,  50c  and  $1. 

Write  today  for  "Beauty  Parlor  Secrets"  and  pick  out  the 
toilet  articles  you  would  like.  This  booklet  will  give  you  valu- 
able hints  on  make-up.  With  it  we  will  send  instructions  on 
how  to  take  a  "freckle  photograph"  with  your  Kodak. 


Mail  this  today 

The  Stillman  Co.,  3  Rosemary  Lane,  Aurora,  111. 
Please  send  me  "Beauty  Parlor  Secrets"  and  in 
structions  on  how  to  have  a  freckle  photo  taken. 


A    BREWSTER    PUBLICATION 


*  • 


'  ' 


i  tie  rsesue  nome  uutnt  tor  rermanen 
Waving  by  the  New  Lanoil  Process 


Paper  Tubes,   Borax,  Pastes 

and  Lengthy  Heating 

All  Eliminated 


The    girl    "After"  —  hair 
beautifully     and     perma- 
nently waved.    Ready  for 
rain  or  surf. 


THESE  warm  summer  days 
your  hair  curling  problem  is 
a  pressing  one  unless  you  visit  a  pro- 
fessional Nestle  Lanoil  Waver,  or 
apply  the  Nestle  Home  Outfit. 
Imagine  the  comfort  and  relief  of 
having  natural,  soft,  bright  curls 
and  waves  wherever  you  go,  rain  or 
sunshine.  Imagine  waking  up  in  the 
morning,  curls  and  waves  still  flow- 
ing. Imagine  throwing  water  on 
them  to  see  them  become  even 
curlier  than  before. 

If  you  are  struggling  with  straight 
hair,  let  Nestle's  help  you.  With  a 
world-wide  reputation  as  permanent 
wavers,  their  two  New  York  estab- 
lishments give  over  300  waves  a  day. 
If  you  cannot  come  to  Nestle's,  you 
can  get  their  Home  Outfit  for  mak- 
ing your  straight  hair  naturally 
curly.  The  dainty  apparatus  illus- 
trated on  this  page  gives  the  straight- 
est   hair   of    child   or    adult   a    per- 


From  a  photograph  submitted  to  us  showing  the  pleasant  time   these  two 
girls  are  having  while  permanently  waving  each  other's  hair  in  their  home. 


manent  curl  and  wave  that  will 
withstand  shampooing,  fog,  perspi- 
ration and  sea  water  just  like 
naturally  curly  hair. 

Do  not  take  this  marvelous  invention  on 
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(Three) 


Why  Mrs  Blakely 
-How  Do  You  Do! 


1* 


W 


He  had  met  her  only  once  before.  Some  one  had  pre- 
sented him  at  a  reception  both  had  attended.  He  had 
conversed  with  her  a  little,  danced  with  her  once.  And 
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impression. 

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humiliation  of  conspicuous 
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Do  You  Ever  Feel  That  You 
Don't  "Belong"? 

Perhaps  you  have  been  to  a  party  lately 
or    a    dinner,   or    a 


£!*-' 


reception  of  some 
kind.  Were  you 
entirely  at  .  ease, 
sure  of  yourself, 
confident  that  you 
would  not  do  or 
say  anything  thai 
others  would  rec- 
ognize as   ill-bred? 

Or,  were  you 
self-cons  cious, 
afraid  of  doing  or 
saying  the  wrong 
thing,  constantly 
on  the  alert — never 
wholly  comfortable 
for  a  minute? 

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"alone"  in  a  crowd, 
out  of  place.  They 
do  not  know  how 
to  make  strangers 
like  them— how  to 
create  a  good 
first  impression. 
When  they  are  in- 
troduced they  do 
not  know  how  to 
start  conversation 
flowing  smoothly 
and  naturally.  At 
the  dinner  table 
they  feel  con- 
strained,  embar- 
rassed. Somehow 
they  always  feel 
that  they  don't 
"belong." 


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Little  Blunders 
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Off  Our  Guard 

There  are  so  many 
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How    should    asparagus    be    eaten?      How 
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decorated  for  a  wed- 
ding? What  clothes 
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dance,  on  the  train 
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and  with  whomever 
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pared, to  know  ex- 
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(Four) 


I 


COVER  PORTRAIT— NORMA  TALMADGE 
Painted  bv  E.  Dahl 


.  (  \ara 


Good  and   Bad   Authorship 

Our  Portrait  Gallery:     Pauline  Starke,  Corinne  Griffith,  Sigrid  Holm- 

quist,    M.u\    Beth    Milir.nl,    Ramon    Navarro,    Bessie    Love 

The  Sport  of  Kings — And  Movie  Stars (  harles   I      I 

Moonlight  and  Sweet  Summer  Madness,  A   picture 

How  the   Motion  Picture  Has  Influenced  Young   Peru Helen    .  If>f>lrt<m    Read 

Alice  Joyce,  A  new  and  exclusive  portrait 

Foreign  Films,  European  studios  at  a  glance Maurice   / 

Bombed  Into  the  Movies,  Little   Philippe  de  Lacey  was Hurry  Carr 

The  Woman  and  the  Mask,  A  portrait  study  of  Priscilla  Dean 

Trilby,    \  short  story  made  from  the  photoplay  by Dorothy   Donne  1 1 

Impressions,  More  of  Louise  Fazenda's  subtle  vignettes 

"The  Light  Bright  Lissom  Mae,"  Mae  Murray,  of  course 

The  Genius  of  Gesture,  An  inten  iew Faith   Service 

Hollywood  Homes,  M  rs.  Wallace  Reid 

Another  Mary,  Is  shadowed  in  "Rosita" 

The  Girl  Who  Couldn't  Stop  Crying,  Is  Renee  Adoree Hurry  Carr 

Beside  the  Sea,  Come  on  in,  the  water's  fine 

The  Celluloid  Critic,  Selects  "The  Spoilers"  as  the  best  photoplay  of  the  month Laurence   Reid 

The  Veil  of  Happiness,  Clemenceau'-s  picture 

The  Photographer  Takes  the  Stage,  The  hardy  perennials  of  the  season 

Flashes  From  the  Eastern  Stars,  Of  the  stage,  on  the  screen Caught  by  the  Editor 

Classic  Considers — The  great  and  the  near  great 

Greed,  von  Stroheim's  first  picture  for  Goldwyn  novelized   from  "McTeague" Patricia  Doyle 

Iris  In,   Pertinent  and  impertinent  screen  comment H.   "  ■  Hanemann 

A  Renaissance  Romance,  Monna  Vanna  is  screened 

The  Hollywood  Boulevardier  Chats Harry  (.  arr 

The  Studio,  1  (rawing  of  one  of  the  l>iu  "Spots" ■.■••• 

Rankest  Treason,  Verse  and  pictures Dorothy   Rosencrans  Brighton 

Two  Down  and  One  to  Go,  A  two-fisted  picture 

The  Movie  Encyclopedia By   The  Answer  Man 


II 

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Published  Monthly  by  Brewster  Publications,  Inc.,  at  I  imaica,  V  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.  Y.,  as  second-class  matter,  under  the  ad  of  March  3rd.   W9. 

PRINTED    IN    U.    S.    A. 

Eugene  V.  Brewster.  President  and  Editor-in-Chief;  Guy  L.  Harrington.  Vice-President  and  Business  Manager;  L    G.  Conlon.  Treat 

E.   M.    Heinemann.  Secretary. 

EXECUTIVE    and    EDITORIAL    OFFICES,    175    DUFFIELD    ST.,   BROOKLYN.    N.    V 

Copyright,  1923,  bv  Brewster  Publications,  Inc.,  in  the  United  States  and  Great  Britain. 

SUSAN  ELIZABETH  BRADY,  Editor 
ADELE   WHITELY   FLETCHER,   Managing   Editor 

Harry    Carr  Western     Representative 

A.  M.  Hopf muller Art    Director 

Duncan  A.  Dobie . .  Director   of    Advertising 


This  magazine,  published  monthly,  comes  out  on  the  12th.     Its  elder   sister,   the 
1st   of  every   month.     SHADOWLAND  appears  on   the  23rd    of    the    month. 


Motion    PiCTfRF    MagAZINX,    comes    out    on    the 
,     is    on    thl 


Announcement  for  October 

The  Camera  Man  Confesses 

Wouldn't  you  like  to  know  the  odd  and  interesting  little  things  the  camera  man  has  discov- 
ered about  all  the  different  stars  who  have  posed  for  him?  Harry  Carr  has  at  last  persuaded 
one  to  talk.    .    .    . 

The  Powers  Behind  the  Screen 

Is  the" title  of  ;i  series  of  articles  by  Stanton  Leeds  on  the  nun  who  have  made  the  movies 
what  they  :ire  today.       This  absorbing   and    informative   series   will    star!    in   the  October   Cl  ISSIC. 


(Five  I 


.mmm 


If  He  Had  Passed  It  Up 

He  Would  Still  Be  A  Laborer  At  $2  A  Day.  No 
Money,  Nothing  Ahead  But  Hard  Work,  Longer 
Hours — and  Regrets.      But  He  Didn't  Pass  It  Up. 

He   decided   to  learn   Mechanical   Drawing.      He   be 
down    to   wiiil,    with    the    Columbia    School    of   Drafting. 
When   lie  had   a  quiet  half  hour  to  spend   he  spent   it — 
;is  a  wise  man  spends  moues     to  gel  nil]  returns. 
MADE  $275  EXTRA   IN  3   DAYS.     He  recently  received 
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Current  Stage  Plays 

{Readers   in   distant    towns   will  do   well   In    preserve   this   list   for   reference   when   these 
spoken   plays   appear   in   their   vicinity.) 


Belmont. — "You  and  I."  A  Westchester 
society  comedy  with  sparkling  repartee- 
cloaking  an  undercurrent  of  tragic  middle- 
age — H.  B.  Warner  as  the  husband,  who 
has  stifled  genius  ior  the  sake  of  a  family, 
and  Lucile  Watson  as  the  wife,  who  tho 
deluged  with  love,  feels  the  resentment  of 
ln's  disappointment. 

Booth.  —  "The 
Seventh  Heaven." 
II  a  n  d  m  a  d  e  on  a 
melodramatic  pattern 
i  n  a  M  on t mar tr e 
tenement  in  Paris, 
of  an  admixture  of 
love,  regeneration, 
humor  and  unreality. 
An  excellent  per- 
formance with  Helen 
Menken    starring. 

i  'arroll.  —  "Vani- 
ties of  1923,"  with 
Peggy  Hopkins 
Joyce  leading  the 
delectable  and  in- 
numerable  vanities. 

(  tisiiw.  —  "Wild- 
flower,"  with  lovely 
Edith  Day  flashing 
thru  an  exquisite 
musical  score. 

(.  entury  Roof.  — 
Artists  and  models. 
Review    later. 

Cohan.  ■ — ■  "Adri- 
enne."  One  of  the  numerous  musical 
comedies  that  are  keeping  the  mercury 
from  getting  up-stage.  The  chorus  is  un- 
usually good,  the  singing  happy.  Billy 
Van  and  Richard  Carle,  the  latter  of  "The 
Spring  Chicken"  fame,  ^akc  care  of  the 
laughs. 

Corf. — "Merton  of  the  Movies."  In 
which  Glenn  Hunter  self-visualized  as  a 
movie  hero  of  the  "great  open  spaces" 
plays  havoc  with  our  emotions  as  an  arch 
comedian.  The  play  carries  the  same 
poignant  humor  that  was  rampant  in 
Harry  Leon  Wilson's  story  of  the  same 
name. 

Daly's. — "The  Newcomers."  A  revue  by 
Will  Morrissey  and  Joe  Burroughs.  Re- 
view   later. 

Elliott. — "Rain."  A  bitter  tragedy  by 
Somerset  Maugham ;  a  violent  attack  on 
the  repressions  of  Puritanism.  Jeanne 
Eagels  is  superb  in  the  leading   role. 

Empire. — "Zander  the  Great."  A  melo- 
drama with  Alice  Brady  as  a  hick  tender- 
foot, a  child  as  an  uplift  foil  and  boot- 
legging ranchmen  of  the  storied-Western 
type  to  stir  up  things.  Fine  acting  of  an 
improbable  story  with  a  laugh  in  every 
line  and  moments  of  tense  excitement. 

Gaiety.— "Aren't  We  All?"  Cyril  Maude 
in  a  delightful  light  comedy  that  revolves 
around  a  philandering  husband  and  an  in- 
discreet wife.  Mr.  Maude  in  a  Grumpy- 
ish  character  sets  a  rare  pace  of  fun  and 
his  support  keeps  it  up. 

Garrick.  —  "The  Devil's  Disciple."  A 
Shaw  satire,  which  as  usual  shows  up  the 
under  side  of  militarism  and  politics.  It 
ends  ungallantly  on  a  triangle.  An  ex- 
cellent show  with  Roland  Young  as  Gen- 
eral   Burgoyne  alone  worth   seeing. 

Globe. — "George  White's  Scandals."  A 
de  luxe  edition  of  gorgeously  gowned 
beauties  that  make  scandals  appetizing,  in- 
cluding parodies  on  "Chauve-Souris"  and 
the  "Moscow  Art  Theater." 

Harris. — "Icebound."  A  drama  delineat- 
ing the  icebound  quality  of  New  England 
emotions;      well      acted.        Awarded      the 


Classic's  List  of  Stage  Plays 
and  Revues    in   New   York 
That  You  Should  See 
■> 
"Rain" 
"The  Fool" 
"7th  Heaven" 
"Merton  of  the  Movies" 
"The  Devil's  Disciple" 
"George  White's  Scandals" 


Pulitzer  Prize  for  the  best  play  of  Ameri- 
can life   for  the  season  1922-1923. 

Hudson. — "So  This  Is  London."   George 

Cohan's  English  comedy.     An  exaggerated 

but  an  amusing  study  of  the   English  and 

American  temperament,  in  contrast. 

Liberty.— "Little  Nellie  Kelly."     One  of 

George  Cohan's  best 

— a  cyclone  of  dance 

and  song. 

Morosco.  —  "Not 
So  Fast."  Old  style 
Southern  gentleman 
stuff  with  a  family 
estate  in  jeopardy. 
Rather  a  slow  mov- 
ing comedy. 

.1/  u  s  i  c  Box. — 
"Music  Box  Revue." 
Irving  Berlin's  spec- 
tacular revue  with 
no  expense  spared 
in  producing  beauti- 
ful effects.  Bobby 
Clark  is  the  fun- 
maker. 

New  Amsterdam. 
— "Ziegfeld  Follies." 
Still  so  successful 
that  a  new  show 
will  not  be  put  on, 
as  annually,  but  only- 
new  features  added. 
Eddie  Cantor,  the 
black-face  comedian, 
will  replace  Will   Rogers. 

New  Winter  Garden.  —  "The  Passing 
Show  of  1923,"  with  Jobyna  Howland, 
Joan  Hay,  Walter  Woolf  and  George 
Hassell  surrounded  by  a  chorus  of  one 
hundred    elaborately    accoutered. 

Palace. — Keith  vaudeville.  Always  a 
good  bill,  and  drawing  more  and  more 
•talent  from  the  headliners  of  the  regulars. 
Pr ovine etown. — "Sun  Up."  A  passion- 
ate tragedy  of  the  North  Carolina 
mountain  folk  centering  around  a  fatal 
revenue  raid  for  the  father  and  the  World 
War  for  the  son.  The  Widow  Caglc  is 
superbly  played  by  Lucile  La  Verne. 

Republic.  —  "Abie's  Irish  Rose."  An 
amusing  study  in  temperaments  of  the 
Irish  and  Jew  in  which  the  irreconcilable 
is  reconciled  thru  that  emotion  that  knows 
no  boundary  lines. 

Sekvyn. — "Helen  of  Troy."  A  musi- 
cal comedy,  the  book  by  Kaufman  and 
Connolly  and  the  lyrics  by  Kalmar  and 
Ruby.  It  has  a  coherent  plot  and  deals 
with  the  adventures  of  a  girl  in  a  collar 
factory  in  an  up-state  city. 

Times  Square. — "The  Fool."  A  drama 
about  a  man  who  tries  to  follow  the  life 
of  Christ  in  modern  locale.  While  you 
are  out  of  the  glare  of  the  white  lights  it 
gets  under   the  skin. 

OX    TOUR 

"Blossom  Time."  A  delightful  musical 
comedy  based  on  the  life  of  Franz  Schu- 
bert. 

"Bombo,"  extravaganza  musical  with 
black-face  comedy. 

"Caroline,"  a  musical  gem. 

"Dew  Drop  Inn,"  in  which  tangoing  and 
black-face  jigging  vie  for  first  place. 
Second  company. 

"Irene,"  with  an  all-star  cast  composed 
df  the  original  principals  of  the  company. 
A    musical   comedy. 

"Lady  in  Ermine,"  a  musical  comedy. 
(Continued  on  page  96) 


(Six) 


The  Most  Darintf  Booh 
Ever  Written! 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  hook,  that  should  he  read  hy  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
— it  is  a  penetrating  searchlight  fearlessly  turned  on  the  most 
intimate  relations  of  men  and  women.  Read  helow  how  you  can 
get  this  thrilling  hook  at  our  risk     without  advancing  a  penny. 


WILL  you  marry  the 
man  you  love,  or  will 
you  take  the  one  you  can 
get? 

If  a  husband  stops  loving 
his  wife,  or  becomes  infatu- 
ated with  another  woman, 
who  is  to  blame — the  hus- 
band, the  wife,  or  the 
"other  woman?  " 

Will  you  win  the  girl  you 
want,  or  will  Fate  select 
your  Mate? 

Should  a  bride  tell  her  husband 
what  happened  at  seventeen? 

Will  you  be  able  to  hold  the  love 
of  the  one  you  cherish — or  will  your 
marriage  end  in  divorce? 

Do  you  know  how  to  make  people 
like  you? 

IF  you  can  answer  the  above  ques- 
tions if  you  know  all  there  is 
to  know  about  winning  a  woman's 
heart  or  holding  a  man's  affections 
—you  don't  need  ''The  Philosophy 
of  Love."  But  if  you  are  in  doubt — 
if  you  don't  know  just  how  to 
handle  your  husband,  or  satisfy 
your  wife,  or  win  the  devotion  of 
the  one  you  care  for — then  you 
must  get  this  wonderful  book.  You 
can't  afford  to  take  chances  with 
your  happiness. 


ELINOR  GLYN 
The  Oracle  <>/  Line' 


What  Every  Man  and 
Woman  Should  Know 


-liow    to    win    the    man 

you  love, 
—liow  to  win  the  girl  you 

■rant. 
— liow  to  hold  your  hus- 
band's Love. 
—how    to    make    people 

admire  you. 
—why    men    "step   out" 

and    leave   their  wives 

alone. 
—why    many    marriages 

end  in  despair, 
—how  to  hold  a  woman's 

affection. 
—how  to  keep  a.  husband 

home  nights, 
—why  most  women  don't 

know  how tomake love. 
— things   that   turn   men 

against  you. 
—  how  to  make  marriage 

a   perpel  ual  honey- 
moon. 
—the     "danger  year'*  of 

married  life. 


— how    to    ignite    love — 

how  to  keep  it  flaming 
— how    to    rekindle    it    if 

burnt  out. 
— how   to  cope   with    the 

"hunting    instinct"    in 

men. 
— how  to  attract  people 

you  like. 
— why     some     men    and 

women  are  always  lov- 
able, regardless  of  age. 
—  how  to  make  love  keep 

you  young. 
— must  all  men  be  either 

"dubs"  or  devils J 
— how    to    increase    your 

desirability  in  a  man's 

eye. 
— how  to  tell  if  someone 

really  loves  you. 
— things     that     make    a 

woman  "cheap"  or 

"common." 
— how    to    make    people 

do  the  things  you  want 

them  to. 


What  Do  YOU 
|  Know  About  Love? 

DO  you  know  how  to  win  the 
one  you  love?  Do  you 
know  why  husbands,  with  de- 
voted, virtuous  wives,  often  be- 
come secret  slaves  to  creatures 
of  another  "world" — and  how 
to  prevent  it?  Why  do  some 
men  antagonize  women,  finding 
themselves  beating  against  a 
stone  wall  in  affairs  of  love? 
When  is  it  dangerous  to  disre- 
gard convention?  Do  you  know  how  to 
curb  a  headstrong  man,  or  are  you  the 
victim  of  men's  whims?  Do  you  know  how 
to  retain  a  man's  affection  always?  How 
to  attract  men?  Do  you  know  the  things 
that  most  irritate  a  man?  Or  disgust  a 
woman?  Can  you  tell  when  a  man  really 
loves  you — or  must  you  take  his  word  for 
it?  Do  you  know  what  you  MUST  NOT 
DO  unless  you  want  to  be  a  "wall  flower" 
or  an  "old  maid"?  Do  you  know  the  little 
things  that  make  women  like  you?  Why 
do  "wonderful  lovers"  often  become 
thoughtless  husbands  soon  after  marriage 
— and  how  can  the  wife  prevent  it?  Do  you 
know  how  to  make  marriage  a  perpetual 
honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  answers  these  precious  questions — 
and  countless  others.  She  places  a  magni- 
fying glass  unflinchingly  on  the  most  in- 
timate relations  of  men  and. women.  No 
detail,  no  matter  how  delicate  or  avoided 
by  others,  is  spared.  She  warns  you  gravely, 
she  suggests  wisely,  she  explains  fully. 

A  book  of  this  type,  to  be  of  great  value, 
could  not  mince  words.  But  while  Madame 
G  lyn  calls  a  spade  a  spade — while  she  deals 
with  strong  emotions  and  passions  in  her 
frank,  fearless  manner — she  nevertheless 
handles  her  subject  so  tenderly  and  sa- 
credly that  the  book  can  safely  be  read 
by  any  grown-up  man  or  woman.  In  fact, 
anyone  over  eighteen  should  be  compelled 
to  read  "The  Philosophy  of  Love";  for. 
while  ignorance  may  sometimes  be  bliss. 
it  is  folly  of  the  rankest  sort  to  be  ignor- 
ant of  the  problems  of  love  and  marriage. 
As  one  mother  wrote  us:  "I  wish  I  had 
read  this  book  when  I  was  a  young  girl — 
it  would  have  saved  me  a  lot  of  misery  and 
suffering." 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Philosophy  of  Love."  Simply 
fill  out  the  coupon  below — or  write  a  letter 
— and  the  book  will  be  sent  to  you  on 


approval.  When  the  postman  delivers  the 
book  to  your  door — when  it  is  actually  in 
your  hands — pay  him  only  $1.9S,  plus  a 
few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content — read 
it  from  cover  to  cover — and  if  you  are  not 
more  than  pleased,  simply  send  the  book 
back  in  good  condition  within  five'  days 
and  your  money  will  be  refunded  instantly. 

Over  75,000,000  people  have  read  Elinor 
Glyn's  stories  or  have  seen  them  in  the 
movies.  Her  books  sell  like  magic.  "The 
Philosophy  of  Love"  is  the  supreme  culmi- 
nation of  her  brilliant  career.  It  is  destined 
to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  ex- 
ceedingly difficult  to  keep  the  book  in  print. 
It  is  possible  that  the  present  edition  may 
be  exhausted,  and  you  may  be  compelled 
to  wait  for  your  copy,  unless  you  mail  the 
coupon  below  AT  ONCE.  We  do  not  say 
this  to  hurry  you — it  is  the  truth. 

Get  vour  pencil — fill  out  the  coupon 
NOW.  Mail  it  to  The  Authors'  Press, 
Auburn,  N.  Y.,  before  it  is  too  late.  Then 
be  prepared  for  the  greatest  thrill  of  vour 
life! 


|    Tl 


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// 


Jn  ALLAN  DWAN  proton 

Jawful  Jarceny 

cr-with,  JtopcJfampton,  SNiin.  CNaldi, 
Conrad  CNaacI,  6r  JJciv  Cody 

The  lesson  of  "Lawful  Larceny"  is  a  lesson  for  every  married 
couple. 

Hope  Hampton  is  the  charming  young  wife  who  returns 
from  Europe  to  find  her  husband,  Conrad  Nagel,  snared  by 
another. 

To  fly  into  a  temper  will  avail  nothing.  To  get  him  back  by 
love-inspired  guile  and  diplomacy!  that  is  the  way  and  that  is 
the  excitement  of  the  photoplay. 

By  an  unlawful  larceny  had  he 
been  taken  from  her  by  Nita  Naldi, 
....« •  dangerous  siren  and  modern  Cleo- 

patra—  and   by   "lawful  larceny" 
she  attempts  recovery. 

Does  she  succeed? 

Don't  miss  seeing  this  great  pro- 
duction, made  by  the  director  ot 
"Robin  Hood,"  the  last  word  in 
marvelous  settings,  gowns,  con- 
summate acting  and  thrilling  plot. 


A  Peter  B.  Kyne 


$5^7SS5gg>foS3ras7&:  :-♦  * 


th 

Annual 


A  Nation-wide  Celebration 

of  Great  Artistic  Advance 

in  Screen  Entertainment 

Paramount  Week  Sept.  2 — 8 

With  Paramount  Week  the  greatest  motion 
picture  season  the  world  ever  saw  gets  well 
under  way. 

After  years  of  experimentation  the  art  of 
the  screen  is  coming  to  perfection. 

The  year  just  past  has  been  one  of  extra- 
ordinary development.  A  single  incident 
has  been  the  advance  showing  by  Para- 
mount of  the  greatest  photoplay  ever  made, 
"The  Covered  Wagon." 

And  now  in  Paramount  Week  you  have 
the  opportunity  for  a  grand  review  of  1923's 
achievements  and  a  pre-view  of  the  great 
Paramount  Pictures  coming. 

Celebrate  Paramount  Week  at  your  own 
theatre  as  millions  have  during  five  previous 
annual  Paramount  Weeks. 

A  few  of  the  great  Paramount  Pictures 
of  the  Past  Season 


'Blood  and  Sand."   A  Fred 


RODOLPH  VALENTINO  in 
Niblo  Production. 

JACK  HOLT  in  "While  Satan  Sleeps. 
Special. 

CECIL  B.  DeMILLE'S  "Manslaughter,"  with 
Thomas  Meighan,  Leatrice  Joy  and  Lois  Wilson. 

"THE  OLD  HOMESTEAD,"  with  Theodore 
Roberts.   A  James  Cruze  Production. 

A  George  Fitzmaurice  Production,  "TO  HAVE 
AND  TO  HOLD,"  with  Betty  Compson  and  Bert 
Lytell. 

A  William   deMille   Production,   "CLARENCE," 
with  Wallace  Reid,  Agnes  Ayres  and  May  McAvoy. 
THOMAS  MEIGHAN  in  "  Back  Home  and  Broke." 
GLORIA  SW ANSON  in  "The  Im- 
possible  Mrs.  Bellew."    A  Sam  Wood 
Production. 

A  George  Fitzmaurice  Production, 
"KICK  IN,"  with  Betty  Compson 
and  Bert  Lytell. 


paramount 


(Eight) 


{Paramount 
Week, 


[continued] 

JACK  HOLT  in  Making  a  Man.'-  A  Peter  B.  Kync 
Special. 

CECIL  B.  DeMILLE'S  Production,  "Adam's  Rib,"  with 
Milton  Sills.  Elliott  Dexter,  Theodore  KoslofT,  Anna  Q, 
NUtaon  and  Pauline  Garon. 

AGNES  AYRES  in  "Racing  Hearts,"  with  Theodore 
Roberts  and  Richard  Dix. 

An  Allan  Dwan  Production,  THE  GLIMPSES  OF  THE 
MOON."  with  Bebe  Daniels  and  Nita  Naldi. 

POLA  NEGRI  in  A  George  Fitzmauricc  Production. 
"BELLA  DONNA."  Supported  by  Conway  Tearle,  Conrad 
Nagel  and  Lois  Wilson. 

A  William  drMtllc  Production.  "GRUMPY."  with  May 
McAvoy,  Theodore  Roberts  and  Conrad  Nagel. 

GLORIA  SW ANSON  in  "Prodigal  Daughters"  A  Sam 
Wood  Production. 

A  George  Melford  Production,  "YOU  CANT  FOOL 
YOUR  WIFE,"  with  Leatrice  Joy,  Nita  Naldi,  Lewis  Stone 
and  Pauline  Garon. 

THOMAS  MEIGHAN  in  "The  Neer-Do-Wcll  " 

A  Herbert  Brenon  Production,  "THE  RUSTLE  OF 
SILK."  with  Betty  Compson  and  Conway  Tearle. 

BEBE  DANIELS  and  Antonio  Moreno  in  "THE  EX- 
CITERS." 

AGNES  AYRES  in  "The  Heart  Raider." 

A  William  deMillc  Production,  "ONLY  38,"  with  Lois 
Wilson,  May  McAvoy,  George  Fawcett. 

A  Herbert  Brenon  Production,  "THE  WOMAN  WITH 
FOUR  FACES,"  with  Betty  Compson  and  Richard  Dix. 

"CHILDREN  OF  JAZZ."  with  Theodore  Kosloff.  Ricardo 
Cortez,  Robert  Cain  and  Eileen  Percy. 

JACK  HOLT  in  "A  Gentleman  of  Leisure." 

DOROTHY  DALTON  in  "The  Law  of  the  Lawless."      A 

THOMAS  MEIGHAN  in  "Homeward  Bound." 

A  few  of  the  great  Paramount  Pictures 
of  the  New  Season 

A  James  Cruze  Production,  "HOLLYWOOD,"  with  22 
real  stars  and  56  screen  celebrities. 

POLA  NEGRI  in  A  George  Fitzmaurice  Production, 
"THE  CHEAT,"  with  Jack  Holt,  supported  by  Charles 
deRoche. 

GLORIA  SW  ANSON  in  A  Sam  Wood  Production,"BLUE- 
BEARD  S  EIGHTH  WIFE." 

"THE  PURPLE  HIGHWAY,"  with  Madge  Kennedy. 

A  William  dcMille  Production,  "SPRING  MAGIC." 
with  Agnes  Ayres,  Jack  Holt,  Charles  deRoche,  Mary 
Astor   and    Robert   Agnew. 

A  James  Cruze   Production,  "RUGGLES 
OF  RED  GAP,"  with  Edward  Horton,  Ernest  •'^f> 


U\ky 
prt\tm 


Torrence,     Lois     Wilson,     Fritzi     Ridgway, 
Charles  Ogle  and  Louise  Dresser. 

A  Zane  Grey  Production,  "  TO  THE 
LAST  MAN,"  with  Richard  Dix  and 
Lois  Wilson. 

A  George  Melford  Production,  "SA- 
LOMY  JANE."  with  Jacqueline  Lo- 
gan. George  Fawcett,  Maurice  Flynn. 

GLORIA  SWANSON  in 
an  Allan  Dwan  Production, 
"Zaza." 

THOMAS  MEIGHAN  in 
George  Ade's  "All  Must 
Marry." 


K.^2 


Charles  Maignc 
production  ° 

"7k  Silent Partner 

with  Leatrice  Joy, 

Oivcn  Moore  &  Robert  £,dc\on^ 

From  [he  jior>  by  Maximilian  Foster,     Screen  pltrj  bj  S.i..'.i  Cuu«n 

What  should  the  wife  of  a  Wall  Street  gambler 
do  who  seeks  to  save  him  from  ruin? 

Paramount  answers  this  question  with  "The  Silent 
Partner,"  a  new  and  terrifically  powerful  handling 
of  the  theme  of  love  versus  the  fever  tor  gain. 

In  the  days  of  prosperity  and  golden  winnings,  the 
beautiful  young  wife,  Leatrice  Joy,  determines  to 
start  "gold-digging"  from  her  husband, Owen  Moore, 
and  build  a  reserve  unknown  to  him. 

But  how  to  look  as  though  she  is  spending  the 
thousands  he  gives  up,  that  is  the  question! 

How  to  make  a  $20  gown  or  a  $5  hat  or  a  paste 
necklace  look  like  ten  times  the  value?  She  does  ihis! 

And  see  what  happens  when  the  crash  comes! 


£pictur&s 


*' "'^Ntx     "7* 


^^fflX^^^:::s^>>:jr/^/Aw<^:>i*:  .^^^:^^^^^&^?r&:^ 


Famous  Players -Laskv  Corp  ] 
adolpm  zukor- president 


*vh   yo*h    Cn 


(Nine) 


ypu  too,  can  ham^ 


"A  Skin  You  Love  to  Touch" 
by  Guy  Hoff 


oAre  you  dissatisfied — 

with  your  complexion?  Do  you  long 
for  a  skin  so  fresh  and  radiant  that  no 
one  can  see  it  and  not  admire  it  ? 

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what  you  want  it  to  be.  Each  day 
your  skin  is  changing;  old  skin  dies 
and  new  takes  its  place. 

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needs,  you  can  free  your  complexion 
from  faults  that  have  troubled  you  for 
months,  and  even  for  years. 

You  will  find  the  right  treatment — 

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booklet  of  famous  skin  treatments, 
"A  S\in  You  Love  to  Touch,"  which 


is  wrapped   around   every  cake   of 
Woodbury's  Facial  Soap. 

Thousands  of  girls  and  women,  by 
following  these  famous  skin  treatments, 
have  built  up  a  fresh  clear,  beautiful 
complexion.  You,  too,  can  have  the 
flawless  skin  you  have  always  longed 
for,  by  giving  it  this  special  care. 

Get  a  cake  of  Woodbury's  today,  at 
any  drug  store  or  toilet  goods  counter 
—  sec  what  an  improvement  even  a 
week  or  ten  days  of  the  right  treat' 
ment  will   make  in   your  complexion. 

A  25  cent  cake  lasts  a  month  or  six 
weeks.  Woodbury's  also  comes  in 
convenient  3'cake  boxes. 


Three  Woodbury  skin  preparations  — 
guest  size — for  10  cents 

THF  ANDREW  JERGENS  CO.. 

"J09    Spring  Grove  Avenue,  Cincinnati,  Ohio. 

For  the  enclosed  10  cents  —  Please  send  me  a 
miniature  set  of  the  Woodbury  skin 
preparations,  containing 

A  trial  si:e  cake  of  Woodbury's  Facial  Soap 
A  sample  tube  of  the  new  Woodburv's  Facial  Cream 
A  sample  box  of  Woodbury's  Facial  Powder 
Together  with  the  treatment  booklet.  "A  Skin  Yon  Love 
to  Touch.1* 

If  you  live  in  Canada,  address  The  Andrew  Jergens 
Co.,  Limited,  909  Sherbroolce  St.,  Perth,  Ont. 
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Name 

Street 

City State 

Cut  out  this  coupon  and  send  it  to  us  today 


ii^J^ 


Copyright,  IVSS,  6j/  The  Andrew  Jrrama  Co 

(Ten) 


Decoration  thru  the  courtesy  of   Agnes  Ayrcs 


Good  and  Bad  Authorship 

By  CLARA  BERANGER 

Editor's  Note. — Clara  Ber anger  is  a  prominent  scenarist.  She  is  re- 
sponsible for  "Grumpy,"  "0)ily  38,"  and  others  too  numerous  to  mention. 
We    offer   these    (to    us)    delightful   animadversions   without    comment. 


AT  the  recent  International  Congress  on  Motion  Pic- 
ture Arts,  I  sat  thcu  a  lot  of  speeches  and  dis- 
cussions by  members  of  the  Authors'  League  (of 
which  I  am  one)  and  Of  various  other  professions;  and 
one  glaring  fact  struck  me — the  almost  unanimous  pre- 
supposition that  all  authors  of  books  and  plays  are  good, 
and  all  authors  of  screen  plays  and  workers  for  the  screen 
are  bad. 

There  are  plenty  of  bad  pictures,  and  plenty  of  adapters 
of  novels  and  plays  for  the  screen  who  are  bad,  but  there 
are  also  plenty  of  good  ones.  But  equally  true  it  is  that 
many  of  the  books  that  are  published — most  of  them  in 
fact — are  bad.  Of  the  plays  that  are  produced  each  year, 
possibly  five  per  cent,  are  good ;  and  yet  these  authors — 
and  it  is  usually  the  bad  ones  who  cry  the  loudest — pick 
on  pictures  every  chance  they  get  and  proclaim  how  rotten 
and  commercial  the  whole  industry  is. 

I  have  yet  to  hear  anyone  connected  with  pictures  who 
does  not  frankly  admit  that  most  of  them  have  not  yet 
reached  a  standard  that  could  be  called  art ;  but  I  have 
yet  to  hear  an  author,  or  a  playwright,  admit  that  the 
majority  of  books  and  plays  are  as  bad  as  the  majority 
of  pictures.  If  you  stop  to  think  of  the  mass  of  junk 
published  every  year,  as  literature,  and  the  number  of 
bad  plays  produced  every  year,  you  will,  in  all  fairness, 
have  to  draw  the  same  line  between  good  and  bad  author- 

(Eleven) 


ship  in  these  fields  of  literary  endeavor  as  you  do  in  the 
field  of  screen-writing. 

Most  of  the  writers  who  air  their  grievances  and  de- 
clare that  the  screen  is  a  business — that  the  producers 
think  only  of  making  money — are  only  too  willing  to  sell 
whatever  they  can  to  the  picture  producers  for  a  flat  stun 
of  money  and  make  no  stipulation  about  working  with 
the  adapter  and  director  in  translating  their  work  to  the 
screen.  I  happen  to  know  that  almo-t  every  one  of  the 
picture  companies  welcomes  the  cooperation  of  the  author 
in  the  development  of  the  picture :  and  it  is  always 
sible  for  an  author  to  get  a  clause  in  his  contract  giving 
him  the  privilege  of  sitting  in  on  the  scenario  conferences 
and  on  the  final  cutting  and  editing  of  the  picture.  But 
what  the  author  want-  is  money;  Ik-  i-  not  willing  I 
give  up  his  time.  Dear,  artistic  creator — he  would  alwav< 
rather  take  the  money  than  give  any  further  time  to  pro- 
tecting those  delicate  brain  children  from  the  cruel  hands 
of  the  picture  doctors.  It  i-  so  much  easier  to  wait  until 
the  picture  is  finished  and  then  ^et  up  a  howl  about  how 
terrible  pictures  are — what  ignorant,  inartistic,  commer- 
cial people  work  in  picture- ' 

Talk  is  cheap — time  i-  expensive,  and  so  the-e  aut1, 
most  of  them  as  mediocre,  or  more  so.  than  the  -creen 
worker-,  talk,  talk,  talk,  and  take  unto  themselves  their 
i  Continued  <>»i  pa 


Photograph   by   Edwin   Bower    Hesser 


Whose  odd  and  elusive  charm  is  being  regis- 
tered in  Goldwyn's  sumptuous  picture  play, 
"In  the  Palace  of  the  King."  Miss  Starke  zvas 
selected  recently  as  one  of  the  six  most  beauti- 
ful screen  actresses 


Pauline  Starke 


Phctograph    by    Edwin    Bower    Hesser 


Corinne  Griffith 


Has  finished  Elinor  Glyn's  "Six  Days,"  and  is  back 
in  the  East  —  but  no  one  knows  yet  what  good  things 
are  in  store  for  Iter.     Her  devoted  press  men  hint 
at  a  wonderful  surprise.  .   . 


Photograph  by  Richee 


Sigrid  Holmquist 


A  young  Swedish  star  of  considerable  distinction 
in  her  own  country,  now  proposes  to  add  America 
to  her  list  of  cofiqucsts.  She  has  been  signed  by 
Famous  Players  to  play  in  "A  Gentleman  of  Lei- 
sure," opposite  Jack  Holt 


Photograph  by   Victor   Georg 


Mary  Beth  Milford 


Who  left  the  Music  Box  Revue  flat  for  the  movies. 

She  will  flay  offostlc  John   O'Har'a  in  F.  B.   O's 

"Fighting  Blood''  series 


7 


Photograph    by    Ira    I.    Hill 


Is  a  combination  of  Richard  Barthelmess  and 
Rodolph  Valentino  in  appearance.  For  himself 
there  is  a  pronounced  individuality.  He  is  the 
romantic  hero  of  the  Sabatini  novel,  "Scara- 
mouche,"  soon  to  be  released 


Ramon  Navarro 


Photo  ©  by   Paul   Grenbeaux 


Bessie  Love 


This  gifted  girl  has  lingered  in  obscurity  too  long. 
She  was  given  a  chance  in  a  highly  emotional 
role  in  "The  Eternal  Three"  and  made  a  tre- 
mendous impression.  She  has  now  one  of  the 
tragic  roles  in  Mrs.  Wallace  Reid's  picture. 
"Human  Wreckage" 


WHEN  they  finish  shooting  the  scene( 
and  the  Kleig  lights  go  out,  where  do 
the  movie  stars  go  ? 
Perhaps  they  all  go  out  and  have  a  game 
of  golf.  Golf,  tennis,  automobile  racing, 
airplaning  all  have  had  their  turn ;  but  movie 
stars  must  have  new  thrills,  new  experiences. 
What  sport  in  the  wide  world  can  fulfil  these  require- 
ments but  the  old  and  romantic  sport  of  kings — that  of 
boating.  Yes,  the  movie  stars  have  taken  to  the  water 
— not  as  ducks,  but  as  yachtsmen.  If  you  dont  believe 
it,  just  take  a  run  down  to  Wilmington  some  afternoon — 
it's  only  forty  minutes  from  Hollywood — and  watch  the 
ducks,  I  mean  the  yachtsmen. 

Who  was  it  that  said  there  were  no  thrills  on  the 
water?  Seventy  miles  an  hour  on  the  water  is  the 
fastest  speed  in  the  world.  It  is  faster  than  a  hundred  and 
fifty  miles  an  hour  in  an  automobile.  It  is  faster  than 
two  hundred  miles  an  hour  in  an  airplane.  Yes,  it  is 
even  faster  than  seven  cocktails  and  a  bevy  of  dancing 
girls  in  a  gilded  cafe. 
There  are  plenty 


The  Sport 

of  Kings — and 

Movie  Stars 

By 
CHARLES  F.  BERRY 


Seventy  miles  an  hour  on  the  water  is 
the  fastest  speed  in  the  world.  It  is 
faster  than  a  hundred  and  fifty  miles  an 
hour  in  an  automobile.  It  is  faster 
than  two  hundred  miles  an  hour  in  an 
airplane 


Tom  Mix,  Tony  and  Thomasina  launching  Miss 
Mixit,    Tom's    new    high-powered    motor    cruiser 


Top  of  the  page 
is  Cecil  de  Mille's 
yacht,  Seaward,  at 
anchor  off  the 
California  Yacht 
Club.  Left  is 
Dustin  Farnum 
at  the  wheel  of 
his  speedboat. 
Dustin  also  sails 
a    little    starboat 


(Eighteen) 


t 


CI  VSSIC 


of  thrills,  all  i ight.  It'--  a  man 
sized  job  when  your  speedboat 
leaves  the  water  and  starts  to 
leap  from  wave  to  wave.  You 
come  roaring  down  the  course 
with  a  noise  like  a  battery  of 
machine  guns,  You  take  a  turn 
and  your,  boal  behaves  like  a 
submarine.  Or  supposing  your 
mechanician  fails  to  see  a  piece 
of  driftwood  the  size  of  an  old 
soldier's  cane.  It  rips  your 
boat  open  like-  a  can  opener  thru 
a  can  of  green  peas.  < )r  if  it 
happens  to  be  a  submerged  rail- 
road tie,  you  hit  with  a  crash 
like  Halley's  cornel  bumping 
Neptune.  You  blow  up  like  a 
can  of  dynamite  and  then  take 
a  nose  dive  to  the  bottom  of  the 
sea.    Sport  ?    You  bet ! 

Ask  Cecil  de  Mille  whether 
there  are  any  thrills.  De  Mille 
built  the  Miss  Cecilia  to  raee 
against  (iar  Wood's  world 
champion  speedboat  Miss 
America.  De  Mille  was  driving 
at  a  comfortable  speed,  say 
fifty  miles  an  hour,  when  sud- 
denly there  was  a  flash,  a 
rumble,  and  then  a  terrific 
blast.  In  the  next  instant  De 
Mille  found  himself  in  the 
water  with  the  flames  rising  in 
the  air  a  hundred  feet  from  his 
boat.  A  minute  later  the  boat 
went  to  the  bottom  spreading 
the  flaming  gasoline  out  on  the 
surface  of  the  water. 

Al  Fear.  De  Mille's  mecha- 
nician, was  rendered  uncon- 
scious by  the  blast  and  De 
Mille  swam  to  his  aid.  The 
surface  of  the  water  was  one 
mass  of  flames,  cutting  off  all 
help.  Finally  Xat  Walsh's 
boat  cut  thru  the  cordon  of 
flames  rescuing  the  drowning 
men.  And  yet  they  say  there 
are  no  thrills  in  boating.  What 
is  a  movie  thriller  to  this;  ? 

If  you've  ever  sat  on  the  landing  of  the  California 
Yacht  Club  at  twilight  and  watched  the  little  starboat 
fleet  hovering  into  port  like  a  flight  of  belated  curlew, 
you'd  understand  another  trait  in  these  people  from  Holly- 
wood. We've  heard  so  much  of  divorce  and  the  night 
life  in  Hollywood  that — oh  well  just  come  clown  to  Los 
Angeles  harbor  and  find  the  movie  stars  drinking  in 
God's  beauty  and  playing  the  sport  of  kings. 

Perhaps  you'll  find  Dustin  Farnum  there.  Dustin  likes 
to  sail  the  little  starboats.  so  small  that  they  remind  one 
of  the  story  of  three  men  in  a  tub.  But  if  you  think 
you  cant  get  a  thrill  out  of  starboating  you're  mistaken. 
Falling  off  horses  and  leaping  across  yawning  canyons 
dont  compare  with  it. 

Even  the  Wild  West  had  taken  to  the  sea.  Among 
others.  Tony,  Tom  Mix's  famous  pal,  prefers  yachting 
to  wild  west  stuff.  Of  course  you've  heard  how  Tony 
helped  launch  Tom  Mix's  boat  the  other  day.  It  was  a 
regular  wild  west  launching  party  (who  ever  heard  of 
a  wild  west  launching  party)  with  tall  sombreros,  forty- 
four  guns,  and  lariats.  Tom  threw  a  rope  around  the 
new  boat  and  Tony  pulled  it  into  the  water.     Now  isn't 


The  beautiful  schooner,   Uncas,  of  John   Bowers,   which  will   compete   this 
summer   in    the    great    international   race    from   the    Santa    Barbara    Yacht 

Club  to  Honolulu 


that  a  helluva — excuse  me — a  peculiar  way  to  launch  a 
boat? 

Of  course  all  the  movie  stars  were  there  at  the 
christening  of  the  Miss  Mixit.  Miss  Thomasina,  or  Miss 
Mixit  a-  the  family  call  the  little  lady  of  a  single  year, 
officiated.  She  pulled  the  string  that  broke  the  bottle  that 
christened  the  boat  that  Tom  built. 

But  getting  back  to  boats — Miss  Mixit  is  a  boat  to  be 
proud  of.  She  is  a  09- foot  cruiser  powered  with  two 
200  horsepower  I.M-0  Hall  Scott  mot  >rs.  A  large  cock- 
pit has  been  constructed  aft  which  Tom  will  use  for  a 
gymnasium.  Tom  >»ys  there  will  he  plenty  of  room  for 
a  riding  arena  too.  for  Tom  insists  that  Tony  must  he 
included  in  all  arrangements,  yachting  or  otherwise. 

There  are  thrills  to  be  had  in  the  big  boats  too.  A 
short  time  ago  Cecil  de  Mille  left  on  a  daring  trip  to 
Infernal  Channel  and  Tiburon  Island  on  his  yacht 
Scazcard.  The  Infernal  Channel  is  one  of  the  most 
dangerous  water  passages  in  the  world,  which  makes 
landing  on  Tiburon  Island  a  hazardous  performance. 
The  island  has  been  reported  by  previous  explorers  to  be 
{Continued  on  page  82) 


'  Xineteen) 


Moonlight  and  Sweet  Summer  Madness 

This  charming  scene  is  from  "The  Falcon,"  an  episode  from  the  Decameron  made 
into  a  picture  by  the  Lund  Productions.  The  film  is  in  colors,  a  new  and  improved 
Prizma  process,  and  is  reported  to  be  an  artistic  triumph.  Henry  Hull  plays  the  gallant 
young  Count  Federigo  and  Irma  Harrison  plays  the  lady  of  his  heart,  Lady  Giovanna 


(Twenty) 


How  the 

Motion  Picture 

Has  Influenced 

Young  Peru 

By 

HELEN  APPLETON  READE 


IT  is  not  the  Radio  or  the  Telephone,  the  Telegraph  or 
the  aeroplane,  which  is  the  greatest  internationalizer, 
but  the  Moving'  Picture. 

For  all  of  us,  whether  we  pass  our  intelligence  test  at 
the  top  or  at  the  bottom,  visual  appeal  must  always  be 
the  strongest  and  the  most  easily  understood.  That  a 
photograph  will  give  an  understanding  of  a  place  or  per- 
son, which  the  most  accurate  description  can  never 
give,  is,  of  course,  a  truism.  And  a  photograph 
plus  a  well-chosen  caption  is  a  combination  for 
getting  information  painlessly,  and  in  capsule 
form,  that  is  hard  to  beat.  Hence,  the  popu- 
larity of  the  ''Daily  News"  and  like  publica- 
tions. 

Therefore,  when  our  financial  missions, 
our  educational  and  medical  investigators, 
and    teachers    go    to    Latin-America    to 
bring  her  up  to  North  American  stand- 
ards on   the   invitation  of   some   of   the 
more  up-to-date  Presidents,  let  them  real- 
ize that  a  few  well-chosen  moving  pictures, 
typical  of  the  best  in  North  American  life, 
will  do  more  to  inculcate   North   American 
ideals  than  any  number  of  lectures  and  ar- 
ticles in  the  newspapers. 

And  by  this   I  do  not  mean  educational  films. 
Any  picture  which  gives  an  accurate  account  of  North 


Above  (left),  Hill  women  of  the  Andes  who  have 
become  movie  fans.  Below,  Peruvian  Indians  stand- 
ing before  a  motion  picture  hut  looking  at  the 
posters.  They  cannot  read.  Below  (left),  Hill  wom- 
en  weighing   llama   wool   which   they   buy   and   spin 


American  manners  and  environ- 
ment, especially  when  it  carrie- 
with  it  an  amusing  story,  and  at- 
tractive actors,  has  great  influence. 
In  the  City  of  Lima,  there  are 
more  cinemas,  as  they  call  them. 
in  proportion  to  the  population, 
than  in  any  city  of  the  I'nited 
States  There  is  no  other  form 
of  amusement.  Traveling  thea- 
trical and  operatic  troupes  are 
rare.  The  people,  especially  the 
women,  cannot  gamble,  or  drink 
Pisco,  the  native  home-brew,  all 
the  time,  and  the  national  sport 
of  bull-fighting  has  but  a  *.hort 
season.  In  consequence  a  city  of 
moving  picture  fans  has  developed. 


(Twenty-one) 


CLASSIC 


In  one  city  bluck   there  will  be  as  many  as  five 
moving  picture  houses.    The  coming  attractions 
are  advertised  weeks  ahead.     "Gran  Estreno" 
they  call  them,  and  banners  are  strung  across 
the  streets  from  balcony  to  balcony  telling 
what  they  are  to  be.  There  are  generally 
two  performances  a  day, the  Vermouth, 
which  starts  at  six-thirty  in  the  after- 
noon   and    an    evening    performance 
commencing  at  nine  o'clock.  Peruvian 
meals  are  elastic,  dinner  comes  any 
time  between  eight  and  nine  o'clock, 
so  the  Vermouth  is  the  more  pop- 
ular performance. 

Strangely    enough,    it    is    not    ro- 
mances of  Spanish  sehoritas  or  tore- 
adors    that     interest     the     Peruvian 
movie  fan,  but  stories  of  North  Amer- 
ican life.     Mary   Pickford,   Norma  and 
Constance   Talmadge,   Ruth   Roland,   and 
Pearl  White  are  among  the  favorites.    They 
have  as   devoted   admirers   in   a   little    Indian 
town  in  the  interior  of  Peru,  as  they  have  on 
Broadway.     It   is  safe  to   say  that  American  films 
always  draw  the  largest  audiences,  with  the  possible  ex- 
ception of  the  Caesar  films,  which  star  Bertini,  the  beau- 
tiful Italian  Movie  actress. 

The  reason  for  this  is,  that  foreign  films  have  for  the 
most  part  very  little  action.  The  eternal  triangle,  the 
plot  used  most  often  in  French  and  Italian  pictures,  pales 
in  interest  beside  the  perils  that  Pearl  White  escapes  or 
the  miraculous  deeds  of  Eddie  Polo. 

When  one  realizes  the  popularity  of  American  films, 
it  is  hard  to  understand  why  so  few  of  the  good  ones 
come  to  South  America.  In  the  five  years  that  I  lived 
in  Lima,  the  only  big  American  film  that  I  saw  was 
Farrar  in  "Joan  the  Woman."  When  Mary  Pickford, 
William  S.  Hart,  and  other  favorites  come  to  town,  it  is 
always  in  their  less  important  films  and  these  are  gen- 
erally four  or  five  years  old. 

Constance  Talmadge  is  undoubtedly  the  most  beloved 
of  the  Peruvians.  Her  dress,  her  figure,  her  mannerisms 
have  become  the  ideal  of  the  Peruvian  flapper. 


And  here  let  me  cite  certain  direct  and  definite  changes 
that  the  American  screen  has  brought  about  in  Peruvian 
life  and  manners.  Changes  which  cannot  be  attributed  to 
any  other  source.  Until  the  advent  of  the  ubiquitous 
cinema,  Peruvian  girls  dressed  in  a  South  American  ver- 
sion of  European  styles  of  the  nineties.  They  wore  very 
short-vamp  high-heeled  shoes,  had  small  waists,  large 
hips  and  otherwise  overripe  curves.  Their  clothes  were 
always  too  tight,  and  black  was  the  predominating  color. 
The  ideal  figure  resembled  that  which  may  be  seen  in  the 
chorus  of  an  American  burlesque  show. 

The  uncorseted  straight  figure,  the  bobbed  hair  and 
flat  heels  of  the  American  girl  were  not  taken  over,  altho 
seen  often  enough  in  the  American  fashion  magazines 
until  their  superior  charm  was  proved  in  the  person  of  a 
film  favorite. 

(Continued  on  page  83) 


w^mmammmm 


Above,  "Cholitas" 
near  Lima  on 
their  way  to  the 
movies.  Left,  a 
moving  picture 
house  in  Lima, 
Peru,  with  Pearl 
White  billed  in 
"The  House  of 
Hate,"  and  an  an- 
nouncement for 
the  American  Red 
Cross   Relief 


(Tiventy-tivo) 


, 


Photograph   by    Pach   Brothers 


ALICE  JOYCE 


They   cannot   stay    away,   these   one-time   stars   of    the    silver    screen,   and   now    Alice 

Joyce    has    come    back    to    us,    as    beautiful — no — more    beautiful    than    ever.      She    is 

making  "The  Green  Goddess"  with  George  Arliss 


(Twenty-three) 


Foreign 

European  Studios 
MAURICE 


FRANCE 

DID  you  ever  hear  of  a  marriage  being  celebrated 
at  midnight?  I  have  assisted  at  one,  but  it 
took  place  on  the  screen  in  the  new  picture  pro- 
duced in  France  by  Armand  du  Plessy  and  which  is 
called  "Manage  de  Minuit"  (The  Midnight  Mar- 
riage). This  picture  might  be  a  super  one,  if  the  pro- 
ducer could  make  the  most  of  such  an  interesting 
subject.  Of  course,  the  idea  is  not  new,  but  it  is 
presented  with  a  certain  amount  of  originality. 

There  are  however  certain  scenes  in  this  photoplay 
which  will  certainly  not  be  passed  by  English  or 
American  censors.  I  mean  some  scenes  showing  the 
hero  in  his  relations  with  the  other  sex  and  a  villain 
of  a  type  to  be  avoided  in  public  spectacles. 

Now  this  picture  of  which  the  cast  includes  many 
well-known  French  actors,  can  be  said  to  be  a  Belgian 
one  as  the  producer  and  the  heroine  (Miss  Nelly 
Muriel)  are  Belgians.  But  there  is  a  decision  of  the 
Society  of  Film  Authors  of  France  to  the  effect  that 
a  picture  is  to  be  considered  of  French  nationality 
if  among  other  reasons,  "the  producer  is  or  speaks 
French." 

ENGLAND 


"Married  Love,"  the  book  of  Dr.  Marie  Stopes, 
which  has  been  advertised  so  extensively  in  England, 
has  been  adapted  to  the  screen  and  produced  at  the 
British  Super  Film  Studio  by  G.  B.  Samuelson.  This 
is  certainly  a  fine  picture,  whose  story  is  a  study  of 
the  happiness  and  the  troubles  of  married  life. 

The   troubles   are   represented   by  the   respectable 

number   of   ten  children,   the  eldest  of  whom — our 

heroine — is  afraid  of  marriage  when  she  sees  that 

it  is  so  difficult  for  her  poor  parents  to  make  both 

ends  meet. 

Except  for  some  few  scenes, 
this  picture  is  quite  an  inter- 
esting one  and  is  well  acted  by 
Sydney  Fairbrother.  Sam 
Liversay,  Rex  Davis,  and 
Lillian  Hall  Davis. 

A  very  interesting  English 
film  was  shown  recently  which 
represents  an  original  idea.  It 
is  not  a  feature  film,  just  an 
educational  one.  It  shows  us 
what  old  London  was  and 
what  it  actually  is  by  means 
of  old  prints  introduced  skil- 
fully in  the  picture.  This  is 
called  "The  Romance  of  Lon- 
don" and  has  been  edited  by 
The  Gaumont  Company. 

GERMANY 

Since  I  started  writing  this 
series  of  articles,  some  changes 
have  occurred  in  the  cinema 
industry  in  Germany.  In  fact, 
in  the  studios  there,  they  are 


(Twenty-four) 


Films 

At  a  Glance 
ROSETT 


not  now  producing  with  so  much  intensity  as  they 
were  before,  and  1  understand  that  the  importers 
will  have  more  business  in  Germany,  as  they  will  in- 
troduce  more  foreign  pictures  in  this  territory. 

This  state  of  things  is  due  to  the  rati-  of  the  mark 
which,  by  its  depreciation,  has  augmented  consider- 
ably the  price  of  the  picture  productions.  <  'f  course, 
the  German  stars  do  not  cease  working,  but  the  situa- 
tion is  not  \  cry  brilliant 

t  Ksi  Oswalda,  for  instance,  quite  a  good  film  ac- 
tress, is  continuing  her  scries  of  pictures  and  she  lias 
already  completed  many. 

(  Issi  I  'swalda  is  one  of  the  best  German  actn 
and  is  particularly  good   for  roles  in   which   she  has 
to   be   waggish,    malicious   and   cunning.      She    is   all 
that,  at  least  she  seems  to  be  when  we  see  her  on  the 
screen  and  she  has  also  a  very  delightful  smile. 

AUSTRIA 

I  referred  to  this  c&untry  very  briefly  in  my  last 
article  when  citing  "Don  Juan."  I  may  now  give  you 
some  more  particulars  about  the  film  activities  in 
Austria  whose  production  is  often  amalgamated  with 
the  German  one. 

There  are,  amongst  others,  two  big  studies  in  Aus- 
tria, viz :  The  Sascha  Film  and  the  Vita  Filmindustri. 

The  first  produced  lately  a  spectacular  film  origi- 
nally called  "Sodom  and  Gomorrah"  featuring  the 
Austrian  star,  Lucie  Doraine,  who  has  a  certain  popu- 
larity in  many  European  countries.  At  the  moment 
of  writing  this  article,  I  am  informed  that  this  picture 
is  now  shown  in  the  States  under  another  title. 

Another  picture  made  at  the  Sascha  studios  is  called 
"Sons  of  the  Revolution."  The  episodes  of  the  French 
Revolution,  most  of  which  more  likely  occurred  in 
the  imagination  of  the  writers, 
seem  to  attract  more  and  more 
the  producers  of  the  different 
countries. 

"Sons  of  the  Revolution"  is 
an  adaptation  of  the  book  by 
Frederic  Soulie  and  can  be 
said  to  be  the  story  of  a  boy 
whose  origin  is  unknown,  as 
he  was  born  during  the  troub- 
led period  of  the  French 
Revolution. 

After  many  adventures,  he 
will  find  out  who  his  parents 
are  and,  of  course,  he  has  also 
the  opportunity  of  finding  a 
charming  wife.  There  are 
some  beautiful  scenes  in  this 
rather  improbable  story  and 
the  acting  is  perfect. 

The  Vita  Filmindustri  has 
completed  a  photoplay  called 
"Bobby." 

The  hero  is  a  little  boy  and 
a  clever  actor  too,  who  decides 
to  become  a  detective  one  day 
(Continued  on  page  84) 


Above  is  a 
Franco- 
Belgian  pic- 
ture, "Ma- 
nage de  Minu- 
it"  (Midnight 
Marriage), 
Nelly  Muriel, 
a  Belgian  cin- 
ema actress, 
is  the  star. 
Right,  "Sons 
of  the  Revolu- 
tion," another 
Austrian  film, 
with  Oskar 
B  e  r  e  g  i  and 
Miss  Seals- 
f oelo.  Below 
is  O  s  s  i 
Oswalda,  a 
German  film 
star  in  "The 
Girl  With  the 
Mask" 


{Twenty-five) 


I 


F  one  of  these  days,  some  French 
family  should  recognize  a  familiar 
baby  face  on  the  screen,  there 
would  be  complications — not  to  say 
woe,  in  the  house  of  De  Lacey. 
There  are  queer  stories  around  the 
studios  of  Hollywood  and  this  is  one 
of  the  queerest. 

It  is  the  story  of  Philippe  de  Lacey 
accounted  by  many,  the  most  beau- 
tiful child  that  has  ever  been  seen 
on  the  screen. 

During  the  World  War,  an  Eng- 
lish  woman   named   De   Lacey   who 
was  living  in  New  York  went  to  the 
battle    fields    of    France    with    the 
American   Women's   Overseas   Hos- 
pital Contingent.     One  day  she  wa's 
called  to  a  little  hut  near  Nancy  where  a  woman 
lay  dying  of  pneumonia.     On  the  bed  with  her 
was  a  baby  about  eighteen  months  old. 

Miss  de  Lacey  had  the  woman  and  the  child 
removed  to  a  base  hospital  where  she  died. 
Struggling  for  her  last  breath,  she  told  as  much 
as  she  could  of  the  baby's  history  and  begged 
Miss  de  Lacey  to  see  that  somewhere  he  find 
a  home.  She  said  that  the  child's  mother  was 
only  seventeen  years  old  and  had  been  killed  a 
few  days  before  by  a  German  bomb  that  was 
dropped  from  an  aeroplane.  The  baby's  father 
— her  son — had  been  killed  with  his  three  broth- 
ers at  the 'defense  of  Verdun. 

Miss  de  Lacey  brought  the  baby  back  to  New- 
York  intending  to  find  a  home  for  him  some 
where.  She  happened  to  meet  an  actress  who 
knew  Geraldine  Farrar,  and  Farrar  was  at  that 
time  casting  a  picture.  As  soon  as  Farrar  saw 
the  little  fellow — at  that  time  two  and  a  half — 
his  fortune  was  made. 

He  is  five  now  and  has  become  one  of  the 
sure-of-an-engagement    actors    of    Hollywood. 
Among  the  pictures  in  which  he  has  appeared 
{Continued  on  page  82) 


Bombed  Into  the 
Movies 

By    HARRY    CARR 
Photographs  by  Paul  Grenbeaux 


Little  Philippe  de  Lacey,  called  by  many,  the  most 
beautiful  child  in  the  movies,  has  an  interesting 
story.  He  is  one  of  the  many  tragic  results  of  the 
Great  War.  Read  how  he  found  his  way  to  the 
silver  sheet 


(Twenty-six  j 


The  Woman  and  the  Mask 

Posed  by  Priscilla  Dean  for  W.  F.  Seely,  L.  A. 


(Txventy-seven) 


Trilby 


Written    in    short    story   form    by    Dorothy    Donnell 

Illustrations  by  John  Ellis 


UP  the  steep 
cobbles  of 
the  Pas- 
sage des  Ab- 
besses hastened 
a  young  man 
wearing  a 
wreath  of  sau- 
sages festooned 
about  his  neck 
and  carrying  in 
one  hand  a  fan- 
tastic nosegay  of 
scarlet  peppers, 
glossy  young 
onions  and 
daffodils,  and  as 
he  went  he  lifted 
up  his  soul  in 
song  imploring' 
some  lady  of  the 
name  of  Chloe 
to  go  a-maying. 

The  stout 
gendarme  on  the 
corner  regarded 
h  i  m  tolerantly. 
Name  of  a 
name,  these 
artists  were 
quite  mad,  but 
what  would 
you  ?  Madness  is 
no  crime  and  a 
man  was  not  to 

blame  if  the  good  God  had  made  him  an  Englishman. 
Which,  indeed,  shows  the  gendarme  to  be  a  man  of  broad 
mind  and  liberal  views.  But  the  young  man  now  disap- 
pearing under  the  archway  beyond  was  not  aware  of 
being  pitied,  for  tho  his  feet,  in  undeniably  shabby  shoes, 
trod  the  rude  pavement,  his  head,  which  was  that  of  a 
young  Greek  god,  was  in  the  clouds.  Pausing  for  breath, 
he  glanced  back  thru  the  arch  at  Paris,  lying  below  in 
the  blue  luminous  mist,  the  Seine  moving  placidly  under 
its  white  bridges  between  quays  where  lime  trees  blos- 
somed and  old  men  in  rusty  shovel  hats  browsed  among 
the  dingy  treasures  of  the  book-stalls.  And  his  glance 
was  that  of  an  owner  regarding  his  possessions. 

For  Paris  belonged  to  Little  Billie,  Notre  Dame  was 
his  own  private  treasure,  and  the  big  bosomed  market 
women  wore  red  shawls  solely  to  please  his  eyes. 

From  somewhere  close  at  hand  came  the  strains  of  a 
violin  bringing  him  about  with  a  visible  start  of  annoy- 
ance.    "He's  got  the  poor  little  flea  at  it  again,"  Billie 


Arthur  Edmund  Carewe  in  the  sinister  and  immortal  role  of  Svengali 


muttered,  eying 
the  attic  window 
with  its  torn 
green  paper 
shade  gloomily, 
"it's  a  damn 
shame,  the  old 
slave  driver  ! 
And  I  suppose 
as  soon  as  he 
smells  these  sau- 
sages he'll  be 
down,  rubbing 
his  oily  hands, 
loving  us  like 
brothers  !  And 
the  worst  is  he 
isn't  a  gentleman 
— you  could  in- 
sult a  gentle- 
man !" 

In  the  dark- 
ness of  the  hall 
Little  Billie 
fumbled  for  his 
latch  key.  It 
turned  around 
and  around  use- 
lessly in  the 
broken  lock  but 
he  went  re- 
ligiously thru 
the  ceremony  of 
a  householder 
before  opening 
the  door  with  a  well  directed  kick.  And  so  surely  did 
he  know  what  would  be  the  scene  within  that  he  saw  it 
before  the  door  was  opened. 

The  studio  which  had  once  been  the  untidiest  in  the  Latin 
Quarter  was  now  so  clean  that  Taffy  wailed  he  was  not 
allowed  to  get  paint  onto  his  palette  any  longer  since 
the  reign  of  Madame  Petticoat.  He  was — Billie  knew — 
daubing  cheerfully  away  at  his  big  splashy  canvas  now, 
stopping  to  pull  the  tail  of  the  cat,  to  cheep  at  the  canary, 
and  to  roar  with  big  honest  laughter  over  what  Trilby 
was  saying  in  her  clear,  joyous  voice.  The  Laird,  being 
Scotch  and  remembering  that  models  cost  money,  would 
be  working  industriously,  wiping  his  brushes  on  his  curly 
beard  which  was  always  gay  with  ultramarine  and  scarlet 
lake,  despite  the  agonized  cries   from  the  model  throne 

each  time  this  occurred.    And  Trilby 

In  the  darkness  Little  Billie  smiled  tenderly,  visioning 
Trilby  sitting  majestically  with  the  white  stuff  of  her 
classic  robe  molding  the  sweet  curves  of  her,  one  bare 


(Twenty-eight) 


* 


CLASSIC 


Trilby,  played  by  An- 
dree  Lafayette,  glad- 
dens the  sometime  sor- 
rowful heart  of  the 
Latin  Quarter  with  the 
eternal    gift    of    herself 


pei  fed  foot  resting 
on  a   footstool.     His 

lu-ait   lifted  under  the 

shabby  velveteen 
jacket  ;  he  thought  it 
was   because  be   was 

an    artist    looking    OH 

beauty,  not  guessing 
it  was  because  he  was 

a    boy.    looking    on    a 

girl. 

' ' a  n  d     just 

think,  I  always  bated 

artists     when     I     was 

working  in  the  blan- 

chisserie  because  their 

shirts  were  so  hard  to 

wash !"      Trilby     was 

saying  as  he  went  in, 

''paint      streaks     and 

smooches,    and    some 

of  them  drew  sketches 

on  their  cuffs,  and   I 

know  that  you.  Taffy . 

were     the     one     who 

used  the  tails  of  his 

shirt     for     turpentine 

rags !"     She    clapped 

her  hands  like  a  child  at  the  bouquet  which  Little  Billie 

presented  courtierwise  on  his  knee  and  with  a  glance  at 

the  clock  was  down  from  the  model  stand  and,  gingham 

apron  over  the  classic  robe,  was  making  salad,  chattering 

gaily  all  the  while,  "Ah.  mon  Dieu,  but  I  am — how  do 

you  say? — hongeree  !    Taffy,  you  shall  stir  the  dressing — 

not  so  hard,  Great  Stupid !    Oil  must  be  coaxed,  like  a 

woman,  and  the  Laird  shall  cook  the  little  pigs  to  a  divine 

brownness.   What  a  feast  we  shall  have — Oh,  tra-la-la-la  !" 


Trilby's  lips  were  the  deeply  curved  lips  of  Sappho, 
shaped  to  utter  music  by  the  Lesbian  Sea  on  some  night 
of  stars — the  simile  is  Little  Billie's — but  when  she  opened 
them  to  sing,  strange  sounds  come  forth,  a  bell-toned 
monotone  that  always  sent  them  into  gales  of  merriment. 
No  matter  what  she  elected  to  sing,  a  strain  from  opera, 
a  chanson  of  the  boulevards,  it  was  all  the  same,  tuneless, 
discordant.  It  was  not  that  >he  had  no  voice,  for  she 
had  a  great  deal,  but  that  she  was  absolutely  tone  deaf. 

In  the  midst  of  their  laughter,  while 
the  sausages  were  sputtering  fragrantly 
over  the  gas-jet  and  Little  Billie  was 
setting  out  the  bottles  of  rough  red  wine 
and  the  long  crusty  loaves,  the  door  be- 
gan to  slide  open  and  a  dirty  band  with 
long  black-rimmed  fingers  appeared,  fol- 
lowed by  a  pointed  oily  beard  of  glittering 
blackness  topped  with  a  nose  like  a  bird's 
beak.  The  possessor  of  these  endearing  at- 
tributes wore  a  frock  coat  so  shiny  that 
the  Laird  arranged  his  tie  before  it  osten- 
tatiously as  in  a  mirror.  His  beard  im- 
perfectly concealed  a  deficiency  of  linen 
and  his  complexion  was  so  dingy  that  it 
was  lucky,  as  Taffy  whispered  to  Little 
Billie,  that  most  of  his  face  was  whisker-, 
but  it  was  his  eyes  which  caught  the 
glance.  They  were  strange  eyes,  send- 
ing uneasy  sensations  slipping  down  the 
spine.  Seeing  them  fixed  unwinkingly 
now  on  Trilby,  Billie's  hands  clenched, 
throttling  the  loaf  of  bread  he  held. 
"A    thousand    pardons!"    writhed    the 


Svengali's  method  of  teaching  the  tone-deaf 
Trilby    to    sing,    terrifies    Gecko,    her    self- 
sacrificing    and    humble    admirer 


(Tw*nty-nine) 


CLASSIC 


Taffy  and  the 
Laird  and 
Little  Billie, 
Trilby's  de- 
voted follow- 
ers,  watch 
with  consider- 
able anxiety 
the  mending 
of  Little 
Billie's  sock. 
Trilby  darns 
between  poses 


newcomer,  "I  did  not  dream  that  I  would  find  you  at 
luncheon !"  and  he  looked  wistfully  at  the  brown  sausages 
with  their  succulent  pink  insides. 

"It  was  no  doubt  the  music  attracted  you,  eh  Svengali  ?" 
the  Laird  drawled,  ironically  waving  a  hand  toward 
Trilby,  "but  coom  in  and  sit  ye  down,"  he  raised  his  voice 
to  a  roar,  "and  the  little  fiddler  too  that  I  can  hear  sniffing 
in  the  hall,  only  no  mair  hocus  pocus,  mind!" 

Gecko,  pupil  and  shadow  of  his  extraordinary  master, 
slid  in,  a  rabbity  youth  with  a  tremulous  Adam's  apple 
which  he  was  forever  trying  t0  swallow.  At  the  Laird's 
last  words  his  pale  eyes  sought  Trilby  anxiously,  and 
under  cover  of  the  noise 
and  merriment  he  presently 
crept  to  her  side.  "You  do 
not  eat,"  he  whispered, 
"you  are  the  color  of  your 
robe.  Oh,  why  did  you  let 
him  try  his  power  on  you 
last  week?  Do  you  not 
understand  when  once  he 
has  looked  deep  into  your 
eyes  and  touched  your 
forehead  with  his  finger 
tips  he  is  your  master  for- 
evermore  ?"  He  twisted 
his  bony  hands  together,  "I 
ought  to  know !  See  he  is 
looking  at  us  now,  he 
knows  we  are  speaking  of 
him.  He  knows  every- 
thing !  It  is  only  when  I 
play  that  I  can  escape 
him " 


As  tho  summoned  invisibly,  he  rose  and  crept  back  to 
Svengali's  side,  but  the  music-master,  rapturously  greasy, 
continued  to  cram  bits  of  sausage  into  his  mouth  and 
dip  onions  into  the  salt  without  noticing  him.  At  last 
with  a  sigh  of  satiety  he  wiped  his  hands  upon  his  beard, 
burnishing  it  to  greater  effulgence.  "Hocus  pocus  you 
call  it,"  he  smiled,  yellow  toothed,  "yet  with  hypnotism 
one  might  do  much  good " 

"What  good  can  it  do  to  make  someone  believe  a  pack 
of  lies?"  Taffy  growled.  "Of  course,  the  Laird  here 
could  use  it  on  customers  so  that  they'd  see  his  daubs  as 
pictures,   and   Trilby   could   use   it  on   an  audience   and 

go  in  for  concert  sing- 
"  he  broke  off  at  a 


TRILBY 

Fictionized  by  permission  from  the  First  National 
release  of  the  screen  adaptation  of  Du  Maurier's 
famous  novel.  A  Richard  Watson  Tully  produc- 
tion, directed  by  James  Young.     The  cast: 

Trilby    Andree    Lafayette 

Svengali Arthur    Edmund    Carewe 

The    Laird Wilfred    Lucas 

Zouzou    Maurice    Cannon 

Durien    ". Gordon    Mullen 

Mme.    Vinard : Martha    Franklin 

Rev.    Bagot Gilbert    Clayton 

Impresario    Edward    Kimball 

Little    Billie Creighton    Hale 

Taffy Philo    McCullough 

Gecko    Francis    McDonald 

Dodor   Max  Constant 

Miss    Bagot Gertrude    Olmstead 

Mrs.    Bagot Evelyn    Sherman 

Laundress    Rose    Dione 

Jeannot    Robert   De   Vilbiss 


ing— 

strange  sound  from  Little 
Billie.  Hands  clenched  into 
fists,  the  boy  was  staring 
from  Svengali  to  Trilby 
whose  face  had  grown  rigid 
and  masklike  under  the 
Italian's  glittering  regard. 

"Damn  you,  take  your 
eyes  off  her!"  Little  Billie 
choked  and  would  have 
hurled  himself  on  the 
musician  but  for  Taffy's 
great  paw.  Svengali's  mas- 
terfulness vanished.  The 
doglike  Gecko  at  his  heels 
hurried  out,  frock  coat  tails 
abjectly  flapping,  while 
Little  Billie  writhed  im- 
potently  in  the  big  Briton's 
grasp,    crying    shrilly,    "let 


(Thirty) 


t 


(  i  vssic 


Didn'i  you  .*<  i   the  wa>   he  wu  looking  at  hei   ai 
tlu>    a>  tho  she  hadn't  anything  on  '" 

Trilb)  gave  ;i  deep  sigh,  like  one  waking  from  sleep 
Tin-  color  returned  to  her  face  and  she  flung  herself 
hing  unto  the-  model  stand  apparently  unaware  ol 
what  had  occurred,  but  Little  Billie's  hands,  touching  the 
claj  with  which  he  was  modeling  a  winged  foot,  shook 
rod  lath  nudged  the  Laird  frowning.  Later  they  dis 
cussed  it  over  glasses  of  absinthe  at  the  Dead  Rat, 

"The  boy's  falling  in  love  with  her,"  Taflry's  rumble 
was  anxious,  "what  would  his  Lady  mother  and  his 
Reverend  uncle  say  if  he  brought  a  little  Montmartre 
model  to  The  i  >aks?  Cant  you  hear  his  ancestors  turning 
in  their  respectable  graves,  man?" 

"He  must  be  daft,"  the  Laird  tugged  his  heard  fretfully, 

"not  that  there's  anything  wrong  with  Trilby  hut  cant 
he  st€  she  isn't  the  kind  an  English  gentleman  marries?" 

"He  sees  she  is  beautiful,"  Taffy  said  gently,  "he  hangs 
her  about  with  all  the  virtues  and  puts  stars  in  her  hair 
and  says  his  prayers  to  her  as  we  all  of  US — God  pity  us 

do  to  some  woman  when  we  are  young." 

The  Laird's  eyes  grew  wistful  with  memories,  "Aye — 
there  was  a  spring  in  Dungerry  and  a  milkmaid.  But  alter 
I  saw  her  eat  one  day  I  dinna  loe  her  any  mair.  Perhaps 
the  lad's  eyes  will  be  opened.  But  Trilby  is  a  nice  little 
thing.  I  dinna  hold  with  Little  Billie's  wanting  to  marry 
her,  but  if  he  didna  want  to  marry  her  I  would  spank 
him  with  my  own  hand !" 

They  did  not  guess  that  even  then  IJttle  Billie's  eyes 
were  opened  and  he  was  looking  out  upon  a  different 
world  in  which  the  gargoyles  of  Notre  Dame  leaned  over 
their  parapets  to  grimace  at  his  misery  and  the  roseate 
mists  over  the  boulevard  were  suddenly  rain,  and  all  the 
lovely  laughing  city  was  a  hideous  painted  hag  with  mud 
drabbled  skirts  and  the  smirk  of  a  skull. 

For  hours  the  boy  tramped  the  streets.     The  shadow  of 


those  bittei  hours  was  upon  him  when  he  pushed  • 

the  door  oi  tin-  itudlO  and  faced  his  friend*.     "I'm  going," 

he  said  hoarsely,  and  began  to  jerk  things  blindh  into  his 
bag,  slides,  shuts,  paint  brushes  while  the\  watched,  open 
mouthed.     Then  his  glance  fell  on  the  little  white 

that    was   Trilby's   and    lie    Struck    it    Savagely,   and    a 

wards  gathered  up  the  pieces  with  his  eyes  brimming 
with  bus-  tears     "  this  afternoon,  at  the  lil 

stammered,  "I  saw  her    she  was  posing  before  them  all 

— naked — I  wanted  to  kill  ever)   one  of  them     but   I 

kill — all  Paris  and  s()  [',n  going " 

The  Laird  fled  cravenly  from  the  task  of  telling  Trilby 

that    Little   Billie  had   run  away  and  so  it   fell  upon    1 

to   explain    in   clumsy    words   and    stumbling    phrases    the 

reason  of  his  going. 

"But  I  di  not  understand,"  Trilby  cried  bewilderedly , 
"all  models  pose  in  the  altogether.  Surely  it  is  no  sin  to 
be  looked  at  unless  one  is  Ugly,  and  1  am  very  prett)  with 
mj  clothes  off,  not  only  my  foot  but  all  over." 

It  was  no  Use.  The  mind  of  a  daughter  of  Montmartre 
could  not  comprehend  the  unreasonable  viewpoint  of  an 
artist  who  admired  beautiful  things  and  yet  would  not 
have  people  look  on  beauty,  but  Trilby  did  most  of  her 
thinking  with  her  heart  and  that  told  her  what  she  must 
do  to  win  Little  Billie  back.  "So  I  return  to  the  blan- 
chisserie,"  she  told  them  wistfully,  standing  before  them. 
a  Milo  in  black  sateen  blouse  and  broken  shoes,  "I  wash 
the  artist's  shirts,  I  take  off  the  skin  from  my  fingers  and 
1  watch  the  feet  of  those  who  pass  by  our  basement,  for 
surely  he  will  come  back  now." 

The  lime  blossoms  fell,  the  old  men  on  the  quays  turned 
over  another  dingy  page,  and  a  good  deal  of  water  pas 
thru  the  taps  in  Trilby's  laundry,  and  suddenly  Little 
Billie  was  back  from  England.  "I  love  her."  he  told 
Taffy  and  the  Laird,  as  tho  expecting  their  surprise  at 
his  amazing  discovery,  "I  love  her  because  she's  what  she 


The   cruel  and   rapacious   Svengali   decides   to   make   a   fortune  out   of   the    poor   little 
laundress.      He   bids   her   follow   him 


(Thirty-one) 


CLASSIC 


is — if  she  was  any  different  she  wouldn't  be  Trilby.  It's 
queer,  as  soon  as  people  love  someone  they  always  set  to 
work  trying  to  change  them  over.  That's  what  I  told 
mother " 

Taffy  had  a  vision  of  the  haughty  Lady  Eleanor  with  her 
high-roofed  ancestral  nose  and  basilisk  eye.  "You — told 
your  mother  you  loved  Trilby?"  he  asked,  almost  in  awe. 

"I  told  her  I  was  going  to  marry  her,"  Little  Billie  said 
a  trifle  grimly.  After  all,  he  was  related  to  the  high-roofed 
ancestral  nose. 

And  now  the  gendarme,  leaning  against  the  white- 
washed wall  of  the  Passage  des  Abbesses,  saw  the  in- 
gredients of  other  merry  little  feasts  carried  thru  the  dark 
old  archway,  and  heard  queer,  untuneful  singing,  peals 
of  laughter  and  gay  voices  from  the  studio,  and  some- 
times Trilby  and  Little  Billie  passed  him  hand  in  hand 
on  the  way  to  sit  in  a  top  heaven  seat  at  the  opera  with  a 
look  on  their  faces  that  even  a  gendarme  could  under- 
stand. Allorus!   What  a  thing  to  be  young  and  in  love.  .  .  . 

The  gendarme 
did  not  like  the 
English  lady  and 
the  gentleman  in 
the  shovel  hat 
who  stopped  to 
ask  him  the  wav 
to  Little  Billie's 
studio  one  eve- 
ning— ma  foi,  but 
Madame  looked 
as  tho  she  were 
smelling  some- 
thing unpleasant 
with  that  nose  of 
hers.  And  the 
fussy  little  man 
with  her  a  d  - 
dressed  him  as 
"Jen  Dam"  and 
seemed  to  think 
that  the  strange 
noises  he  was 
making  were 
French. 

"It  is  the  girl 
we  must  talk  to," 
the  lady  said  as 
they  moved 
away,  "William 
must  not  guess 
we  are  here " 

The  clocks  be- 
low boomed  mid- 
night, from  the 
top  of  the  Eiffel 
Tower  a  red  eye 
winked  and  the 
busses  roared  by 
in  the  Boulevard 
below,  bringing 
loads  of  tourists 
to  the  B  a  1 
Tabarin,  hopeful 
of  looking  upon 
some  evil.  Then 
the  gendarme  say  the  couple  returning,  and  with  them 
came  the  girl  of  the  gay  laughter,  but  now  she  was  not 
laughing  and  the  bunch  of  roses  was  blighted  with  tears. 

"I  knew  that  we  could  make  you  see  it  was  quite  im- 
possible," the  lady  with  the  nose  was  saying — what  a 
horrible  language,  that  English  !  A  language  to  say  harsh 
things  in,  to  scold  with,  but  never,  never  to  make  love  in 
— "and  you. promise  not  to  see  him  again?" 


rhe    moment    of    Trilby's    greatest    triumph    was    the    moment    that 
preceded    her    collapse.      Svengali    had    won — and    lost 


The  light  from  a  lantern  swinging  in  the  wind  fell 
across  the  girl's  face  giving  it — the  gendarme  thought — 
the  look  of  one  of  the  marble  saints  in  the  Sacre  Cceur. 
A  strange  place  for  saints,  Montmartre !  "I  promise," 
Trilby  said,  taking  the  words  one  by  one  from  her  heart, 

"I  promise — never  to  see — him  again " 

It  is  no  doubt  the  human  life  they  have  looked  down 
upon  so  long  that  is  responsible  for  the  expressions  on 
the  faces  of  the  gargoyles  of  Notre  Dame.  From  their 
high  perch  above  the  city,  man  must  seem  an  amusing  and 
pitiful  and  altogether  futile  sort  of  insect  rushing  madly 
about  and  imagining  his  insect  sorrows  and  desires  are 
important.  Little  Billie  told  himself  this  and  many  other 
scornful  bitter  things  in  the  weeks  that  followed  when  he 
wandered  about  Paris  searching  for  a  lost  dark  head  in  a 
world  full  of  women  whom  he  hated  because  they  were 
not  Trilby.  He  sought  her  in  the  parks,  in  the  cafes 
and  theaters,  he  hunted  for  her  among  the  laundries  and 
the  shops  and  all  the  studios  of  the  Quarter.   There  were 

many  women. 
slim  hipped,  lur- 
ing eyed,  women 
with  little  white 
hands  and  pretty 
lips  like  painted 
flowers,  scarlet- 
haired  hussies  .of 
the  varieties, 
languid  models, 
pert  shop  girls 
with  impossible 
coiffures,  de- 
mi  -  mondaines, 
apache  girl,  midi- 
nettes.  but  Trilby 
had  vanished 
without  a  trace. 
She  had  always 
been  secretive 
about  her  home 
life :  someone  said 
there  had  been  a 
small  brother 
whom  she  had 
cared  for,  some- 
one else  said  he 
had  died.   .   .   . 

"I'm  getting 
stale,"  Taffy 
growled,  care- 
fully avoiding 
Little  Billie's 
haggard  look, 
"I've  painted 
sidewalk  cafes 
and  flower  ven- 
dors and  children 
rolling  hoops  in 
the  T  u  i  1  e  r  i  e  s 
Gardens  until  my 
brushes  are  all 
gummed  up  with 
sweetness.  Let's 
go  traveling  and 
paint  pictures 
with    tobacco   and   gin    and    blood    in    'em." 

As  a  cure  for  love-sickness,  Australia  may  be  recom- 
mended. Of  course  there  were  scars  left  in  Little  Billie's 
heart,  and  sometimes  when  the  velvety  dark  was  disturbed 
by  a  woman's  voice  crooning  unevenly  across  the  veldt, 
or  when  the  Southern  Cross  was  a  blue  blaze  on  the 
horizon,  the  scars  throbbed  a  little,  and  Billie  would  say, 
(Continued  on  page  80) 


(Thirty-two) 


xraph 


Impressions 


By 


LOUISE  FAZENDA 


These  two  pictures  and  the  "Impressions"  below  attest  the  extraordinary 
versatility  of  the  gifted  Miss  Fazenda,  who  is  better  known  as  a  comedienne 


BARBARA    LA    MARR 


The  flame  of  a  black  candle. 

Chinchilla. 

Unknown  ladies  at  tombs. 

Orchids. 


CLAIRE    WINDSOR 


Blue  corn-flowers  in  a  wheatfield. 

Rhinestones. 

A  crystal  vase. 

A  swan  on  a  clear  lake. 


ENID     BENNETT 


Priscilla,  playing  with  dolls. 

Rainbows. 

A  tremulous  child. 

Titania. 


CULLEN    LANDIS 


Civil  War  daguerreotypes. 

Agate. 

A  boy  sobbing  in  an  empty  church. 

Rosemary  for  remembrance. 


FLORENCE     VIDOR 


Apple  blossoms  in  the  breeze. 
Rose-point  lace. 
Breath  of  jasmine. 
Reeds,  and  a  quiet  pool. 


MARY    CARR 


A  lamp  in  a  window, 
Old  bibles. 
Paisley. 

Frost  on  pink   r 


BABY    PEGGY 


A  robin. 
Kewpies. 
Soap-bubbles. 
Buttercups. 


LON  CHANEY 


A  shadow  without  a  presence. 

Dwarf  pines. 

A  scream  in  the  dark. 

Fog. 

The  San  Francisco  water-front. 


ANNA  Q.    NILSSON 


A  woman  in  sable  with  wolfhound-. 
Sunlight  on  frozen  green  water. 
A  jewel-handled  whip. 
Boadicea.  Queen  of  Britain. 


WANDA     HAWLEY 


Peach  melbas. 

Sorority  dances. 

Light  blue  ruffled  parasol.-. 

Daisy  chains  at  Yassar. 


(Thirty-three) 


"The  Light,  Bright,  Lissom  Mae 

Mae    Murray    poses    for    Edwin    Bower    Hesser 


(Thirty-four) 


. 


The  Genius 
of  Gesture 

•An  Observation 

by 
FAITH  SERVICE 


Y(  >l'  dont  quite  know  whether 
he  is  true  or  not  ...  or 
whether  you  might  not,  per- 
haps, have  made  him  up,  invented 
him  in  a  moment  of  mad  imagery, 
read  about  him,  caught  him  in  a 
chord,  immediately  lost.  .   .   . 

A  face  pale  and  perfect  ...  a 
Burgandy  colored  dressing-gown 
.  .  .  black  hair  .  .  .  significant 
hands  ...  a  Byronic  collar  ...  a 
strong  resemblance  to  the  pictures 
of  the  poet  Byron  .  .  .  this  is 
Joseph  Schildkraut. 

A  room  lined  on  all  four  walls, 
from  floor  to  ceiling  with  books, 
chosen  books,  loved  books  and  read, 
books  that  hold  you,  each  by  a  voice 
of  its  own,  this  is  his  background. 

He  is  a  romantic  recluse.  He 
walks  abroad  as  the  Chevalier  in 
"Orphans  of  the  Storm,"  as  Lil- 
iom  on  the  stage  and  as  Peer 
Gynt,  but  Joseph  Schildkraut  re- 
mains within  the  four  book-lined  ^ 
walls,  withdrawn. 

He  is  a  genius  of  gesture. 

Ever  since  he  was  ten  years 
old  and   read  the  Decameron   and 


Photographs   by    Nickolas    Muray 

Joseph  Schildkraut  has  given  us  the  Chevalier  in 
"Orphans  of  the  Storm"  on  the  screen,  and  the 
deathless  Liliom  on  the  stage.  He  has  now 
been  signed  for  the  Goldwyn  picture,  "The  Master 
of  Man,"  from   Hall  Caine's  famous  story 


studied  the  violin  while  he  dreamed  of  being  an  actor, 
up  to  the  present  day  when  he  is  twenty-seven  and  read- 
ing Poe,  living  his  secluded  life,  young  Schildkraut  is 
a  genius  of  gesture. 

As  to  his  sincerity,  that  is  a  matter  of  opinion.  One 
may  gesture  sincerely.   .    .    . 

Have  you  ever  read  books  of  a  haunting  strangem 
Seen  plays  wherein  the  human  and  the  superhuman,  the 
mystic  and  the  matter-of-fact  mingled  and  were  lo>-t  ? 
Caught  and  then  lost  again  strains  of  music  that  repelled 
the  Everyday  with  fantastic  fingertips?-  Products  of 
perversity  neither  beautiful  nor  bad? 

And  then  have  you  ever  thought,  "But  people  are  not 
like  this.  The  world  is  not  like  this.  Life  is  not  like 
this.     I  have  strayed  into  a  nether  place." 

But  Joseph  Schildkraut  is  "like  thi>."  This  is  the 
mood  he  evokes  for  you.  This  is  the  atmosphere  he 
gives  to  you. 

If  Baudelaire  had  flung  back  his  head  and  shattered 
his  malodorous  verses  with  shouts  of  Homeric  laughter. 
If    Poe    had    played    ball    with    a    child    and    written    a 
(Continued  on  path-  77 


'Thirty- five) 


Hollywood  Homes 


No.  XI 


Above  is  the  exteri- 
or of  Wallace  Reid's 
home.  The  architect 
was  Frank  Meline. 
It  was  decorated  by 
Gomes  and  Glendale 
of  California.  Here 
it  was  that  Wallie 
played  the  genial 
host  to  his  so  many 
friends  .  .  .  open 
house  for  all  good 
fellows.    .    .    . 


Left  is  Mrs.  Wallace 
Reid  with  her  son 
and  the  little  girl 
she  adopted  just 
before  her  husband 
died.  Here  too,  she 
"carries  on"  with  a 
brave  heart  and  fine 
courage,  a  gallant 
crusader  against  the 
evil  thing  that  cost 
Wallace  Reid  his  life 


(Thirty-six  j 


Right  is  a  corner 
of  the   lawn   with 
its  familiar  swim- 
ming  pool 


Below  is  the 
music -room  with 
its  mute  testi- 
mony to  a  for- 
mer gaiety 


Exclusive 

views 

of  the  home 

of  the  late 
Wallace  Reid 


- 


Above     i  s 
the    e  x  - 

tremely  in- 
ter esting 
s  t  a  i  r way 
with  its 
classic 
severity  and 
c  h  arming 
pla  stered 
walls 


Left  is  the 
dining- 
room  in 
smooth 
brown  oak 
and  tinted 
walls.  Note 
the  graceful 
lighting 


(Thirty-seven) 


Another 
Mary 


Mary    Pickford    piles    her    golden    glory 
on  top  of  her  head  and  essays  the  role 
of    an    alluring    and    passionately    emo- 
tional  woman 


These  are  scenes  from 
"Rosita,"  soon  —  but  not 
soon  enough  —  to  be  re- 
leased. It  is  based  on  the 
picturesque  adventures  of 
"Don  Caesar  de  Bazan." 
The  great  German  direc- 
tor, Lubitsch,  is  control- 
ling the  destinies  of  this 
picture.  We  hope  you  will 
like  Mary  in  this  new  kind 
of  role.  After  all,  she  is 
a  woman,  a  gorgeous, 
glorious,     golden     woman 


(Thirty-eight) 


The  Girl 

Who  Couldn't 

Stop  Crying 

By 

HARRY  CARR 


THIS  really  was  a  terrible 
d  i  1  e  in  m  a  ,  Renee  Adorer 
couldn't  stop  crying,  It  was. 
one  of  the  most  alarming  little  epi- 
sodes I  over  saw  in  a  motion  pic- 
ture studio. 

Renee  had  been  parting  from  her 
old   father. 

It  seems  that  unwillingly  she  had 
killed  a  man.  Tho  he  was  a  villain 
with  a  leer,  the  Northwest  Mounted 
Police  were  after  her  and  she  had 
to  fly. 

I  saw  her  when  she  said  good- 
bye to  her  father.  She  clung  to 
him  convulsively.  The  tears  were 
streaming  down  her  cheeks.  She 
looked  very  little  and  very  pitiful, 
and  the  tears  were  very,  very  real. 
With  one  last  kiss  and  a  sob,  she 
broke  away,  and  rushed — out  of  the 
camera  area. 

Reginald  Barker,  the  director,  fol- 
lowed to  congratulate  her.  To  hijs 
surprise,   she  was  still   crying. 

"What's  the  matter?"  he  asked  in 
dismay.  His  only  answer  was  a 
fresh   outburst   of    sobbing. 

Mr.  Barker  looked  around  with 
belligerent  inquiry.  Then  the  situa- 
tion dawned  upon  him.  The  little 
French  girl  had  got  her  tears  started 
and  they  wouldn't  stop.  He  looked 
around  hopelessly  at  Pat  O'Malley 
who  was  costumed  in  scarlet,  uni- 
form of  the  Northwest  Police.  Pat 
rose  gallantly  to  the  rescue. 

He  picked  Renee  up  bodily  and  sat  her  on  the  stum]) 
of  a  tree..  Then,  cavorting  around  like  a  Sennett  comedian, 
he  pretended  to  take  a  kodak  picture  of  her  tears. 

She  tried  to  smile  but  it  was  such  a  drippy,  woebegone 
little  smile — and  it  was  washed  away  in  another  outburst. 

Then  the  director  tried  again.  "Come  on.  Renee.  My 
God,  you  know  it's  just  a  play.  Come  on,  shake  yourself 
out  of  it."  With  that  he  took  her  by  both  arms  and  gave 
her  two  or  three  little  shakes. 

Her  only  answer  was  to  lean  on  his  shoulder  and  begin 
to  cry  again. 

Barker  looked  around  at  the  orchestra  that  every 
director  keeps  on  the  sets  these  days.  "Quick :  some 
jazz,"  he  said. 

The  orchestra  leader  tried,  "Carolina  in  the  Morning" 
and  "Mr.  Gallagher  and  Mr.  Sheehan." 

Renee  slid  down  from  the  stump  and  made  them  a  little 
tear-stained  bow  of  acknowledgment:  but  the  case  was 
quite  hopeless. 

"Sank  you,"  she  said  in  a  little  damp.  weak,  woe- 
maturated  voice.     Then  she  picked  up  her  make-up  box 


PluitORraph   by    Witzcl.    I.      \ 

Renee   Adoree   is   not    really    new    to   the    screen;    but    it    was   not    until 

Reginald  Barker  happened  to  select  her  for  an  emotional  pat,  in  a  big 

outdoor  story  that  she  really  found  herself.     He  thinks  she  will  become 

one   of   the   finest   emotional   actresses   ever    seen    on    the    screen 


and  walked  slowly  away  to  her  dressing-room,  leaving 
the  director  and  the  studio  staff  looking  like  convicted 
murderers.  The  last  I  saw  of  her,  her  shoulders  were 
still  shaking  with  the  convulsions  of  weeping. 

Renee  is  like  the  colored  lady.  When  she  mourns  she 
mourns. 

Reginald  Barker  who  has  found  a  lot  of  them  thinks 
she  is  the  great  "find"  of  the  year. 

She  is  not  really  new  to  the  screen.  She  lias  been 
dubbing  around  in  small  parts  for  year-.  It  was  not 
until  this  winter  when  Mr.  Barker  happened  to  select 
her  for  an  emotional  part  in  a  big  outdoor  st  »ry  that  she 
really  found  herself.  Mr.  Barker  thinks  she  is  due  to 
become  one  of  the  finest  emotional  actresses  e\  er  seen 
on  the  screen. 

She  is  a  little  French  girl,  not  fatally  beautif'll  but 
piquant  and  charming.  She  has  been  on  the  stage  all 
her  life.  As  a  child  she  was  an  acrobatic  dancer  in  France 
and  was  educated  in  England  by  a  tutor  while  still  rilling 
stage  engagements  in  London. 

(  Continued  on  page 


(Thirty-nine) 


Photograph  by  Woodbury,   L.   A 


Beside  the  Sea 

"Cjome  on  in — 

The  water  s  fine! 


Above,   Tommy   Meighan  and   Leatrice   Joy  on  location  in 

Florida    take    a    swim    between    shots.      Below,    Alice    Lake 

struggles   with   a   deep-sea   monster 


Top  of  the  page,  Hazel 
Keener  (in  Maurice  Tour- 
neur's  "The  Brass  Bot- 
tle") doesn't  care  how  hot 
it  gets.  Above,  Elaine 
Hammerstein 


(Forty) 


Stars  of  the 

Silver  Sheet 

Shine 

on  the 

Silver  Sand 


Above,  Viola 
Dana  acquires 
a  coat  of  tan. 
Below,  George 
Walsh,  that 
r  e  m  a  rkable 
athlete,  does 
his  setting-up 
exercises  on 
the  beach 


Above,  Harold 
Lloyd  and 
Ruth  Roland 
in  a  friendly 
pose.  Below, 
Kathleen  Key 
and  cape,  from 
G  o  1  d  w  y  n 
pictures 


(Forty-one) 


Left  is  May  Alli- 
son  who   returns 
to   the   screen   in 
"The  Sign" 


Right  is  Leatrice 
Joy  who  is  break- 
ing —  no.  —  we 
mean  making 
"The  Ten  Com- 
mandments." Be- 
1  o  w  is  Mary 
Thurman  who  is 
playing  in  the 
East  in  "Zaza" 


Photograph   by    Rice 


Summer  Girls 


Photograph    hj 
Melhourne   Spurr 


(Forty-two) 


Anna   Q.   Nilsson  as  the  picturesque  Cherry   Malotte   and   Milton 
Sills    as    Roy    Glennister    in    "The    Spoilers" 

The  Celluloid  Critic 

Laurence  Reid  Reviews  the  Latest  Picture  Plays 


A  SUCCESSFUL  picture  is  Tike  a  successful  play.  If 
it  has  reached  the  high  places  thru  some  outstand- 
ing character  or  situation — and  if  it  surges  for- 
ward with  a  compact  line  of  action,  thru  which  its  scenes 
are  neatly  dovetailed,  it  is  certain  to  he  favorably  re- 
ceived and  to  establish  itself  in  the  memory  as  a  picture 
with  a  personality.  Such  documents  are  sure  to  be 
revived. 

It  is  fitting  and  proper  that  Goldwyn  should  give  a  new 
treatment  to  Rex  Beach's  best  yarn,  "The  Spoilers."  In 
the  first  place  it  had  earned  a  new  picturization  thru  its 
eloquent  account  of  life  in  the  raw — a  background  which 
may  only  be  expressed  well  on  the  screen.  But  what 
made  "The  Spoilers"  so  memorable  was  its  smashing 
fight  in  the  climax  between  Tom  Santschi  and  William 
Farnum. 

It  has  been  said  that  this  gory  combat  could  never  be 
equalled,  much  less  duplicated.  The  very  thought  of  it 
has  inspired  its  present  spon- 
sors in  general,  and  Director 
Lambert  Hillyer  in  particu- 
lar, to  create  a  scene  which 
would  ring  down  the  corri- 
dors of  Time — which  would 
eclipse  any  hand-to-hand  con- 
flict ever  staged  before  the 
searching  lens  of  the  camera. 


Mr.  Reid  selects  "The  Spoilers"  as  the  best 
photoplay  of  this  month,  and  compares  the 
great  Milton  Sills-Xoah  Beery  fight  with  its 
former  prototype,  the  Tom  Santschi-lFilliarr. 
Farnum   brawl 


The  Santschi-Farnum  melee  compared  to  the  Sills-Beery 
(Milton  and  Xoah)  melee  would  be  like  trying  to  com- 
pare two  fly-weights  in  action  against  Dempsey  and 
Firpo  in  another  ring.  It's  a  tearing,  smashing,  slam- 
bang  bloody  battle  which  takes  up  easily  twenty  minutes 
— which  thrusts  two  very  earnest  players  in  deadly  com- 
bat with  no  quarter  given  or  taken  from  either  partic- 
ipant. 

Of  course  the  fight  is  the  moment  which  we  waited 
for.  Every  scene  is  a  prelude  to  it.  And  how  they  did 
build  up  to  it!  Here  we  have  the  vigorous  account  of 
a  Yukon  miner,  a  power  up  Dawson  way,  determined  to 
stand  up  on  his  own  feet  regardless  of  the  efforts  of  a 
group  of  wily  politicians  to  make  capital  of  the  ignorant 
community.  The  net  is  woven  around  him.  The  law 
is  against  him.  Every  loophole  has  been  carefully  em- 
broidered so  that  there  appears  no  possible  chance  for 
escape.     And  to  complicate  matters  he  is  in  love  with  a 

girl  whose  guardian  is  the 
crooked  judge  in  collusion 
with  the  disciples  of  evil — 
claim  jumpers,  in  Mr.  Beach's 
language. 

The  suspense  mounts  when 
you  see  Sills  grit  his  teeth  to 
see  the  conflict  thru  to  the 
finish.     Scenes — oh,  many  of 


(Forty-three) 


CLASSIC 


them — are  given  up  to  primitive,  primeval  battle.  There 
are  introductory  scuffles  to  the  main  bout.  And  the 
background  is  as  much  like  the  Alaskan  country  as  a 
good  location  man  can  make  it.  So  let's  mark  it  up  as  a 
smashing,  ripping  melodrama  of  the  big  outdoors — 
adapted  from  a  story  which  was  destined  for  the  screen 
— a  melodrama  which  rushes  with  headlong  speed 
straight  to  its  climax.  And  what  a  climax !  Sills  and 
Beery  fairly  leap  at  each  other's  throats.  Tables,  chairs, 
book-cases  are  overturned.  The  actors  smash  their  way 
and  each  other's  faces  thru  doors,  windows  and  parti- 
tions— until  you  feel  like  crying  "Stop  it!"  It's  vivid  and 
vital,  this  fight.  The  attending  blowing  up  of  the 
mines,  the  ride  of  the  vigilantes,  the 
crooked  roulette  game  and  the  other  de 
tails  are  merely  incidental  to  the  rip- 
tearing  punch  when  Beery  takes 
the  count  from  Sills'  good  right 
fist — and  left. 

A    good    supporting    cast 
lends    competent   assistance — 
particularly    Sam    de    Grasse, 
Barbara     Bedford     and     Robert 
Edeson.     Wallace   MacDonald 
allows  himself  too  much   latitude 
in  the  mat- 
t  e  r  of  his 
wardrobe. 
1 1   suggests 
the    latest 
Kuppen- 
heimer   a  d- 
vertisement 
instead  of 
the  style  of 
the    late 
nineties. 

We  ad- 
vise you  to 
see  this  pic- 
ture ;  you 
will  respond 
to  its  vital- 
ity, pictur- 
e  squeness 
and  melo- 
dramatic dis- 
play. 


Oval  (above) 
Jane  Novak 
and  John 
Bowers  in 
"Divorce." 
Above  Alfred 
Lunt  and 
Mimi  Pal- 
meri  in  "The 
Ragged 
Edge" 


BOOTH 
Tarking- 
ton's 
prize  -  winning 
story,  "Alice 
Adams,"  (As- 
sociated Ex- 
hibitors) has 
been  ap- 
proached with 
fine  sym- 
pathetic ap- 
preciation by  King  Yidor,  a  director  who  is  at  his  best  in 
visualizing  the  simple  humanities.  It's  a  picture  not  de- 
pendent upon  dramatic  fireworks,  but  scores  easily  and 
surely  because  it  expresses  the  simple  things  in  an  equally 
simple  way. 

Here  is  a  cross-section  of  American  family  life — life 
that  all  of  us  know.-  The  protagonist  is  a  wistful,  im- 
aginative, pathetic,  day-dreaming  girl  who  paints  vivid 
fancies — who  thru  her  pride  will  keep  up  appearances 
despite  the  poverty  in  her  home.  Her  mother  is  a  com- 
plaining woman — one  who  continually  nags  her  husband 
because  he  hasn't  taken  the  family  to  the  heights.     Her 


father  is  meek  and  mild  and  naturally  uncomplaining. 
But  he  is  incapable  of  making  both  ends  meet.  There  is 
a  brother  who  is  allowed  to  become  a  wastrel  simply  be- 
cause his  parents  are  more  or  less  uninterested  in  him. 
And  around  this  quartette  moves  a  drama  which  touches 
tragic  chords — which  paints  vividly  and  accurately — and 
at  times,  poignantly,  discordant  family  life. 

The  film  treatment  is  splendid.  It  carries  the  quaint 
humor  tinctured  with  pathetic  glimpses  of  the  novel.  It 
retains  all  the  humanities  which  Tarkington  incorporated. 
The  big  vital  note  in  the  book — when  Alice  entertains 
her  admirer  at  dinner  and  he'  sees  thru  her  sham,  is  deftly 
treated — with  a  suggestion  of  real  subtlety. 
These  characters  are  made  real  by  the  di- 
rector, Rqvvland  V.  Lee — and  the  play- 
ers who  fit  them  have  seemingly 
stepped  from  the  pages  of  the 
book.  What  a  memorable  por- 
trayal Florence  Vidor  gives  as 
the  girl  whose  dreams  are  shat- 
tered !  How  she  humanizes  the 
figure  who  was  forced  to  swal- 
low' her  pride — and  Claude  Gil- 
lingwater  as  the  father  presents  a 
portrait  of  cameo  fineness. 

The  intel- 
l  i g cuts i a 
will  thoroly 
enjoy  this 
p  i  c t  u  re  — 
and  if  w e 
are  not  mis- 
t  a  ke  n.  so 
will  t  h  e 
b  o  u  rgcoisc. 
It's  a  very 
h  u  m  a  n 
document, 
treated  in  a 
very  human 
w  ay.  Oh, 
but  that  we 
might  have 
more  like 
it! 


rl^^TVs 


Left,  Flor- 
ence Vidor 
and  Monte 
Blue  in 
''Main 
Street." 
Above, 
Douglas 
MacLean  in 
"A  Man  of 
Action" 


ANOTHER 
Tarking- 
L  ton  tale 
— in  an  entirely 
different  vein 
—  the  vein 
w  h  i  c  h  many 
declare  to  be 
his  best  —  is 
his  "Penrod 
and  Sam' 
(First  Na- 
tion a  1 ) .  X  o 
author  can  ap- 
proach  the 
gentleman  from  Indiana  in  the  expression  of  irrepressible 
boyhood.  All  the  whimsy  and  fancy  of  Youth  is  accu- 
rately drawn.  Youth  with  its  imitative  faculties — Youth 
with  its  joyful  pranks  and  heartaches  is  admirably 
painted. 

As  a  picture,  it  soars  with  the  same  comic  spirit  as  the 
book — the  director  seeing  to  it  that  none  of  the  Tar- 
kington sparks  are  missing.  Consequently  we  discover  the 
effervescent  high  jinks  of  the  inseparable  youngsters— 
who  put  on  a  circus  and  an  "inishiashun" — who  are 
brought  upon  the  "carpet"  before  their  respective  fathers 
and   severely   reprimanded — and   who   are    real   boys   as 


(Forty-four) 


j> 


CLASSIC 

played   bj    Ben    Alexander    (Ben    is   growing    up    you 
wouldn't  recognize  him  as  the  enfant  terrible  oi  'n< 
of  the    World")    :i>    Penrod   and   Joe    Butterworth   at 
Sam.     \\  liat  kiiU  .In  the  wide  world  over  is  depicted 
here  with  a  tragic  comic  quality. 

\-  a  story  it  i-  sketchy,  bul  thai  i-  t<>  be  expected. 
Yet  no  youngster,  vital  .md  real,  ever  did  things  bul  ulut 
were  of  an  episodic  character,     Exceptionally    sympa 
thetic  treatmenl  has  been  accorded  the  book  by  the  <li 
rector,   William    Beaudine,   who  demonstrates   the    fad 
thai  he  hasn't   forgotten  his  own  youth,  n<  itten 

that  Tarkington  cannot  be  improved  upon.  Humor  and 
pa  thos  are 
finely  blend 
ed  —  which 
releases  a 
picture  of 
W  a  r  m .  h  u  - 
m an    a 1 1  r  i - 

buti 

It's  a  real 
slice  of  child- 
hood, never 
exaggerated, 
but  ringing 
true  with 
sentiment, 
spirit,  and 
charm 
Among  its 
scenes  the 
spectator  will 
find  on  e — 
and  possibly 
many — which 
will  strike 
home.  The 
brightest  mo- 
ment to  u<  is 
when  Father 
S  c  h  o  f  i  e  1  d 
asks  his 
daughter's 
cub  admirer 
the  hour — 
and  the  lat- 
ter interprets 
the  inquiry 
by  beating  a 
hasty  retreat. 


Below.  Flor- 
ence Vidor 
and  Claude 
Gillingwater 
in  "Alice 
Adams" 


Above,  Cullen 
Landis  in  "The 
Fog."  Below, 
The  Three  Wise 
Fools,  Claude  Gil- 
lingwater,  Wil- 
liam H.  Crane 
and  Alec  B  . 
Francis 


we  have  scenes  which  ire  duplicated    pan  the 

part)  scenes      I  ha    been  foil 

fully,  inn   visualizing  it  shows  up  1 
It  is  in. ire  "i  .1  psychology  al  study  than  i 
ical  at  tii  m      Naturally  man'. 

drawn      I'.ut  the  sordid  background     the  drab  common 
placi  >phei    Praii  tained      Still  it    • 

bringing  forth  Lewis'  latirical  shafts     and  il 
down  in  establishing  the  analysi  mug 

nes-,.     it    shouldn't    have   been 
author's  pen  pictures  are  incapable  of  being  reprodu 
[*he  types,  however,  are  well  chosen     "  ertainlj   Flor- 

Vidor 
the 
true  ]'-• 

the 

cha  r.-u  ■■ 
the   city   ^irl 

who     would 
m  a  k  '•     ■ 

t  he  nir 
n  i  t  y  .  T  h  e 
picture,  like 
the  novel . 
hits  its  rnosl 
accurate  note 
w hen  it  re- 
veals these 
smug  villag- 
ers as  un- 
willing to 
adapt  them- 
selves to  any 
i  d  e  a s  and 
ideals  except 
their  own. 
Monte  Blue 
suggests  the 
physician- 
husband  with 
adequate 
faith  fulness. 
The  most 
genuine  vil- 
lager  is 
played  by 
Harry  Myers 
as  the  local 
druggist. 


Above,  Mrs.  Wal- 
1  a  c  e  Reid  and 
Bessie  Love  in 
"Human  Wreck- 
age," a  profound- 
1  y  moving 
picture.  Below, 
Penrod  and   Sam 


B 


RING- 

I  N  G 
•'Main 
Street"  to 
the  screen 
was  some- 
thing of  a 
task  for 
Warner 
Brothers. 

since  Sinclair  Lewis'  best-seller  is  based  upon  words  in- 
stead of  pictures.  Taking  a  widely  read  book  which  has 
established  its  prejudices  as  well  as  its  champions,  it 
stands  to  reason  that  no  matter  how  the  sponsors  treated 
the  subject  they  were  certain  to  find  themselves  in  a  jam. 
Here  is  a  long-winded  book  which  is  often  dull — which 
is  unrelieved  by  any  balancing  note  of  humor,  and  yet 
the  director  has  done  a  creditable  job  by  it — even  if  it 
was  impossible  for  him  to  save  it  from  becoming  tedious 
in  its  concluding  reels. 

The  fault  with  Lewis  (and  of  course  the  director  must 
be  held  responsible)  is  his  weakness  for  repetition.     So 

(Forty-five) 


TRY  IXC. 
tO     fol- 


low the 
stage  version 
too    closely 

has    placed 
"Three    V 

I"    O    O    1     s     ' 

i  Gold  w\  n  ) 
just  out  of 
reach  of  the 
coveted  bull's-eye.  The  fault  of  this  picture  is  too  much 
continuity — too  much  crowded  incident — with  every  de- 
tail clearly  outlined  in  advance  so  that  it  preclude-  any 
value  of  suspense.  At  times  it  becomes  weary  spe- 
cially whenever  the  three  cronies  are  together.  By  their 
actions  one  would  imagine  them  a  trio  of  silly,  old  g 
sips  who  might  be  engaged  in  playing  dominoes  S<  they 
adopt  their  erstwhile  sweetheart's  daughter  who  inci- 
dentally carries  all  the  conflict — since  she  is  compelled  to 
keep  a  deep  secret,  that  her  father  is  an  escaped  criminal. 
Her  meetings  with  him  place  the  detectives  watching  the 
I  Continued  mi  page 


Clemenceau 

"The  Tiger" 

of  France 

Turns 

Scenarist 


Ex  -  premier  Clem- 
enceau is  taking  an 
active  interest  in  the 
filming  of  his  book. 
He  directs  and  of- 
fers suggestions  as 
his  play  is  produced. 
Left,  Tchang- Y  cov- 
ers his  wife,  Si- 
Tchun,  with  flowers. 
Below  is  the  Em- 
peror's Messenger. 
We  hope  that  this 
interesting  picture 
will  be  released  over 
here 


The  Veil  of  Happiness 


Photographs  by  Kadel  and  Herbert 


In  this  picture  play  real  Chinese  men  and  women 
are  seen.  They  were  recruited  from  the  Chinese 
students  studying  in  Paris.  The  play  is  about  a 
rich  Chinese  nobleman  who  has  a  beautiful  wife 
and  a  good  friend  by  the  name  of  Ton-Fon 
Tchang.  The  husband  is  blind  but  is  very  happy 
with  his  wife  and  children.  He  suddenly  re- 
covers his  sight  and  begins  to  learn  that  his 
wife's  lover  is  Ton-Fon  Tchang.  Rather  than 
see  this  unhappiness  he  puts  his  eyes  out  and 
becomes  blind  again.    .    .    . 


(Forty-six) 


_J 


Classic's 

Monthly 

Department 

of  the 

Theater 


Below,  Ruth 
Page  in  her  odd 
and  interesting 
dance  for  "The 
Music  Box 
Revue" 


The 

Hardy 

PerenniaN 

of  the 

Season 


The 
Photographer 

Takes  the 
k    Stage 


Below,  Olive 
Vaughn,  one  of 
the  beauties  from 
George  White's 
newest  and  love- 
liest     "Scandals" 


Above,  Helen 
Shipman  and  Nat 
Nazarro  in  "The 
Passing  Show  of 
1923"  going 
strong  at  the 
Winter  Garden 


Photograph   by 
Victor    George 


Photograph   hy 
White   Studios 


'Forty-seven) 


Photographs    (above  and   below)    by   White   Studios 


Photograph   by  Apeda 


Above,  Marion 
Kerby,  as  she  is, 
a  charming 
young  woman 
and  an  actress  of 
distinction  and 
skill 


Above,  Queenie  Smith  (formerly  ballerina 
at  the  Metropolitan  Opera  House)  with 
Joseph  Lertora  in  the  Russian  ensemble 
from  "Helen  Of  Troy,  New  York." 
Queenie  runs  away  with  the  show.  It  is  by 
those  masters  of  satire,  Messrs.  Kauffman 
and  Connelley,  who  prove  their  further 
ability  by  writing  a  musical  comedy.  Below, 
Katherine  Bolton,  Louis  Mann,  and  George 
Sidney,   in  a  scene   from  "Give  and  Take" 


Photo  by    Apeda 


Above,  Marion 
Kerby  as  Nana, 
the  absinthe- 
crazed  victim 
who  beats  her 
young  siste"r  in 
"7th  Heaven" 


(Forty-eight) 


Plays  like  "Merton  of  the  Movies,"  "7th 
Heaven,"  "Rain,"  "The  Fool,"  "Give  and 
Take,"  "The  Old  Soak,"  "The  Music  Box 
Revue,"  and  several  others,  ran  all  last 
winter,  all  this  summer,  and  are  start- 
ing in  the  fall  apparently  as  popular  as 
ever.  "Kiki"  ran  six  hundred  nights,  and 
we  have  an  idea  some  of  these  will  equal  it. 
Below,  Florence  Nash  and  Glenn  Hunter 
in   "Merton   of   the    Movies" 


Right,  Sara 
Sothe  rn, 
who  plays 
so  pathet- 
ically the 
little  lame 
girl  in 
C  hanning 
Pollock's 
"The  Fool," 
another 
>  1  a  y  that 
ills  its 
theater 
nightly 


l'hntn»r.ip'-    '  I 


James  Barton  in  "Dew  Drop  In,"  which  would  drop 
out  without  him.     This  is  a  comparatively  new  one 


Photograph    by 
Albin 


(Forty-nine) 


Photograph  by  Mutay 


picture.  Gloria  Swanson,  H.  B. 
Warner;  Lucille  La  Verne, 
Ferdinand  Gottschalk,  Riley 
Hatch,  and  twenty-five  extras 
are  working  there. 


Madge  Kennedy,  a  twinkling 
light  of  both  stage  and  screen, 
will  open  in  September  in  a  new 
musical  comedy  called  "Poppy." 
Dorothy  Donnelly  is  responsible 
for  the  book. 


Flashes  From  the 

Of  the  Stage 

Caught  by 

OUT  on  a  picturesque  estate  on  Long  Island  at  the  head  waters  of 
Little  Neck  Bay  where,  ninety-five  years  ago,  small  craft  used  to 
put  in  for  supplies  from  the  general  store,  a  little  bit  of  Southern 
France  has  been  translated  for  scenes  in  "Zaza,"  Allan  Dwan's  production 
of  the  famous  French  play.  The  old  general  store,  which  was  built  in 
1828,  has  been  transformed  into  the  quaintest  French  home  imaginable. 
It  is  Zaza's  love  nest.  The  grist  mill,  where  the  farmers  used  to  come 
in  the-  early  days  to  get  their  grain  ground  and  a  demijohn  of  rum,  has 
been  made  into  a  thatched  building  by  the  art  department,  and  the  old 
barn  which  stood  next  to  the  store  has  been  fixed  over  to  represent  a 
typical  French  barn.  All  of  these  buildings  stand  on  the  edge  of  a 
beautiful  lake.  Director  Dwan  expects  to  spend  a  week  on  this  location 
filming  scenes  that  are  expected  to  be  among  the  loveliest  shown  in  the 


Upper  left  is  Ben  Lyon, 
one  of  the  principals  in 
the  stage  success,  "Mary 
The  Third."  Goldwyn  has 
signed  him  for  pictures. 
Right  is  Ernest  Truex  in 
a  scene  from  "Six  Cylinder 
Love"  that  Pox  is  making 
as  a  picture.  Lower  left, 
is  Lew  Cody.  If  Mr.  Cody 
is  trying  to  live  down  the 
title,  "Male  Vampire,"  we 
would  respectfully  suggest 
that  this  isn't  a  particular- 
ly   good    way    to    do    it 


Richard  Barthelmess  has  completed  "The  Fighting  Blade,"  and 
has  started  on  another  picture  under  John  S.  Robertson.  It  is  a 
modern  story,  the  title  of  which  has  not  yet  been  given  out,  and  it 
will  be  released  before  "The  Fighting  Blade."  as  they  thought  it  wise 
not  to  have  two  costume  pictures  follow  each  other. 


I 


A.  H.  Woods,  by  arrangement  with 
Sam  Harris,  will  present  Mary  Ryan  in 
"Red  Light  Annie,"  a  new  play  by  Sam 
Forrest  and  Norman  Houston,  at  the 
Morosco  Theater,  on  August  20th. 


Hot  weather  means  nothing  in  Gen- 
evieve Tobin's  young  life.  Genevieve 
rushes  blithely  from  her  job  at  the  Wil- 
liam Fox  Studios,  where  she  is  creating 
the  leading  feminine  role  in  "No  Mother 
to  Guide  Her."  to  the  theater  where  she 
is  featured  in  Broadway's  big  hit,  "Polly 
Preferred."  She  created  the  role  of 
Patricia  O'Day  in  the  stage  version  of 
"Little  Old  New  York." 


Thomas  Meighan  will  travel  from 
New  York  to  California  and  back  in 
the  production  of  his  next  three  Para- 
mount pictures.    As  soon  as  he  has  com- 


(Fifty) 


Eastern  Stars 

On  the  Screen 

the  Editor 

pleted  Peter  B  Kyne's  story,  "Homeward  Bound,"  which  ia 
iu)\v  being  madeal  New  London,  Conn.,  Mr.  Meighan,  accom- 
panied by  Mrs.  Meighan,  will  go  to  the  Lasky  studio  in  Holly- 
wood to  film  George    \de"s  original  storj   tentatively  titled 

"All   Must    Marry."     Mr.    Meighai)  will  pick  up  George   Ade 

in  Chicago  on  the  wa)  West,    Following  the  production  oi 

the  Ade  story,  Mr.  Meighan  will  return  East  to  Kennebunk- 
port,  Mo.,  the  summer  home  of  Booth  Tarkington,  where  he 
will  work  with  Mr.  Tarkington  and  a  director  and  scenario 
writer  on  an  original  story  which  the  famous  novelist  and 
playwright    has    just    written    expressly    for    Mr.     Meighan. 


Ernest  Truex.  creating  the  leading  role  in  Elmer  Clifton' 

production  of  "Six  Cylinder  Love"         

at  the  Fox  Xew  York  Studios  that 
he  played  on  Broadway  and  the 
road  for  two  years,  deserves  to  go 
down  in  history,  for  immortalizing 
the  moustache !  Truex,  who  ad- 
mits to  being  five  feet  and  a  bit 
more  in  height,  vows  he  grew  a 
moustache  so  he  could  prove  his 
age  and  take  part  in  conversations 


Photograph   by   Russell    Ball 

without  being  told  "children  should  be 
seen  and  not  ..."  oh,  you  know  the 
rest. 


The  schedule  of  the  Theatre  Guild  for 
the  coming   season   was   announced    yes- 
terday.     The   Garrick    will   open    late   in 
September    with    "Windows,"    by    John 
Galsworthy,  described  by  him  as  a  "com- 
edy  for  idealists  and  others."      Martha- 
Bryan  Allen,  now  in  "The  Devil's  Dis- 
ciple." is  the  only  member  of  the  cast  yet 
chosen.     Following  "Windows"  will  come  "The  Failures."  an 
adaptation  from  "Les  Rates,"  a  tragedy  by  H.  R.  Lenormand.     Jacob 
Ben  Ami  will  have  the  lead.     Other  productions  will  include  Molnar's 
comedy   "The   Guardsman."    Shaw's   "C';esar   and    Cleopatra":    "Masse 
(  Continued  on  page  88) 


Photograph   by    Edward   Thayer    Monroe 

Above  is  a  miniature  Gilda  Grey. 
Right  is  a  shot  from  "Homeward 
Bound,"  Tommy  Meighan's  picture. 
Upper  right  is  Dorothy  Gish  with  her 
husband,  James  Rennie.  The  soldier 
is  Lawrence  Cecil  who  plays  the  Ser- 
geant in  "The  Devil's  Disciple."  He 
was  a  Captain  in  the  English  Army 
during  the  World  War  and  has  a 
brilliant  war  record.  Theatricals  are 
doubtless  rather  tame  to  him 


( Fifty-one) 


Classic  Considers 


ZELDA    SEARS 

Because  she  wanted  to  be  a  playwright  and  that's  what  she  is.  She 
started  her  career  as  a  reporter  on  the  old  Chicago  Herald  and  came  to 
New  York  in  the  chorus  of  an  Erlanger  musical  comedy.  She  was  secre- 
tary to  the  late  Clyde  Fitch  and  created  all  his  comedy  roles  on  the  stage 
for  twelve  years.  Her  first  complete  play  was  "Lady  Billy"  for  Mitzi. 
She  was  co-author  of  Madge  Kennedy's  "Cornered,"  and  sole  author  of 
the  popular  "The  Clinging  Vine,"   for   Peggy  Wood 


DOUGLAS   FAIRBANKS 

For  the  very  good  reason  that  he  has 
more  courage  and  greater  vision  than  any- 
one else  in  the  moving  picture  industry. 
Because  he  is  consistently  and  without 
self-consciousness  trying  to  make  "bigger 
and  better  pictures,"  and  is  succeeding. 
Because  he  has  done  much  to  dignify  his 
profession.  Because  he  manages  to  in- 
struct, edify  and  entertain  all  in  one  picture. 
And  last,  because  he  won  the  sweetheart 
of    the    world    for    his    wife 


Photograph  by 
Edward    Thayer   Monroe 


WALTER   DAMROSCH 

Because  he  has  done  so  much 
to  popularize  music  in  New  York 
City,  without  ever  once  lower- 
ing the  high  standard  of  taste 
set  by  one  of  our  finest  sym- 
phony orchestras.  Because  he 
condenses  operas,  and  plays  se- 
lections from  them,  and  makes 
them  comprehensible  to  children 
every  Saturday  morning  during 
the  winter.  Because  he  is  the 
conductor  of  the  New  York 
Symphony  Orchestra,,  which  you 
can  hear  for  a  quarter — if  you'll 
sit  up  under  the  roof  of  Carnegie 
Hall 


(Fifty-tv/o) 


Greed 


Written  in  Short  Story  Form  by  Patricia  Doyle 


T 


'R1XA   took  the  slip  of  paper  in  her  hand 
without  a   word.      She   was   beyond   speech. 
Maria's     senseless     yelling     had     subsided. 
Marcus  turned  on  his  heel  in  disgust.    McTeague 
breathed  in  an  immense  sigh?  like  a  huge  walrus 
coining    up    for   air.      Papa    Sieppe    stood    dum- 
founded  and  Mamma  Sieppe  began  to  cry  softly. 
Nobody  said  a  word.     The  slip  of  paper  was  a 
check  for  five  thousand  dollars. 
That  was  almost  more  money  than  Trina  Sieppe  could 
think  of  all  at  once,  certain- 
ly   more    than    McTeague 
could     take     in.        Marcus 
Schouler      was,      however, 
painfully  aware  of  the  im- 
mensity of  the  sum.    Trina 
had   been   engaged    to   him 
and    in    a    fit    of    maudlin 
sympathy       for       his       pal 
McTeague.    he    had    freely 
transferred      her      to      his 
awkward   attentions.    At 
first  Trina  had  been  afraid 
of   his  great   bulk   and   re- 
coiled    timidly     from     his 
clumsy    love  -  making,    but 
there  was  in  her  now  un- 
deniable    response     to     his 
aggressive      masculinity. 
albeit  she  admitted  it  even 
to    herself    a    little    shame- 
facedly.    She   remembered 


GREED 

Fictionized  by  permission  from  Goldwyn,  from 
the  screen  version  of  Frank  Xorris'  novel,  "Mc- 
Teague." Adaptation  and  direction  by  Eric  von 
Stroheim.     The  cast: 

McTeague   Gibson  Gowland 

Trina   Zasu  Pitts 

Marcus    Schouler Jean    Hersholt 

Selina    Joan   Standing 

Zerkow   Cesare  Gravina 

Maria  Macapa Dale  Fuller 

Old  Grannis Frank   Hayes 

Miss  Baker Fanny   Midgeley 

Mr."  Sieppe Chester   Ccmklin 

Mrs.  Sieppe Sylvia  Ashton 

The  Twins Oscar  and  Otto  Gottel 

August    Austin    Jewel 

The  lottery  man Lou    Poff 

Heise,   the   harness  maker Hughie    Mack 

Traveling  dentist Erich  von    Ritzau 

McTeague's  Father James   Marcus 


the  first  time  she  had  seen  McTeague.  It  was  in 
his  office.  She  and  Marcus  and  all  the  Sieppes 
had  gone  on  a  picnic  and  the  party  had  gotten 
rough.  Trina  fell  out  of  a  swing  and  broke  her 
tooth.  But  Marcus  had  comforted  her  by  telling 
her  his  friend  McTeague  who  was  a  dentist — of 
sorts,  would  fix  it  up  for  her. 

So  she  had  gone  the  next  day  to  McTeague's 
office.  Maria  was  there  begging  for  junk,  which 
lowly  performance  she  regarded  as  an  entirely  legitimate 

business  razy    in    the 

head!"   McTeague  had 
in  his  gruff  voice,  illustrat- 
ing the  fact  by  tapping  his 
huge    head     with     a     thick 
forefinger   and    pointing   at 
Maria.       Trina    nod 
assent,      but      Maria      only 
Stole     a     handful     of     gold 
fillings   behind    Mel 
back   and    went    to    Ztrkou 
with  them. 

McTeague'-  stolidity  had 
deserted  him.  He  trembled 
before  this  slim  girl  with 
her  ropes  of  fine  black  hair 
and  her  little  tapering 
hands.  He  thought  oi  a 
thousand  things  lie  could 
do  to  make  her  keep  on 
coming  to  his  office.  The 
last  time  she  came  he  had 


(Fifty-three) 


In  a  fit  of  maudlin  sympathy  for  his  pal,  McTeague,  Marcus  had 

surrendered  his  girl  to  the  dentist's  awkward  love-making.    Below: 

Trina  sends  McTeague  the  mammoth  gold  tooth  he  had  so  long 

coveted  for  his  office 


CLASSIC 

McTeague  took  her  fingers  play- 
fully between  his  strong  white  teeth. 

"Oh,  you  hurt,"  she  cried,  but  he 
only  laughed. 

In  a  much  poorer  room  on  a  much 
poorer  street  Maria  and  Zerkow,  the 
junk  dealer,  started  their  miserable 
life  together.  "And  so  my  father 
buried  his  plate,"  Maria  was  saying, 
rolling  her  big  vacant  eyes.  "Four 
dozen  gold  dishes,  all  sizes,  six 
platters,  all  sizes,  two  great  big  soup 
tureens,  eighteen " 

"But  where,  merciful  God, 
where?"  Zerkow  interrupted  wring- 
ing his  dirty  hands.  "Where  did 
your  father  hide  all  this  gold?" 

"I  cant  seem  to  remember,"  Maria 
said  without  expression.  Her  hus- 
band seemed  about  to  choke  her. 
"But  I'll  think  hard,  Zerkow,"  she 
added  hastily.  "Give  me  but  a  little 
time  and  Maria  will  find  the  place  for 
you." 

He  had  to  be  content  with  that 
altho  it  was  only  one  of  many  times 
this  identical  conversation  had  taken 
place.  Zerkow  dreamed  of  that 
mysterious  buried  gold  at  night.  He 
thought  about  it  by  day.  It  was  for 
that  he  had  married  the  half-wit 
Maria  and  lived  on  the  price  of  the 
gold  fillings  she  managed  to  steal 
from  McTeague. 

As  for  the  McTeagues,  they  pros- 
pered well  enough.  Trina  began  to 
save  money  to  add  to  the  five  thou- 
sand. It  got  to  be  a  regular  mania, 
with  her.  She  put  it  in  a  little  trunk 
she  kept  under  the  bed,  the  key  of 


given  her  ether — to  save  her  from  pain.  When  she 
lay  back  in  the  chair  unconscious,  he  kissed  her 
moist  soft  mouth  over  and  over  again,  hungry 
devouring  kisses.  She  came  to,  shivering,  but  not 
with  fear. 

They  were  engaged  after  that  and  now  they 
were  to  be  married  in  a  few  days.  McTeague's 
practice  was  well  enough,  but  with  five  thousand 
dollars  they  had  nothing  much  to  worry  about. 
Trina  took  the  money  to  her  Uncle,  for  whose  toy 
shop  she  used  to  paint  little  wooden  dolls,  and  he 
deposited  it  in  a  bank  for  her.  She  couldn't  bear 
to  spend  it,  but  she  did  go  out  and  buy  a  mammoth 
gold  tooth  that  McTeague  had  long  coveted  for 
his  office.  He  was  touched  and  thanked  her  with 
many  bearlike  hugs  and  rude  kisses.  He  never 
had  been  particularly  articulate  and  now  he  was 
reduced  to  a  gauche  demonstrativeness  that  alter- 
nately thrilled  and  disgusted  Trina. 

After  they  were  married,  McTeague  suggested 
that  they  take  better  lodgings. 

"On  your  pay,  we  cant  afford  it,"  was  Trina's 
brief  rejoinder. 

"But  your  five  thousand  dollars !"  muttered 
McTeague  considerably  surprised. 

"Stays  where  it  is,"  snapped  Trina.  Then 
quickly  seeing  the  offended  look  in  her  husband's 
dull  eyes,  "Love  your  Trina?" 

"Yes,"  he  answered  and  put  his  arms  around  her. 

"Love  her  big?"  murmured  the  girl  running  her 
slim  fingers  thru  his  bushy  hair. 


-four) 


(Fifty-four) 


CLASSIC 


which  she  had  alwaj  s 

witli  her.  As  East 
a>  fthe  couldi  ihe 
changed  it  into  gold. 
When  her  husband 
was  si  his  office,  she 
would  gel  it  out  and 
play  with  it  lingering- 
iy,  lovingly,  gloatingly. 
At  least  halt  of  every- 
thing he  gave  her  she 
put  away  in  the  trunk. 
She  bought  cheaper 
meat,  cheaper  clothes. 
She  went  hungry  her- 
self ami  skimped  her 
husband,  so  that  the 
glittering  pile  might 
grow. 

McTeague  k new- 
nothing  of  this.  He 
was  fairly  well  con- 
tent. He  was  still 
under  the  spell  of 
Trina's  superior  re- 
finement. He  loved 
her  daintiness,  her 
great  ropes  of  hair, 
the  rich  vital  odor  of 
it,  her  little  hands 
with  their  little 
pointed  fingers,  which 
he  loved  to  bite  in 
boorish  gaiety,  altho 
she  a  1  w  a  y  s  com- 
plained that  he  hurt 
her. 

At  the  end  of  three 
years  McTeague  de- 
cided they  would 
move  into  a  little 
house,  the  rent  of 
which  was  thirty-five 
dollars.  Trina  almost 
screamed.  "Thirty- 
five  dollars  !  We 
couldn't  possiblv 
afford  it." 

"But  the  five  thou- 
sand," said  McTeague 
again.  "You  pay  half 
and  I'll  pay  half. 
You've  been  saving  a  lot  of  money  anyway.  We  can  use 
that.     There  must  be  at  least " 

"No,  no,"  cried  Trina.  "There  isn't  any.  I  haven't 
any  money  at  all  saved.  Take  a  better  house.  You're 
crazy.     We  ought  to  take  a  cheaper  place." 

"You're  getting  to  be  a  regular  miser,"  retorted 
McTeague  angrily.  "You're  worse  than  old  Zerkow." 
And  he  went  away  and  rented  the  house  anyway. 

Then  one  day  he  received  an  official-looking  letter  from 
somebody  or  other  enjoining  him  from  the  further  prac- 
tice of  dentistry,  because  he  didn't  have  a  diploma. 
McTeague  was  utterly  stunned.  "A  diploma,  a  diploma ! 
What  is  that,  Trina?  I've  been  practising  dentistry  for 
twelve  years.     Why  should  I  have  to  have  a  diploma?" 

Trina  couldn't  tell  any  more  than  he  could,  but  her 
woman's  intuition  divined  the  cause  of  this  catastrophe. 
It  was  Schouler's  work  of  course,  Marcus  Schouler,  who 
had  never  forgiven  McTeague  for  winning,  not  Trina 
exactly,  but  the  five  thousand.  If  he  could  only  have 
known 

Trina's  heart  went  cold  at  the  news.     Would  she  have 


The   grind   began 
Trina    shed    her 


McTeague's   idleness   had    become   habitual, 
former    daintiness    and    was    now    a    sloven 


to  give  up  some  of  her  beloved  money'  No,  1 
Never.  Never.  Never.  The  clink  to  her  ears,  the  glitter 
to  her  eyes,  the  cold  smooth  feel  to  her  fingers,  meant 
more  to  her  now  than  love  or  peace  or  life  itself.  In 
fact,  her  money  was  all  of  those  things  to  her.  Only 
McTeague  still  mattered  a  little.  She  could  understand 
old  Zerkow  now,  whom  she  had  always  despised  before. 
He  too  hoarded  gold,  but  such  a  little  beside  her  shining 
pile!  She  felt  sorry  for  him  now,  old  Zerkow  who  had 
been  fooled  by  Maria's  lack-wit  tale  of  her  father's  plate, 
not  a  single  piece  of  which  ever  existed  save  in  her  own 
muddled  mind.    Trina  would  never  give  up  her  money, 

McTeague  slowly  abandoned  his  profession.  For  days 
at  a  time  he  sat  gloomily  in  his  own  dental  chair  with  noth- 
ing to  do.  "We'll  be  poor  together."  said  Trina.  and  lead 
him  to  a  dingy  back  hall  room.   "This  is  all  we  can  afford." 

"Afford,  hell !"  McTeague  sneered.  "You  and  your 
five  thousand  three  hundred !    You  make  me  sick." 

"My  money  wont  be  touched,"  shrilled  Trina. 

"Well  I  wont  live  in  this  dump,"  McTeague  snarled,  and 
bit  her  fingers. 


(Fifty-five) 


CLASSIC 


"All  right,"  brought  out  Trina  triumphantly,  tho  she 
winced  from  the  pain.  "Then  pay  the  rent  for  this 
apartment." 

Hut  of  course  he  couldn't  pay  the  rent.  He  had  no 
money  at  all.  Trina  was  supporting  him,  so  they  sold 
their  furniture  and  moved  in,  and  McTeague  started  to 
look  for  work.  The  grind  began.  Trina  took  to  whittling 
dolls  again  for  her  Uncle's  toy  shop.  She  wore  gloves 
to  protect  her  hands  but  still,  she  had  become  a  sloven. 
McTeague  came  home  disheartened,  night  after  night. 
He  didn't  know  anything  but  dentistry  and  nobody  would 
give  him  a  job.  Once  he  asked  Trina  for  money  to  buy 
beer.  She  flew  into  a  rage.  When  he  did  manage  to  get 
a  job,  she  took  all  his  pay  away  from  him  and  he  sub- 
mitted like  a  docile  bear.  In  spite  of  their  poverty,  Trina's 
pile  in  her  trunk  kept  on  growing.  She  got  one  hundred 
and  fifty  dollars  from  the  sale  of  their  furniture.  She  lied 
cleverly  about  it  to  McTeague  and  spent  more  sweet  stolen 
hours,  counting  and  polishing  endlessly  the  hoarded  coins. 

Maria  came  over  to  complain  of  Zerkow.  "He's  never 
been  the  same  since  the  child  died,"  she  mumbled,  in  her 
hoarse  unnatural  voice.  "He  whips  me  with  a  long  black 
whip.  God !  How  it  do  hurt !  He  says  he'll  kill  me  if 
I  dont  tell  him  where  my  father's  plate  is  hid.     I  dont 

know  where  it  is.     Seems  like  as  if "    The  woman 

broke  off  shudderingly. 

"Don't  be  scared,  Maria,"  said  Trina  not  unkindly. 
"He'll  never  kill  you,  because  if  he  does,  he'll  never  find 
out  where  the  treasure  is.    See?" 

"Brew  me  a  drop  of  tea,"   whined  Maria,  but  Trina 
said  she  had  none,  and  Maria  went  home  where  the  frantic 
Zerkow,    his 
patience   at   an 
end,   awaited 
her. 

In  the  morn- 
ing Zerkow's 
body  was 
found  floating 
in  the  river 
and  Maria  lay 
at  home,  her 
head  half 
severed  from 
her  body. 
Trina  wept 
with  fear  and 
horror.  "Two 
people  dead," 
she  thought, 
"and  all  for  a 
treasure  that 
never      existed 

"   And  she 

buried  her  face 
in  the  golden 
heap  in  her 
trunk  and  was 
comforted. 

They  moved 
into  Maria 
and  Zerkow's 
rooms,  horrible 
and  filthy  tho 
they  were. 
The    rent    was 

almost  nothing.  McTeague's  idleness  became  habitual. 
Trina  drove  him  out  of  the  house  every  day  rain  or  shine 
to  look  for  work.  He  took  to  haunting  the  saloons  and 
muttering  against  her.  "Miser,"  he  said  over  and  over  to 
himself.  "She's  a  mean,  rotten  miser."  He  sold  his  beloved 
gold  tooth  for  five  dollars.  Finally  he  sold  His  canary 
birds  that  he  had  loved.     Trina  demanded  the  money  he 


The  wedding  of  Trina  Sieppe  and  McTeague,  where  they  all  gorged  them- 
selves for  an  hour  and  a  half 


got  for  them  but  he  only  said,  "Shut  up,  or  I'll  bite  your 
fingers  for  you.     I'm  sick  of  your  damn  stingy  ways." 
''You  dont  love  me,"  said  Trina  starting  to  cry. 
"No,  by  G ,"  shouted  the  man  and  left  her  stand- 
ing in  Zerkow's  mouldy  doorway. 

Trina  locked  herself  in  her  room  with  the  grief-assuag- 
ing gold.  She  played  with  it  with  her  poor  mutilated 
fingers  stained  with  liquid  gilt  from  the  toys.  They 
glittered  like  the  gold.     Unholy  glitter. 

At  eight  o'clock  McTeague  had  not  come  back  and 
Trina  went  out  to  hunt  for  him.  She  went  back  to  their 
old  apartment.  She  went  to  his  old  office.  She  walked 
down  to  the  river  front.  She  wanted  him  very  much. 
She  had  almost  made  up  her  mind  to  give  up  some  of  her 
precious  savings  by  the  time  she  got  home.  Once  in  her 
room,  she  fainted  dead  away.  The  lock  of  her  trunk 
had  been  broken  and  the  gold   was  gone. 

In  the  morning  a  doctor  came.  He  shook  his  head  over 
her  infected  fingers.  "They  must  be  amputated,"  he 
said  seriously,  "or  you  will  die." 

Trina  moaned,  "Oh,  my  gold  pieces !  I  could  forgive 
him  for  this — my  sore  fingers — but  not  for  stealing  my 

money.     I  must  get  it  back — my  beautiful  money " 

So  three  fingers  were  cut  off  and  Trina  found  work 
scrubbing  floors  in  a  kindergarten.  She  mended  the  lock 
on  her  trunk,  and  started  another  bag  of  gold.  But  it  was 
so  slow  to  grow.  She  thought  longingly  of  the  five  thou- 
sand dollars  until  she  couldn't  stand  the  strain  any  longer. 
She  went  to  her  Uncle  and  had  him  cash  her  check  in 
twenty-dollar  gold  pieces.  She  took  the  heavy  canvas 
bag  home  and  untying  the  cords  let  the  glittering  rain 

pour  down 
into  her  treas- 
ure chest.  She 
took  each  piece 
between  her 
little  teeth.  She 
held  them 
against  her 
cheek.  She 
spread  them 
out  on  her  nar- 
row bed  and 
lay  down  and 
slept  as  tho  she 
lay  in  a  lover's 
arms. 

At  midnight 
McTeague 
knocked  on  the 
window.  She 
awoke  with  a 
start,  every 
sense  alert, 
hurriedly  cov- 
ering up  the 
gold  pieces. 

"Let  me  in." 
he      barked 
hoarsely. 
"No." 

"I've  not 
eaten  since  day 
before  yester- 
day." 

"What    have 
you     done    with    my     four    hundred    and     fifty?" 

"Spent  it,  blew  it  in  on  drink.     Give  me  a  dime — or 
something  to  eat." 
"No." 

"All  right,  you  dirty  skinflint,  I'll  make  you  dance 
for  this." 

{Continued  on  page  92) 

(Fifty-six) 


. 


MISS   LIZZIE     \K.\  \.  a  populai    German  ad 
who  possesses  "the  perfect   filming   face"     what- 
evei  that  is  centl)  arrived  at  these  shores 

frum  Bremen     In  private  life  she  is  Mrs,  Betty  Schwartz. 
i  'i  izzie    \"-.t'  "   "Because,"  we  liKr  to  be- 
she  would  answer,  "Betty  Schwa  uch  an 

ugl)  name." 

-r*        +        + 

S  <!>tlc  att  criticism  in  the  moviti    "Do  you  want 
t>.  make  your  mother  look  like  that'"  demands  the 
college  professor  in  "<  >nl)  38"  to  the  selfish  daughter 
He  points  an  accusing  finger  at  a  picture  on 
i. ituc   wall.      rhe   subsequent   close  up 
reveals  the  picture  to  be  Whistler's 
portrait  of  his  mother. 


From     mi-     Mouths 
Babes 

II V  Intcn  i<u>  Farina 

The    small    yet 
adequate     dressing- 
room    was    cheer- 
fully    hung     with 
black   striped    ere- 
tonne,     further 
embellished    with 
generous  slices  of 
pink    and    green 
watei  melon. 

"Mistol  loney- 
vale,"      remarked 
the  gracious  occu- 
pant    and      owner 
thereof,     "jess     you 
drape  yo'  pussinality 
in   dis yah    Maurice 
chair    whilst     1    camel 
Bags  de  rivishments  of 
tempus." 

We  were  in  the  dressing- 
room    of    Clarissa    Myrtle 
Iphigeuia   Hoskins,  the  two-year- 
old    coffee    Cleopatra,    known    to    a 
clamoring  multitude  as  "Farina."'     Miss 
Hoskins  I  we  cannot  bring  ourselves  to  the 
free  and  easy  familiarity  of  her  screen  name) 
was  performing  mysterious  feminine  rites  to 
her  countenance  with  a  Tootsie  Roll— gilding 
the  lily,  as   it   were.     Ensued   the   following 
conversation : 

Us:  To  what  do  you  attribute  your  great  suc- 
cess,   Miss   Hoskins? 

Farina     (suddenly    dropping    the    beauty    aid    and 
miffing  delicately  with  sensitive   nostrils):  Chickum  I 

Us :  Have  you  anything  to  say  to  the  millions  that 
applaud  you?  Have  you  no  ideals  to  disclose,  no  little 
phrase  of  help,  or  cheer? 

Farina  (a  bit  mare  positively)  :  Chickum! 

I  s:  You  are  young,  it  is  true.  Yet  already 
you  have  gone  far.  In  the  coming  years  there 
is  no  telling — — 

Farina  (abruptly)  :  I  am  my  own  best  pal. 
and,  1  may  add,  my  severest  critic.    Chickum! 

Us:  In  our  humble  opinion,  and  we  are  not 
alone,    Miss   Hoskins,   you   are  a  great  artist. 
I  ell    us   your   dreams,   your   hopes,   your  am- 
bitions.    Unclose  a  bit  of  that  mystery  which  makes  you 
so  delightful,  so  refreshing,  so  ingenuous  and  endearing 
to  us.  all.    Come  on,  kid,  dont  be  a  crab. 

A  vagrant  zephyr  stirred  the  door  of  the  little  apart- 


ment     It  cat  ned  with  it  an  uinn  iful 

and  disturbing. 

"Man.  man  !'*  muttered  Mi>^  Ho-.!. 

d  chickum!"     Sliding    fron 

waddled  with  quiei  dig 
the  room 

4-       •:-       + 

On  dtt  that  a  certain  prodw  i 
considering   the  filming   ol 
of  th<-  w.rk-  of  Juh  • 
first,  obviously,  will  be  "Two  Thou- 
sand Kliegs  l  inder  the  Sea." 

T  *r  T 

1  )id  you  know  that — 

Charles  de  Roche's  right  name 
is  Charles  de  Rochefort  ? 
Gloria    Swanson    makes    the 

loveliest    mayonnaise    dl 

Marion    Davies    18    helping 
Einstein     with     his     new 
bonk  ? 

Constance    Talmadge    is 

closely     related     to 

Norma  Talmadge? 

Bebe    Daniel's    right 

name  is  Bebe  Daniels  ? 

Dorothy  Dalton  never 

eats  two  helpings  of 

dessert  ? 

As  a  mere  boy,  we 
used  to  play  with  Dick 
Barthelmess 


What's  more  we  almost 

bought  an  automobile  for 

Alice  Brady,  once.  She  had 

to  have  one.  and  she  had  to 

have  one  right  away.    And  did 

we    know    of    a    g  aPPy 

make?    Well,   little   boys   and   girls. 

of  course  we  did,  and  to  help  out  her 

director  we  called  up  the       —  company 

and    told    them    rhe    glad    news.      Then    we 

sat  back  and  rubbed  our  hands,  feeling  pretty 

darn  well  satisfied. 

Within  ten  minutes,  the  car  arrived.      Mi>> 
Brady  rushed  out  to  see  it.     "Is  this  the  car 
you    told   me    was    such   a   snappy   attair?" 
she  asked. 

"That's  the  kind,"  we  assured  her  Sttlili 
"our  prettiest." 
"Heavens!"  exclaimed   Miss   Brady,  "it's 
terrible  !    Take  it  aw  ay." 

•{•       4*       4* 

Recent     Events    Thai     Have 
Made    Us    Reach    poh    the 
Sodium  Bicarbonate 

What     they     did     to     Sinclair 
Lewis'  "Main  Street."  .  .  .  Lewis 
receiving    fifty    thousand    dollars 
for  letting  them  do  it.    .   .    .  Louise 
Fazenda   as    the   comic    servant   in 
"Main  Street."    .    .    .    Alice  Howell 
a>  the  comic  servant  in  "Wandering  Daughter-  "... 
"Wandering    Daughters."  ..    The    trick     (ierman 

police   dog  in   the   Tartar   setting   of   "The    Law   of   the 
Lawless."  .    .    . 


1  u    ^rations  by 

Courtesy  of 

Jaiiueline    Logan 


(Fifty-seven) 


BBS 


Offl 


A  Renaissance  Romance 

The  Sixteenth  Century  Entertains  The  Twentieth 
Photographs  by  Reiss,  Berlin 


"Moiuia  Vanna"  is  undoubtedly  one  of  Maurice  Maeterlinck's 
greatest  plays.  It  has  now  been  interpreted  in  terms  of 
the  screen  by  a  German  film  company  and  will  soon  be 
released  in  the  United  States  by  our  own  Fox.  An  interesting 
fact  about  "Monna  Vanna"  is  that  it  was  inspired  by  and 
written  for  Georgette  Le  Blanc,  Maeterlinck's  first  wife. 
When  she  divorced  him  she  refused  to  accept  any  settlement 
from  him,  taking  only  this  play  as  justly  hers 


(Fifty-exght) 


I 


Paul  Wegner,  the  distinguished  actor  who  played  "The  Golem," 
is  cast  as  Guido  Colonna,  who  is  called  upon  to  sacrifice  his 
young  wife  for  the  starving  Pisans.  The  famous  and  beautiful' 
Lee  Parry  plays  Monna  Vanna.  A  gorgeously  picturesque  era, 
this  fifteenth  century  Italian  romance  reconstructs  for  your  edi- 
fication and  delight.  We  earnestly  commend  this  sort  of  thing 
to  your  consideration 


\ 


(Fifty-nine) 


Lois  Wilson  and  her   sister,   Con- 
stance,  who    has    broken    into    the 
movies.      She    is    leading    lady    for 
Walter   Hiers  in  "Fair  Week" 


The  Hollywood 

Transcribed  by 

IT  looks  as  tho  the  little  girls  were  going  to  climb  back  onto  the 
throne  after  all.     Some  one  had  an  inspiration  a  while  back  to 
change    the    screen    type.      Especially    as    regards    altitude.      Tall 
girls  like  Nita  Naldi  and  Aileen  Pringle  and  Katharine  McDonald 
were  thought  to  be  about  to  rage.     But  the  three  sensations  of  the 
Hollywood  season  have  all  been  tabloid  young  ladies. 

They  are  Mary  Philbin,  who  knocked  a  home-run  in  "Merry  Go 
Round";  Lucile  Rickson  who,  Marshall  Xeilan  thinks,  is  the  sei 
tion  of  a  dozen  seasons  and  one  of  the  most  wonderful  prospects 
he  has  ever  known ;  and  Renee  Adoree. 

Miss  Adoree  is  Tom  Moore's  wife.     She  is  a  little  French  girl 
who  has  been  working  as  an  extra  girl  for  some  time,  but  got  a 

sudden  chance  while 
Reginald  Barker  was  mak- 
ing a  Canadian  Mounted 
Police  picture  originally 
called  "The  Law  Bringers" 
but  named  everything  else 
at  various  times  since  then. 
As  a  little  French  Canadian 
girl  who  is  being  brought 
back  to  be  punished  for 
murder  by  the  man  who 
loved  her,  she  gives  one  of 
the  finest  performances 
that  Hollywood  has  seen 
this  year  and  seems  to  be- 
token the  start  of  another 
big  screen  career. 


Above:"It's 
not  the  hu- 
m  i  d  i  t  y," 
says  Cor- 
inne  Grif- 
fith, "it's 
the  heat!" 
and  does 
what  she 
can  about 
it.  Lef  t  : 
Cecil  de 
Mille  di- 
recting Ra- 
mesis  II  in 
"The  Ten 
Command- 
ments" 


George  Fitz- 
maurice,  who 
is  directing 
Pola  Negri 
in  ''The 
Cheat," 
showing  her 
how  to  pre- 
pare the  milk 
bath  which  is 
part  of  an 
exacting  role 


They  gave  a  trial  per- 
formance of  her  picture  the  other 
night  in  a  little  theater  in  the  suburbs. 
Everyone  was  very  anxious  to  see  the 
young  star.  At  last  some  one  dis- 
covered in  a  loge  a  girl  with  her  hat 
hunched  down  over  her  eyes  and  a  pair 
of  dark  glasses.  Whereupon  the 
official  nudge  was  passed.  "Ah,  the 
modest  star  concealing  herself." 

After  the  performance  the  agitated 
and  adoring  audience  followed  her  in 
a  body  to  the  street.  Whereat  the 
young  lady  looked  about  in  mild  sur- 
prise ;  took  off  her  goggles  and  dis- 
closed  herself  as  somebody's  mild  and 
inoffensive  stenographer. 


There  is  a  dark  rumor  that  lierr 
Ernst  Lubitsch  may  go  back  to  tin 
Mary  Pickford  studio  as  Mary's  per- 
manent director.  His  contract  with 
the  Hamilton  Company  having  ex- 
pired, he  was  installed  at  the  Warner 
Studio  where  he  was  to  direct 
"Debureau."  Something  seemed  to 
have  failed  to  "jell"  however,  and 
Mary  is  reputed  to  be  negotiating  with 
him  to  return. 


Lubitsch  is  unwilling  to  direct 
Mary's  next  picture,  "Dorothy  Ver- 
non," however.  Mary  makes  no  secret 
of  the   fact  that  she  thinks  he  is  the 


(Sixty) 


Boulevardier  Chats 

HARRY  CARR 

most  wonderful  dircetoi  --lie  cvci  saw  [*he  onlj  trouble,  he  is  a 
little  ton  pepp)  t"i  the  censoi  I  hose  who  were  present  when  Mais 
lanning  to  picture  "Faust"  under  his  direction,  toll  me  thrilling 
stories  of  how  Mar)  ami  her  fond  mamma  -at  absolutely  frozen 
with  horror  while  Lubitsch  described  with  excitement  his  version 
nt  the  story  in  "which  Marguerite  had  a  bab)  and.  as  Lubitsch  said, 
•not-  is  how  >hc  does  when  she  strenkles  the  child.    No?  Yes 


The  I  ubitsch    family  are  now    fascinated  with   two  discoveries. 
Lubitsch  has  discovered    American  jazz.     He  goes  to  all  the  coon 
shows  and  simplj  roars  and  doubles  up  with  laughter.     Mrs 
Lubitsch.  who  is  a  charm- 
ingly   pretty    German    ac- 
tres-      is    excited    over 
Esquhno     pie.       Whenever 
she  mentions  going  hack  to 
Germany    for   a    visit,   her 
husband     inquires     quizzi- 
cally, "but   how   you   could 
live     now      without     that 
Esquimo  pie.  yes  ?" 
»         +         * 


Deep,  dark  and  mysteri- 
ous     are      the      visits      of 
William    Randolph    Hearst 
to    the    violdwyn    Studios, 
with  which  his  Cosmopoli- 
tan Pictures  have  lately  be- 
come amalgamated.      With 
Miss    Marion    Davies,    the 
star  ^i  his  pictures,  he  stalks  solemnly 
thru  the  place.     In  his  wake  the  other 
day  came  a  tall,  distinguished  looking 
gentleman  who  hail  a  pad  of  paper  and 
pencil.     Here  and  there  he  would  stop 
people    whom    he    met    and    inquire, 
"Mas   I  inquire  who  you  are  and  what 
you    do?"      And    when    told    by    the 
trembling  one,  he  would  reply  vaguely. 
"Ah  >es,"  and   walk  on.     Now  what 
d'  y'  s'pose  that  means? 


Mabel   Normand   (would  you  ever 

Suess  it?)  in  the  role  of  "The  Extra 
irl,"     her     next     Mack     Sennett 
production 


Douglas  Fairbanks  has  begun  his 
"Thief  of  Bagdad"  picture  in  the 
ino>t  gorgeous  and  magnificent  set 
ever  seen  in  Hollywood.  They  say  it 
will  he  a  picture  along  lines  never  be- 
fore seen  on  a  screen. 

Regarding  the  last  minute  retire- 
ment of  Evelyn  Brent  from  the  lead- 
ing part  and  the  substitution  of 
Julanne  Johnston,  the  "low  down"  is 
not  so  sensational,  after  all.  Nobody 
believed  the  official  announcement  that 
Miss  Brent  was  leaving  because 
Douglas  did  not  make  enough  pictures 
per  year.  The  real  reason  is  said  to 
he  simply  that  Miss  Brent  had  become 
somewhat  too  heavy  for  the  extremely 
svelte  lines  of  the  heroine.  Xot  so 
thrilling  after  all. 


Pouglas   Fairhanks,  Jr.,  has  made  his 


Above: 
George  Mel- 
ford  and  one 
of  the  hom- 
ing pigeons 
he  makes  use 
of  in"Salomy 
Jane."  Right: 
Zane  Grey, 
eel ebrated 
novelist, 
comes  to  the 
movies. 
Paramount  is 
filming  "To 
the  Last 
Man,"  a 
typical  Zane 
Grey  storv 


Viola  Dana 
gives  a  party 
to  her  friends 
on  her  own 
front  lawn  in 
Hollywood. 
Note  the  size 
of  the  friends 


(±Uty-one) 


CLASSIC 


Here  is  a  funny  old 
picture  of  Rex  Ingram 
when  he  was  in  the 
movies.  The  others  are 
Lillian  Walker  and 
Earle  Williams 


Tom  Mix  shows  an 
early  American  lady 
how  to  be  beautiful  tho 
masculine.  His  next 
picture  will  be  "North 
of  Hudson  Bay."  Below 
is  Tremont  Lincoln 
Gentze's  first  birthday 
party,  to  which  were 
invited  all  the  movie 
starlets    in    Hollywood 


triumphant  advent  into  Hollywood  to  star  for  the  Lasky 
Company.  Knowing  that  Douglas,  Sr.,  bitterly  resented 
the  fact  of  the  boy's  being  taken  out  of  school  at  thirteen 
to  be  made  into  an  actor,  everyone  wondered  what  would 
happen  at  the  train  when  he  came  in.  Douglas,  Sr.,  grace- 
fully evaded  the  difficulty  by  sending  his  brother  to  mingle 
with  the  in-laws  of  his  former  wife.  Doug,  Jr.,  goes  over 
to  his  father's  studio  to  play  tennis  with  Dad  every  day. 


A  terrifying  rumor  creeps  out  that  Hope  Hampton 
yearns  to  emote  and  be  Juliet  and  all  such  stuff.  At 
present,  she  is  making  "The  Gold  Diggers"  at  Warner 
Brothers  Studio.  One  of  the  thrills  of  "The  Gold  Diggers" 
is  to  be  Louise  Fazenda  as  a  society  queen.  Altho  she  is 
never  seen  ordinarily  except  with  her  hair  slicked  back 
and  falling  all  over  something,  Louise  is  in  fact  a  very 
pretty  girl. 

"How   do   you   like   being   all   dressed   up?"    some   one 
asked  as  she  came  on  the  set  with  a  low-necked  gown. 
"Well,"  considered  Louise,  "it's  all  right,  but  you  have 

to  be  so  awfully  clean.  But 
anyhow  it  makes  me  feel 
wicked  and  expensive." 


Let  it  be  strictly  under- 
stood that  turnips  are  not  in 
favor  in  the  high  places  of 
Hollywood  for  the  next  few 
weeks.  Elinor  Glyn  has  re- 
turned to  supervise  the  di- 
rection of  "Three  Weeks"  at 
Goldwyns.  And  Elinor  has 
a  peculiar  horror  of  turnips. 
Whether  in  some  previous 
existence,  she  .  .  .  Well, 
anyhow,  during  her  last 
visit  she  was  the  guest  of 
honor  at  a  Hollywood 
soiree.  She  took  one  look  at 
the  dinner  and  staggered  out/ 
To  an  anxious  inquiry,  she 
said  in  an  outraged  voice. 
"Turnips !  Turnips !  Fancy 
their  having  turnips  for  me  !" 


f..»  >■  m 


To  really  "belong"  now,  you  must 
have  received  a  message  from  the 
spirit  land  from  Honore  Balzac,  the 
French  novelist.  His  grandniece  is  in 
Hollywood,  hovering  around  the  pro- 
duction of  her  revered  ancestor's 
story,  "The  Magic  Skin,"  being  made 
into  a  picture  by  the  Achievement 
Films  of  Philadelphia.  It  appears  that 
Mile.  Balzac,  who  is  a  thrilling  young 
lady  with  onyx  eyes,  has  a  line,  now 
and  then,  from  the  spirit  world  in  the 
hand-writings  of  the  late  Balzac.  Ev- 
eryone crowds  into  her  dressing-room 
when  the  spirit  moves.  From  his 
spirit  world,  Balzac  knows  just  when 
all  the  assistant  directors  will  get  a 
job  with  the  megaphone ;  when  all  the 
little  extra  girls  are  to  be  starred  and 
the  other  secrets. 


The  big  motion   picture  exposition 
which  has  been  in  the  planning  for  so 
(Continued  on  page  72) 


(Sixty-two) 


THE  STUDIO 
A  sketch  by  R.  O.  Ward  of  one  of  the  big  spotlights  in  the  Film  Guild's  Studio 


(Sixty-three) 


Rankest  Treason 

Verse  and  Pictures 


By 


DOROTHY  ROSENCRANS   BRIGHTON 


Suppose    that    when    a    thought    con- 
fronts Adonis 
There  is  no  mantel  there  'pon  which 

to  lean. 
His  little  belted  back  half  turned  upon 

us 
And  solemn  thoughts  aracing  thru  his 

bean. 
But    just    supposing    this,    is    rankest 

treason 
To   all   traditions  —  you    see    what    I 

mean, 
'Twould  cause  a  riot  surely,  and  with 

reason, 
No  man  thinks,  sans  a  mantel,  on  the 

screen. 


Suppose    that    when    the    heroine    is 

pretty 
They  show  no  fancy  ball  nor  bathing 

scene. 
Not    one   small   glimpse   as    Eve — ah, 

such  a  pity, 
And  no  flashback  as  slave  or  ancient 

queen. 
But    just    supposing    this,    is    rankest 

treason 
To   all    traditions — none    save    critics 

care 
The  plot  is  weakened ;  all  the  old  and 

seasoned 
Know  'tis  not  how  she  acts,  but  how 

she's  fair. 


Suppose  that  when  a  fire  breaks  out, 

young  cutie 
Has  gotten  her  hair  braided   for  the 

night. 
She  doesn't  look  like  such  an  awful 

beauty 
And  yet  no   ruffled  boudoir  cap's  in 

sight. 
But    just    supposing    this,    is    rankest 

treason 
To  all   traditions — this  you've   surely 

learned — 
Before  she'd  be  seen  capless  (what  a 

reason ) 
She'd  sit  right  in  her  bed  and  be  all 

burned ! 


Suppose  that  when  the  husband  grows 

quite  weary 
And  plans  to  leave  his  wife — aye — do 

her  dirt — 
She  bids  him  fond  farewell  in  accents 

cheery, 
Her  eyes  quite  dry,  her  manner  quite 

alert. 
But    just    supposing    this,    is    rankest 

treason 
To  all  traditions — for  when  husbands 

flirt 
There's  one  thing  every   movie   wife 

agrees  on : 
It's  time  to  rise  and  wave  a  Rubens 

shirt. 


Treason  to  the  movies  is 
punishable  by  death  for  the 
first  offense;  for  the  second, 
a  movie  a  night  for  fourteen 
years.     Give  as  the  first! 


(Sixty  -four  t 





qAs  wonderful  for  a  quick  brilliant  polish 
as  Cutex  is  for  smooth  cuticle 


For  years  you  have  known  Cutex.  You 
have  blessed  it  a  thousand  times  when 
you  have  been  in  such  a  hurry  and  you 
have  just  bad  to  get  those  neglected  nails 
shapely  and  gleaming.  You  have  adored 
the  little  manicure  sets.  You  have 
marvelled  at  the  magic  of  their  cake  and 
powder  polishes. 

Now,  after  years  of  fastidious  experi- 
ment, Cutex  has  perfected  a  wonderful 
new  Liquid  Polish, 
as  splendid  for  a 
brilliant,  lasting 
polish  as  Cutex  is 
^  for  giving  soft, 
even  cuticle. 


This  brilliant  new  polish  spreads  smooth 
and  thin  and  gives  a  lasting  rosy  lustre. 
Even  a  -week's  dishwashing  leaves  it 
gleaming  and  unbroken 


No  separate  remover  is  needed. 
Just  use  a  touch  of  the  polish  itself 
and  ivipe  off  each  nail 


In  every  particular,  this  Cutex  Liquid 
Polish  is  ideal.  It  spreads  smooth  and 
thin.  It  dries  almost  instantly  into  such 
a  lovely  gleaming  smoothness.  It  never 
leaves  ridges  or  brush  marks  and  it  would 
never  think  of  cracking  or  peeling  off. 
You  will  be  simply  delighted  with  its 
dainty  rose  lustre  that  lasts  for  a  whole 
week.  No  matter  how  incessantly  you 
use  your  hands,  your  nails  will  keep  their 
smooth  unbroken  brilliance.  Even  water 
does  not  dim  the  lustre 

No  bother  of  a  separate 
polish  remover 

And  finally  here  is  just  another  new 
convenience.  You  need  never  have  the 
bother  of  a  separate  remover  to  take  off 
the  old  polish.  Just  a  touch  of  the  polish 
itself  wiped  off  while  it  is  still  wet  will 
leave  the  nail  absolutely  free  of  the  old 
polish  and  ready  for  the  new  application. 
Cutex  Liquid  Polish,  just  like  all  the 
other  Cutex  preparations,  is  35c  separately. 
Or  ask  for  the  sets  in  which  it  comes. 
Sets  are  from  60c  to  $3.00. 


Special  Introductory  Set  that  includes 
the  new  polish  —only  12c 
Send  12c  in  stamps  or  coin  with  the  coupon  below 
for  a  special  Introductory  Set  that  contains  trial  sizes 
of  Cutex  Cuticle  R  err.over,  Lquid  and  Powder  Polish, 
Cuticle  Cream  i  Cuticle  Comfort),  emery  board  and 
orange  stick.  Address  Northam  Warren,  114  West 
17th  St.,  New  York,  or  if  you  live  in  Canada, 
Dept.  N-o,  200  Mountain  St.,  Montreal,  Can. 


MAIL     THIS     COUPON     WITH     lie    TODAY 


Polish 


Northam  War  REN,  IX-pt 

114  West  17th  St,  New  York 

I  enclose  12c  in  stamps  or  coin  for  new  Introductory  Set  that 
includes  a  trial  size  of  the  Cutex  L.quid  Polish. 


Name        

Street 

(or  P.  O.  Box) 

City  


State 


s***>-Jn,Pj 


Their  Crowning 
Glory 


Above:  Mabel 
Normand's  fa- 
mous curls  are 
arranged  for  her. 
It  is  said  that  this 
is  the  only  time 
Mabel  will  sit 
still  for  more 
than  five  minutes. 
Left:  Agnes 
Ayres  has  her 
coiffure  retouch- 
ed, so  to  speak, 
before  she  goes 
on  the  set.  This 
colored  woman, 
whose  name  has 
escaped  us,  "does" 
the  hair  of  at 
least  half  the  ci- 
nemese  in  Holly- 
wood 


(Sixty-six) 


YOUNG  WIFE  MUST  MAKE 
THIS  DECISION 


IV hat  will  her  face  be  in  one- 
in  five -in  ten  years' time? 

NEW  surroundings  —new  responsibilities — new  adjustments 
to  life.  And  with  all  these  a  new  loveliness  in  her  face. 
Yet  m  .1  tew  vears  it  has  gone!  What  has  become  or  it? 

Should  she  have  trusted  this  loveliness  to  keep  on  renewing 
itself  through  the  strain  of  her  new  responsibilities?  Did  she 
allow  the  soft  brilliance  of  her  clear  skin  to  grow  dull — its 
smoothness  to  be  marred  by  little  roughnesses?  So  many  girls 
lose  this  young  freshness  in  the  first  few  years  of  marriage. 

But  today  they  know  that  this  loveliness  must  be  guarded, 
that  it  will  be  lost  unless  the  right  ore  be  given. 

Many  a  wife  has  learned  that  she  can  keep  her  skin  supple 
and  lovely  by  giving  it  regularly  the  two  fundamental  things 
it  needs  to  keep  it  young  —  a  perfect  cleansing  at  night  and  n 
delicate  freshening  and  protection  for  the  day.  And  she  has 
learned  that  the  Pond's  Method  of  two  creams  based  on  these 
two  essentials  of  her  skin,  brings  more  wonderful  results  than 
any  other. 

Two  Creams      each  different — each  marvelous 
in  its  effect  on  her  skin 

Two  Creams  she  would  not  give  up  for  any  others  in  the 
world!  First  the  exquisite  cleansing  of  Pond's  Cold  Cream 
that  leaves  her  skin  so  delightfully  fresh,  so  luxuriously  soft. 
Then  the  instant  freshening  she  adores  with  Pond's  Vanishing 
Cream  and  its  careful  protection  that  she  has  learned  prevents 
coarsening.  These  two  creams  keep  for  her  the  smoothness  of 
texture  and  that  particular  fresh  transparency  that  she  wants  to 
be  her  charm  ten  years  from  now  as  it  is  today. 

DECIDE  TO  USE  THIS  FAMOUS  METHOD 
Keep  your  skin  charmingly  young — for  years 

Do  this  tonight.  With  the  finger  tips  apply  Pond's  Cold 
Cream  freely.  The  very  fine  oil  in  it  softens  your  skin  and 
penetrates  every  pore.  Let  it  stay  on  a  minute — now  wipe  it 
off  with  a  soft  cloth.  The  black  that  comes  off  shows  you 
how  carefully  this  cream  cleanses.  Do  this  twice.  Your  skin 
looks  fresh  and  is  beautifully  supple. 

Then  in  the  morning,  smooth  on  Pond's  Vanishing  Cream 
lightly  over  your  whole  face.  Now  if  you  wish,  rouge  — 
powder.  How  smooth  and  velvety  your  face  feels  to  your 
hand.  The  appearance  of  your  skin  and  the  compliments  of 
your  friends  for  as  long  as  you  use  these  Two  Creams  will  prove 
to  you  how  wonderful  they  keep  your  skin.  Begin  tonight  to 
use  Pond's  Two  Creams  regularly — buy  both  creams  in  anv 
drug  or  department  store.     The  Pond's  Extract  Company. 


*- 


Pholo  by  Leiarru  A   Hitter  Studttx 


^ 


Every  skin  needs  these 
Two  Creams  Pond's 
Cold  Cream  for 
cleansing.  Pond's  Van- 
ishing Cream  to  pro- 
tect and  to  hold  the 
pan  der 


Ponds 

COLD 
CREAM 


GENEROUS  TUBES—  MAIL  COUPON  WITH   10c  TODAY 

The  Pond's  Extract  Co.,  132T  Hudson  St.,  New  York 

Ten  cents  Ooc)  is  enclosed  for  your  special  introductory  tubes  of  the  two 
creams  every  normal  skin  needs — enough  of  each  cream  for  two  weeks*  ordinary 
toilet  uses. 

Name 

Street  ....... 

On  Siair 


(Sixty-seven) 


- 


Two  Down,  And  One  to  Go 


Milton  Sills  as  Roy  Glennister,  and  Noah  Beery  as  McNamara,  stage  a  pretty  fight  in 
"The  Spoilers."  This  is  an  example  of  the  terrific  reality  of  the  modern  motion  picture. 
No  more  doubles,  no  more  fakes  to  mar  the  illusion  of  real  people  doing  real  things 


(Sixty  rtplit  i 


Keeping  your 

child's  hair  ^ 
beautiful    ^ 


li  hat  a  mother  can  do  to  keep 
her  child 's  hair  healthy  —fine,  soft 
and  silky  — bright,  fresh-looking 
and  luxuriant 


THE  beauty  of  your  child's  hair  depends 
upon  you,  upon  the  care  you  give  it. 

Shampooing  it  properly  is  the  mosl  im- 
portant thing. 

It  is  the  shampooing  which  brings  out  all 
the  real  life  and  lustre,  the  natural  wave  and 
color,  and  makes  the  hair  soft,  fresh  and 
luxuriant. 

While  children's  hair  must  have  frequent 
and  regular  washing  to  keep  it  beautiful,  their 
fine,  young  hair  and  tender  scalps  cannot 
stand  the  harsh  effect  of  ordinary  soaps.  The 
free  alkali  in  ordinary  soaps  soon  dries  the 
scalp,  make-;  the  hair  brittle  and  ruin-  it. 

That  is  why  discriminating  mothers,  every- 
where, new  u-e  Mulsified  cocoanut  oil  sham- 
poo. This  clear,  pure,  and  entirely  greaseless 
product  cannot  possibly  injure,  and  it  does 

not  dr\  the  scalp  or  make  the  hair  brittle,  no 
matter  how  often  you  use  it. 

When  oily,  dry  or  dull 

li  your  child's  hair  is  too  oily,  or  too  dry; 
il  it  is  dull  and  heavy,  lifeless,  stiff  and  gum- 
my; if  the  strands  cling  together,  and  it  feds 
harsh    and    disagreeable   to   the   touch:  or   if 


dandruff  is  accumulating,  it  im- 
proper shampooing. 

You  will  be  delighted  to  see  how  easy  it  is 
to   keep   your  child's   hair   looking   beautiful. 

when  you  use  Mulsified  cocoanut  oil  shampoo. 
The  quick,  easy  way 

Two  or  three  teaspoonfuls  of  Mulsified  in  a 
CUp  or  glass  with  a  little  warm  water  is  suf- 
ficient to  cleanse  the  hair  and  scalp  thoroughly. 

Simply  pour  the  Mulsified  evenl)  over  the 
hair  and  rub  it  in.  It  makes  an  abundance  of 
rich,  creamy  lather,  which  rinses  out  quickly 
and  easily,  removing  ever)  particle  of  dust, dirt, 
dandruff  and  excess  oil  the  chief  causes  of 
all  hair  troubles. 

After  a  Mulsified  shampoo  you  will  find  the 
hair  will  dry  quickly  and  evenly  and  have 
the  appearance  of  In'ing  much  thicker  and 
heavier  than  it  really  is.  It  keeps  (he  scalp 
-oft  and  healthy,  the  hair  fine  and  silky, 
In  ight,  fresh-looking  and  fluff) .  wavy  and  i  >-\ 
to  manage. 

You  can  get  Mulsified  at  an)  drug  store  or 
toilet  goods  counter,  anywhere  in  the  world. 
A   bounce  bottle  should  last  for  months 


Sf>Irnii:~    ■      i 

/   •■ 


Mulsified 

R  S  O        U  -  B  .      ^  AT      O  *  w  ■ 

Cocoanut  Oil  Shampoo 


'Sixty-nine) 


\lbe  Movie  Lhc^clopdedi 


The  Ol'  Lady. — No,  I  remember  your  letter  well.  I  wish 
you  could  have  had  a  dictagraph  in  my  office  when  I  read 
your  letter.  You  would  have  heard  some  nice  things.  So  you 
dont  think  the  falcon  in  "Robin  Hood"  should  have  had  a  bonnet 
on.  Maybe  you're  right.  I  agree  with  you  on  the  second,  but 
you  want  to  calm  down  to  low  speed  on  your  third.  Yes,  Arline 
Pretty  is.     Thanks,  and  do  come  again. 

Ginger.— Thanks  for  your  valuable  hints  on  how  to  economize. 
What  we  all  want  however  is  some  hints  on  how  to  live  without 
economizing.  About  Herbert  Rawlinson — he  was  born  in  England 
and  is  not  married  now.  Vincent  Coleman  is  married.  Baby 
Peggy's  parents  are  alive  and  she  is  playing  in  Universal's 
"Editha's  Burglar." 

Joe  C. — Welcome,  since  this  is  your  first  letter  to  me.  Betty 
Compson  is  at  present  in  Europe  playing  in  pictures.  Gloria 
Swanson  is  not  married  now.     Thanks,  and  come  again. 

Reggie. — Yes,  Reggie  is  a  cute  name  as  you  say,  but  what  is 
the   rest   of    it? 

Ramon  Novarro  Fan. — You  are  a  wonder.  Most  girls  would 
rather  admit  that  they  are  thirty  than  to  admit  that  they  snore. 
His  real  name  is  Ramon  Sammanyagos.  Address  him  at  the 
Metro  Studios,  1025  Lillian  Way,  Los  Angeles,  Cal. 

Galee. — I  cant  say  that  I  agree  with  you.  I  prefer  feasting  to 
fasting.  Ask  Edward  our  office  boy.  He  knows.  Thanks  for  the 
information.  Constance  Talmadge  is  five  feet  five.  Well  I  am 
glad  you  dont  think  I  am  a  woman. 

Pauline  B. — So  you  are  in  love :  Whew !  Love  is  like  hash, 
you  never  can  tell  what  you  are  likely  to  find  in  it.  Yes,  the 
Valentines  are  touring  at  this  writing.  No,  "Footlights"  is  one 
play,  and  "Footlights  and  Shadows"  another.  Yes,  Richard  Bar- 
thelmcss  is  quite  in  love  with  his  baby. 

John  Z. — You  mustn't  mind  that.  A  woman  is  built  to  worry 
about  somebody's  staying  out  late  at  night,  and  if  it  isn't  a  man, 
it's  the  hired  girl,  or  the  cat.  Thanks,  that  was  Jack  Mower 
as  the  policeman  in  "Manslaughter."  My  error,  please  forgive. 
Cullen  Landis  and  Helene  Chadwick  are  married,  but  not  to  each 
other.  Thomas  Meighan  at  the  Famous  Players  Studio, 
Astoria,   L.   I. 

E.  F.  L. — Thanks — you  say  that  you  know  Malcolm  McGregor 
is  married  and  has  a  daughter  three  or   four  years  old. 

Dolly  Bubbles. — Thanks  for  the  violet.  It  doesn't  .require 
nerve  to  write  to  me.  Thomas  Meighan  in  "The  Ne'er  Do  Well" 
and  "Homeward  Bound."  Marie  Walcamp  is  not  playing  now. 
Yes,  Leatrice  Joy  is  24.  No  but  Juanita  Hanson  expects  to  go 
on .  the  stage.  Thomas  Meighan  was  born  in  Pittsburgh.  In 
January — the  fifth.     Yes  indeed,  to  your  P.  S. 

Freckles. — The  trouble  is,  many  people  when  they  get  married,- 
quit  being  friends.  Here  goes — Jack  Holt  is  married  and  has 
three  children.  Playing  in  "A  Gentleman  of  Leisure"  for  Famous 
Players. 

Temperamental  Sixteen. — I  suppose  the  reason  that  so  many 
people  tell  me  their  troubles  is  because  they  haven't  anybody 
else  to  tell  them  to.  Misery  loves 
company,  but  company  does  not  love 
misery.  No,  Kenneth  Harlan  is 
not  married  yet.  Flo  Hart  was  his 
first  wife.  Gloria  Swanson  is 
twenty-six.  Lewis  Stone  is  mar- 
ried and  Viola  Dana  was  born  in 
Brooklyn.     So  long. 

Mavis  M. — You  seem  to  have 
more  respect  for  the  opinions  of 
our  ancestors  than  I  have.  Since 
they  came  first,  are  they  not  the 
younger,  and  therefore  the  less  ex- 
perienced. Yes,  you  were  right.  Ken- 
neth Harlan  and  Florence  Vidor  are 
playing  in  "The  Virginian."  You  have 
the  same   favorites   I  have.    Righto ! 


This  department  is  for  information  of  general  interest- 
only.  Those  v/ho  desire  answers  by  mail,  or  a  list  of- 
film  manufacturers,  with  addresses,  must  enclose  a 
stamped,  self-addressed  envelope.  Address  all  in- 
quiries: The  Answer  Man,  Classic,  Brewster  Buil 
ings,  Brooklyn,  N.  Y.  Use  separate  sheets  for  matters 
intended  for  other  departments  of  this  magazine.  Each 
inquiry  must  contain  the  correct  name  and  address 
of  the  inquirer  at  the  end  of  the  letter,  which  will  not 
be  printed.  At  the  top  of  the  letter  write  the  name 
you  wish  to  appear,  also  the  name  of  the  magazine  you 
wish  your  inquiry  to  appear  in.  Those  desiring  imme- 
diate replies  or  information  requiring  research,  should 
enclose  additional  stamp  or  other  small  fee;  otherwise 
all  inquiries  must  wait  their  turn.       Let  us  hear  from  you. 


Betty  Marie. — I  am  not  so  good  as  you  think  I  am.  I  have 
many  vices,  but  my  principal  vice  is  advice.  Kenneth  Harlan 
has  been  married  once.     That  was  Lloyd   Hughes. 

Fanny  H. — Very  few  companies  are  buying  original  ^rripts 
these  days.  You  want  to  write  a  stage  play  in  order  to  make 
money  in  the  movies.     About  two  hundred  words  to  a  reel. 

Tinker  Bob. — I  dont  mind  answering  questions,  but  when  I 
am  asked  such  questions  as  What  is  the  secret  of  life — that 
ignis  fatuus  of  the  scientists  of  all  ages,  and  about  the  atomic 
theory  in  reference  to  ether,  and  about  the  adequacy  or  inade- 
quacy of  vaccine,  about  the  physical  basis  of  solar  chemistry, 
about  the  immortality  of  the  soul,  about  the  theory  of  the  cloud 
belts  of  Jupiter  and  Saturn  being  raised  by  the  sun's  heat,  about 
the  single  authorship  of  the  Iliad,  and  so  on,  I  must  reluctantly 
and  humbly  say,  "I  pass."  You  want  more  of  Pat  and  Micky 
Moore.     Just   a    little — more  ! 

Y.  Y.  U.  R. — Glad  you  liked  the  music.  Even  a  hand-organ 
sounds  good  to  a  person  in  love.  So  you  dont  think  I  am  as  old 
as  I  say,  my  answers  are  too  peppy.  I  sprinkle  them  with  cayenne 
you  know.  Claire  Windsor  in  "The  Acquittal"  with  Norman 
Kerry   and   Richard   Travers. 

Ruddy's  Friend. — He's  got  plenty  of  them  too.  You  know 
that  there  was  a  disagreement  in  his  contract  which  forbids  Val- 
entino from  playing  in  any  other  company  but  Famous  Players 
for   almost  two  years. 

Hilary  T. — Well,  in  the  long  run  you  will  find  that  it  is  much 
cheaper  to  learn  from  other  people's  experiences  than  to  let  them 
learn  from  yours.  Casson  Ferguson  is  no  relation  to  Elsie  Fer- 
guson. At  this  writing  the  Bushmans  are  traveling,  but  mail 
will  reach  them  at  the  Hotel  Majestic,  New  York  City. 

Marie  C. — So  you  have  heard  a  lot  about  Henry  VIII,  but 
you  want  to  know  more.  Did  you  know  that  he  applied  unsuccess- 
fully to  the  Pope  for  a  divorce  from  Catherine  of  Aragon,  his 
wife;  so  he  had  himself  declared  head  of  the  church;  married 
Anne  Boleyn  after  the  convocations  of  York  and  Canterbury  had 
declared  his  marriage  with  Catherine  invalid.  He  had  Anne  Boleyn 
executed  in  1536  and  married  Jane  Seymour  ten  days  after  the 
execution;  in  1538  he  was  excommunicated  by  the  Pope.  His  third 
wife  having  died  in  1537,  he  married  Anne  of  Cleves  in  1540;  was 
divorced  from  her  the  same  year  and  married  Catherine  Howard, 
who  was  executed  on  a  charge  of  adultery  in  1542,  and  married 
Catherine  Parr  in  1543  and  she  survived  him.  Not  such  a  dull 
life.  What !  Well  I  am  glad  you  received  Ramon  Novarro's 
picture.     Now  I  suppose  you  are  happy.     Thanks. 

Patricia  P. — Joseph  Striker  was  Jacques  in  "The  Woman  in 
Chains." 

Marilyn  C. — I  dont  see  how  they  can  keep  up  your  spirits 
by  preventing  us  from  putting  them  down.  Kenneth  Harlan  is 
twenty-eight.  No,  I  am  not  married.  Single  blessedness  for 
mine. 

Margaret  R—  But  they  do  say  that  when  Hope  Hampton 
arrived   in    California   three   of    the    four   Warner    Brothers    were 

at  the  train  to  meet  her  and  she  was 
presented  with  a  $3,000  automobile 
which  came  as  a  total  surprise. 
Aren't  some  people  lucky?  Lloyd 
Hughes  is  married  to  Gloria  Hope. 
More  Hope. 

Forget-me-not.  —  Why  "Robin 
Hood"  was  the  hero  of  a  group  of 
old  English  ballads ;  represented  as 
an  outlaw  and  a  robber,  but  of  a 
gallant  and  generous  nature,  whose 
familiar  haunts  are  the  forests  of 
Sherwood  and  Barnsdale,  where  he 
fleets  the  time  carelessly  in  the 
merry  greenwood.  There  is  no  evi- 
dence that  "Robin  Hood"  was  ever 
(Continued  on  page  73) 


(Scventx) 


A 


A  Twin  Complexion  Treatment 


II   is  hnrd  to  think  of  the  ran  and 
the  wind  aa  injurious  influences; 
\ct  to  the  delicate  -km  o!  the  refined 
woman  neither  is  an  unmixed  blessing. 
Both    sunburn    and    windburn    are 
drying,  roughening,  and  coarsening  to 
the  complexion;  while  the  dust  that  ac- 
companies «  m. I  tends  to  clog  the  pores. 
Pompeian  Day  Cream  is  ;i  harmless 
preparation  ol  exquisite  fineness  made 
to  protect  the  skin  during  the  activi- 
t  the  day   from  exposure  to  the 
elements. 

"N^ot  Entirely  Oilless 

Unlike  some  "disappearing"  creams, 

Pompeian  Day  Cream  is  not  entirely 
oilless;  on  the  contrary,  it  contains 
just  sufficient  oil  to  make  it  desirable 
for  naturally  dry  as  well  as  tor  normal 
or  oily  skins,  and  to  offset  the  drying 
effects  of'  sun  and  wind. 


Restoration  by  Sight,  » ith  Pompeian  Night  Cream 

To  all  appearances  Pompeian  Day 
Cream  vanishes  upon  application;  it 
actually  leaves  an  invisible  film  on  the 
skin  which  serves  as  a  protection  against 
weather;  furthermore,  this  soft,  dull 
film  eliminates  and  prevents  shine  and 
makes  a  powder  foundation  to  which 
Pompeian  Beauty  Powder  will  adhere 
evenly  and  smoothly  for  a  long  time. 

The  sleeping  hours  may  be  made  a 
period  of  benefit  or  of  harm   to   the 

Pompeian  Night  Cream  (Ne«  siylejir)6cc/>fr_/<2r 

Pompeian  Day  Cream 6oc  per  jar 

Pompeian  Fragrance 25c  a  can 


Protection  by  '■Day,  with  '■Pompeian  'Day  Cream 

complexion,  according  to  whether  the 
skin  is  properly  prepared  for  natural 
restoration  or  carelessly  left  to  the 
heavy  hand  of  time. 

It  a  woman  retires  with  her  pores 
filled  with  the  dust  and  grime  of  the 
day,  with  her  skin  dried  and  rough- 
ened, wrinkled  by  mental  concentra- 
tion or  worry,  then  the  night  hours 
will  serve  to  perpetuate  these  faults. 

How  to  Keep  the  Skin  in  Condition 

But  if  she  will  follow  the  simple 
night  treatment  recommended  she  can 
clear  the  pores,  soften  and  soothe  the 
skin,  relax  the  facial  muscles,  subdue 
the  wrinkles,  and  nourish  the  under- 
lying tissues. 

First,  a  cleansing  with  Pompeian 
Night  Cream,  then  a  second  applica- 
tion gently  smoothed  into  the  pores, 
and  she  is  ready  to  let  the  great  re- 
storer, "balmy  sleep,"  repair  the  rav- 
ages of  the  day. 

The  Twin  Treatment 

The  twin  complexion  treatment  of 
Pompeian  Day  Cream  and  Pompeian 
Night  Cream  provides  the  two  essen- 
tials of  day-time  protection  and  night- 
time restoration.  If  faithfully  used, 
these  two  preparations  alone  will  en- 
able any  woman  to  greatly  prolong 
her  hold  on  a  youthful  complexion. 

Pompeian  Beaity  Powder.  .  .  60c  per  box 
Pompeian  Bloom  (the  rouge).  .  .60c  per  box 
Pompeian  Lip  Stick 35c  each 


SMary  "Pickford  'Panel  and  Samples 

fend  tkr  coupon  u  ith  ten  cenli  for  leautilul  next    roil  Pompeian   Art  Pane!  ol  Mart  Piciford.       With 
this   ranel  ae  lend  sample!   of  Pompeian    Nighl   Cream,   Day   Cream,   Beauty   Ponder,  and   Bloom. 

Pompeian      Laboratories,      2128     Payne     Avenue,     Cleveland,     Ohio 

Alio  Made  in  Canada 

poMpeiar) 

(ream 


Tour  Skin  &*(tedj 

S f)ti iii  I '(  \n\'  in  the  Autumn 

ImE. JlANNITTt 

mlc  .1  woman  is  In  her  l.rst  hrulth 
with  the  beginning  >>i  the  autumn* 

Mil  t  how  about  her  skin  } 

!•  rci|ucntly  she  is  aware  th.it  she 
has  been  negligent  in  her  tare  of  it 
during    the   l.i/y   months   of  summer. 

I  have  said  it  before,  and  I  will  con- 
tinue 10  say,  "  Consistency  \tlhe  virtue 
in  caring  for  your  skin."  You  are 
nourishing  its  tissues;  and  it  is  very 
like  your  body — you  can't  cat  a  sur- 
feit of  good  food  for  a  week  and  then 
forget  to  eat  for  the  week  that  follows! 
Yet  you  do  this  when  you  use  com- 
plexion creams  only  part  0/  the  lime. 

*At  CKjght — 

Soup  and  water  is  the  habitual  way  of 
most  women  in  cleansing  the  skin;  hut 
Pompeian  Night  Cream  is,  in  many  cases, 
more  thoroughly  cleansing. 

Pompeian  Night  Cream  may  be  used  as 
lavishly  as  the  individual  user  desires; 
there  is  no  such  thing  as  using  too  much, 
but  enough  should  be  used  to  cover  every 
part  and  feature  of  the  face,  as  well  as  the 
neck  and  the  arms,  if  they  too  would  be 
kept  in  beautiful  condition. 

I  do  not  advise  too  much  rubbing  and 
massaging — just  enough  to  thoroughly 
distribute  the  cream.  When  you  remove 
it  with  a  soft  cloth,  all  dirt  and  dinginess 
is  also  removed,  leaving  your  skin  soft 
and  smooth  and  lovely  to  the  touch. 

In  the  -Scorning — 
In  the  morning  you  will  find  that  the 
night  treatment  has  prepared  your  skin 
to  gratefully  accept  an  application  of 
Pompeian  Day  Cream.  This  is  a  founda- 
tion cream  for  the  day's  powder  and  rouge, 
and  it  is  a  protection  to  the  skin  as  well. 

Then  the  'Powder  — 

If  the  autumn  finds  the  skin  still  some- 
what darker  than  usual,  you  should  use  a 
darker  tint  of  powder  than  you  custom- 
arily do.  Pompeian  Beauty  Powder  in  the 
Rachel  tint  may  be  used  on  naturally  fair 
complexions  until  care  has  restored  their 
own  delicate  pinks  and  white  tones,  when 
one  may  again  use  the  White  or  Flesh 
shades. 

Cover  the  face  and  neck  well  with  the 
powder,  and  then  dust  it  off  lightly  and 
evenly,  moistening  the  eyebrows,  eye- 
lashes, and  lips  to  remove  any  traces  of 
powder  from  them. 


i 


LQau^M- 


Specialiste  en  Beaute 
TEAR  OFF,  SIGN,  AND  SEND 


POMPEIAN  LABORATORIES 

:i;8  Payne  Avenue,  Cleveland,  Ohio 

Gentlemen:  I  enclose  10c  (a  dime  preferred)  for  1923 
Art  Panel  of  Miry  Pickfurd  and  the  four  samples 
named  in  offer. 

Name 


e    1923.  The  Pomt>ei«n  ft 


Address. 

Citv 


.State- 


Flesh  shade  powder  »ent  unlets  jew  srrlte  another  below 


(Seventy-one) 


SEM-PMY 
J0-WN6Y 


Sempre 
Giovine 


eanmL 


|gf         Tl«rVJ< 


6oc 
Oh,  Youth!  Tender  as  the 
blush  of  early  dawn  and 
fresh  as  the  sparkling  dew! 
What  can  I  do  to  preserve 
thee!  This  longing  finds 
echo  in  every  human  heart.    * 

Youth  is  not  merely  a 
matter  of  years — for  the  old 
may  look  young  and  the 
young  may  look  old.  A  fine, 
clear  complexion  gives 
youth  to  the  appearance. 
Keep  your  complexion 
"always  young"  with  Sem- 
Pray  Jo-Ve-Nay. 

oA  Smooth  Satiny  Skin 

results  from  the  use  of  this 
fragrant  complexion  cake, 
requiring  three  months  in 
the  making  and  composed 
of  the  very  affinity  oils  of 
the  skin  itself. 
It  cleanses  —  nourishes  — 
beautifies  —  rids  the  pores 
entirely  of  dust  and  black- 
heads, makes  a  splendid 
powder  foundation  and 
produces  a  smoothness  as 
velvety  as  roses'  petals. 

Prove  to  yourself  that  such  a 
wonder  beauty  cake  really  ex- 
ists by  sending  your  name  and 
address  for  a  7  day  trial  size 
cake  free.  It  will  show  you 
why  those  who  use  Sem-Pray- 
Jo-Ve-Nay  are"alwaysyoung." 

Sem-pray  Jo-ve-nay  Company  / 

Dept.  12-76 

Grand  Rapids,  Michigan 


'«**. 


Exquisiticely 
Perfumed 


A  Powder 
Foundation 


Natural 
Health  Tints 


The  Hollywood  Boulevardier  Chats 


(Continued  from  page  62) 


long,  opened  July  2  in  Los  Angeles. 
It  is  a  grand  affair  in  honor  of  the 
Centennial  of  the  Monroe  Doctrine. 
It  isn't  clear  just  what  the  Monroe 
Doctrine  had  to  do  with  the  motion 
picture  industry.  But  anyhow  the 
United  States  Government  was  suffi- 
ciently impressed  to  issue  special 
souvenir  half  dollars. 


Bill  Hart,  who  has  gone  thru  a 
long  cruel  experience  with  his  domes- 
tic trials  and  tribulations,  has  decided 
to  return  to  the  business  of  making 
motion  pictures.  He  is  to  begin  at 
once  at  the  Lasky  studio. 


A  terrible  rumor  has  it  that  Jane 
Cowl  intends  to  film  "Juliet"  when 
she  comes  to  the  Coast  with  her 
dramatic  company.  All  this  will  do 
will  be  to  drive  two  young  ladies  to 
the  brink  of  suicide.  Both  Norma 
Talmadge  and  Mary  Pick  ford  hanker 
and  yearn  to  play  Juliet  on  the  screen 
sometime.  Norma  wants  to  wait  un- 
til she  can  get  Valentino  as  Romeo ; 
Mary's  difficulty  is  that  she  cant  per- 
suade Doug  to  play  Romeo.  She 
realizes  that  it  would  be  taking  a  long 
box-office  chance  to  film  Shakespeare  ; 
a  handicap  which  would  be  overcome 
if  Douglas  and  she  were  to  appear  to- 
gether. +         +         + 

One  of  the  most  interesting  open- 
ings   ever    held    in    Hollywood    took 


place  at  the  Writers'  Club  the  other 
night  when  "The  Talisman,"  the 
first  production  of  the  Associated 
Authors,  was  shown.  It  is  practi- 
cally a  sequel  of  "Robin  Hood,"  tak- 
ing up  the  adventures  of  Richard  the 
Lion  Hearted  after  Robin  Hood 
turned  back  to  England.  The  audi- 
ence was  thrilled  when  the  King  re- 
ferred feelingly  on  the  screen  to  the 
"Earl  of  Huntingdon  whom  I  treated 
unjustly"  and  a  piece  of  the  real 
"Robin  Hood"  film  flashed  on,  with 
Doug  and  all  the  rest  of  it. 


Charlotte  Merriam,  one  of  the 
newest  invaders  of  Hollywood,  was 
an  army  girl ;  born  in  Fort  Sheridan. 
Her  father  is  Col.  Henry  Clay 
Merriam,  commanding  officer  at  Fort 
Preble.  She  shoots  and  rides  and 
swims.  On  a  recent  location  tour  in 
Inyo  county  where  she  was  making 
exteriors  for  "The  Huntress," 
Colleen  Moore  and  Snitz  Edward- 
collaborated  on  a  barbecue  for  fort) 
Indians  who  worked  in  the  piece. 

*  *  * 

Charlie  Chaplin  has  settled  the 
question  which  has  been  agitating  the 
public  mind.  He  is  not  going  to  re- 
tire. After  he  finishes  the  cutting  of 
"Public  Opinion,"  the  dark  and 
tragic  play  which  he  has  been  direct- 
ing, he  will  take  a  vacation ;  then  be- 
gin work  on  a  five-reel  comedy. 
(Continued  on  page  74) 


A  kiss  in  the  movies  by  Corinne   Griffith  and  Frank  Mayo.     It  is  from 
"Six  Days,"  but  six  days  for  this  sort  of  thing  isn't  nearly  long  enough 


\S event  y-two) 


_ 


The  Movie  Encyclopaedia 

•Iiiiui'iI    from    pOQt    70) 

more  than  a  mere  creation  of  the  popu- 
imagination  \\  hj .  I  onwaj  rearh 
is  five  feet  eleven  and  Bett)  Blythe  five 
ulfic  Rowland  had  ■  itnall 
part  in  "Vanitj  Fair."  Lionel  Barrytnori 
after  "Eyes  rhal  Wont  See"  expecti  to 
return  to  the   stage   under    Bell 

Irish.— You    say    you    want    interviews 
with    Richard    Dix,    «.  > >nr;ul     Nagel    and 
Thomas    Meighan.      I'll    speak 
ibeth  Brad)   about  that. 

lood  morning   glorj  '     I 
\ou  arc  here  again.    Welcome  to  our  city. 
iys  glad  to  see  your  name  at  tb 
sheet,   for   then    I   am   sure   to   r< -ad 
some  sensible  questions  and  comments     I 
agree   with   you   about    "Glimpses   of    the 
Moon."      So     Ramon     Novarro     is    your 
Crane    Wilbur    of    old.      Write    me 
again. 

Rosalie. — The  best  benevolence  is  that 
which  comes  from  hidden  sources.  I 
thank  you.  We  published  a  list  of  the 
studio  addresses  recently.  You  want 
Norma  Talmadge  on  the  cover.  How  do 
von  like  this  one  ': 

Ritii  K.— Yes,  I  live  alone.  Many  of 
our  great  men.  including  myself,  lived 
alone,  or  were  addicted  to  seclusions,  in- 
eluding  Swift,  Goethe,  Shakespeare  and 
Thoreau.  Yes,  Ruth  Roland  is  thirty-one 
and  has  hazel  eyes.  Norma  Talmadge 
twenty -eight  and  brown  eyes.  Bert  Lytell 
is  married  to  Evelyn  Vaughn.  Harrison 
Ford  has  brown  c 

H.  B. — Address  William  Farnum  at  Fox 
Studios.    Los   Angeles,   Cal. 

Blue  Eyes.  -Thanks  for  the  new  name 
you  give  me — multum  in  parvo.  I  hope 
that  as  time  goes  on  it  will  be  more  in 
little,  and  finally  much  in  more.  Tom  Mix 
ih  Fox  His  last  picture  was  "Tem- 
pered Steel."  Warner  Baxter  in  "If  I 
were  Queen."  Yes,  "The  Remittance 
Woman."     Dont  mention  it. 

Desdemona. — -Since  you  insist  upon 
knowing,  my  beard  turned  grey  before  the 
hair  on  my  head.  Altho  the  former  was 
about  thirty  years  younger.  I  suppose  it 
was  because  I  worked  my  jaws  more  than 
my  brains.  Xo,  I  dont  happen  to  know 
what  Pearl  White's  mother's  name  is  or 
was.  Is  it  any  wonder  my  head  is  bald  ? 
Bebc  Daniels  is  with  Famous  Players. 

Doug.  Mcl. — Sobiet !  Yes.  Lionel  Bar- 
rymore  is  now  married  to  Irene  Fenwick, 
the  stage  star,  and  Doris  Rankin,  his  for- 
mer wife,  is  now  married  again.  Just  a 
case  of  no  time  lost.  H.  B.  Walthall  and 
Alice  Lake  in  "The  Unknown  Purple." 

S  kshin'E.  -Well,  I  presume  one  would 
say  Oxford  ties.  Norma  Talmadge  is  do- 
ing "Dust  of  Desire."  Ernest  Truex  and 
Florence  Eldridge  in  "Six  Cylinder  Love" 
for   Fox. 

Mary  Lee. — I  cant  say  that  I  admire 
those  new  fashions.  It  has  always  been 
a  mystery  to  me  why  women's  legs  dont 
Ket  cold  in  winter.  Creighton  Hale  is  play- 
ing in  "Broken  Hearts  of  Broadwav"  and 
Trilby." 

Blythe  I.— Well,  I  advise  you  not  to 
marry  for  money  unless  you  want  to  trade 
your  liberty  for  a  golden  collar  that  will 
always  be  Uncomfortable.  You  want  to 
see  Jack  Gilbert,  Tom  Mix  and  Carol 
Dempster  in  the  gallery.  They  will  all 
appear   in   due   time. 

Yvonne. — The  female  of  the  species 
usually  write  longer  letters.  So  vou  are 
going  back  to  college.  Good  for  you. 
W  ish  I  could  go  too.  There  is  so  much 
to  know.  Even  at  eighty  I  dont  know  it 
all.  Vou  want  to  see  more  of  Pauline 
Garon  and  Mae  Murray.  Cheer  up. 
Better    times    coming. 

(Continued  on  page  79) 


Enjoij  thirst- 


At  a  cool  and  cheerful 
place,  he  rules  with  a 
smile  of  welcome.  He's 
quick  with  his  hands  and 
quick  with  his  thought.and 
he  knows  how  to  serve  just 
what  you  want~  when  you 
come  in  all  thirsty  and  hot. 

Drink 


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made  without  alcohol.  For  years  the 
favorite  of  women  of  taste  in  society 
and  on  the  stage. 

The  regular  price  Is  $15.00  an  ounce,  but  for  20c 
you  can  obtain  a  miniature  bottle  of  thi» 
perfume,  the  most  precious  in  the  world.  When 
the  sample  comes  you  will  be  delighted  to  find 
that  you  can  use  it  withoutextravagance.  It  Is 
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Enclosed  find  20c  for  which  please  send  me 

sample  bottle  of  Rieger's  Flower  Drops  in  the 

odor  which  1  have  checked. 

D  Lily  of  the  Valley       D  Rose      Q  Violet 

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The  Hollywood  Boulevardier  Chats 


(Continued  from  page  72) 


I  have  given  up  guessing  about  this 
romance  stuff,  but  anyhow  Charlie  is 
building  a  new  house  at  Beverly  Hills 
and  Pola  is  helping  to  pick  out  the 
furniture.  You  can  make  whatever 
you  choose  out  of  that. 


I  dont  know  what  name  will  be  on 
the  screen  as  purported  the  author  of 
Jack  Pick  ford's  new  story  of  the 
Kentucky  mountains ;  but  I  can  tell 
you  who  really  wrote  it :  Sister  Mary. 
It  seems  that  Jac"k  could  not  find  a 
story,  so  Mary,  between  whiles  of  her 
own  production,  "The  Street  Singer," 
just  licked  the  end  of  her  pencil  and 


thought  deeply  and — well,  there's  the 
story. 


Little  Beth  Milford.  who  is  to  play 
the  leads  in  H.  C.  Witwer's  "Fight- 
ing Blood"  stories,  stepped  out  of  the 
Music  Box  Revue  to  play  the  part. 
She  cherishes  a  note  as  a  farewell 
souvenir.  It  seems  that  one  night  she 
received  a  note  from  Frances  Starr, 
who  was  sitting  in  a  box,  asking  her 
if  she  would  not  pose  for  a  painting 
for  Miss  Starr's  husband,  Haskell 
Coffin.  She  did  so  and  it  led  to  a  pic- 
ture contract. 

(Continued  on  page  85) 


Photograph    by    John    Ellis 


At  the  top 
of  the  page 
is  one  of 
the  many 
beau  tiful 
scenes  from 
"The  Girl 
of  the  Gold- 
en    West" 


"Big  Tree," 
a  full- 
blooded 
Apache 
Indian,  ap- 
pearing in 
R  e  ginald 
B  a  r  k  e  r's 
"The  Mas- 
ter Woman" 


(Seventy-four) 


How  the  One  Natural  Color  for  Cheeks  Was  Found 


'Day  and  Night  Tests  That  Told  Why%ouge's 
Familiar  Shade  Was  Wrong — and  Eventually 
Duplicated  Nature's  Own  Color       ,,,... 


MOST  WOMKN 
now  know  and 
use  the  now  natural 
tint  which  is  fast  re- 
placing the  unscien- 
tilicandunsatisfactory 
purplish-red  rouges. 
But  how  many  are 
awareof  thepeculiarly 
interesting  story  of  its 
discovery? 

We  are  apt  to  take 
the  most  marvelous 
discoveries  of  this  age 
as  a  matter  of  fact — ' 
even  one  of  such  im- 
portance to  the  realm 
of  beauty  as  a  tint  that 
is  a  perfect  match  for 
Nature's  own  artistry ! 
Suddenly  science 
gives  the  world  of 
women  a  tint  which 
tinges  the  cheeks  in  such  a  true 
tone  as  the  very  strongest  sun's 
rays,  or  the  weirdest  effects  of 
night  lighting  cannot  separate 
from  the  underlying  flesh  tone, 
and  we  accept  it  without  thought 
of  how  it  came  to  be. 
Yet  behind  the  simple, 
single  tint  which  gives 
any  and  all  complex- 
ions a  divine  and  per- 
fectly natural  mantle 
of  color  is  the  story  of 
man's  indomitable 
perseverance  —  two 
years'  ceaseless  ex- 
periment —  over  two 
hundred  failures,  and 
eventual  success. 

The  search  for  the 
perfect  tint  led  a  digni- 
fied scientist  to  a  cel- 
lar's depths  —  and  to 
the  roof  of  a  city's  tall  skyscraper. 
Tint  after  tint — tone  upon  tone — 
were  tried  in  every  conceivable 
light.  In  noon's  glare,  atop  a  high 
roof.  In  the  streets  below,  where 
the  sun's  rays  filtered  through 


'In  goon's  Glare,  Atop  a  High  Roof 

fog  and  smoke.  And  in  the  arti- 
ficial lights  of  night— trying  lights 
in  which  old-fashioned  rouges  all 
became  the  same  ghastly,  or  un- 
lovely purplish  red. 
On  a  patient  assistant's  cheeks 
shade  after  shade  was 
tried.  Some  of  the 
shades  required  in- 
gredients from  far 
countries— many  were 
days  in  the  blending. 
Then,  suddenly  it 
happened. 


'^Beneath  Trying  Artificial  Light 


The    Tint   That    Was 
Tried  In  'Desperation 

One  morning  the  sci- 
entist used  in  his  mor- 
tar one  of  the  rarest 
ingredients  in  the  lab- 
oratory. It  was  of  pe- 
culiar  orange  hue. 
Scarcely  a  color  to  try 
on  the  cheeks!  But  he  idly  applied 
it  on  his  assistant's  cheeks — and  a 
startling  change  took  place.  The 
peculiar  orange  tint  altered  in- 
stantly to  the  true  tone  of  the  skin 
beneath!    Still  doubtful  that  he 


had  found  the  one  key  tint  for 

any  complexion    under  all 
conditions     in  every  light 
they  Inn ried  to  the  n-ot    and 
put  the  new  tint  to  the  mmm- 

te  t  of  direct  Bunlight    '1  li<- 
same  beautifully  diffused,  nat- 
ural color!  Down  toadarkened 
room,  where  neither  jdariiik' 
incandescent  lamps  nor  var- 
JM0    iously  shaded  rays  of 
electric  light  revealed 
anything  but  a  color- 
ing that  appeared  .'■ 
ture's  own!  The  same 
day,    preparations 
were  started  to  supply 
the  demand  that  such 
a  discovery  was  cer- 
tain to  create.     Now, 
this  new  Princess  Pat 
Tint   is  an  article  of 
standard  use. 

It  enhances  the  color  of 
countless  women  who  had 
steadfastly  declined  to  use 
any  of  the  old-fashioned 
rouges  which  are  so  obvious 
in  even  the   kindest  light. 

Trincess  Tat  Tint  is  Waterproof! 

Where  the  new  natural  tint  is  made,  fur- 
ther improvements  have  transpired;  a  less 
costly  use  of  the  chief  ingredient  has 
brought  its  price  within  reach  of  all;  an 
entirely  new  process  has  rendered  it  ab- 
solutely waterproof!  Even  a  morning  in 
the  surf  will  not  streak  it!  Princess  Pat 
Tint  is  not  affected  by  perspiration,  so  it 
is  worn  without  concern  the  day  long,  or 
evening  through!  Yet  it  vanishes  instantly 
with  a  touch  of  cream,  or  use  of  soap. 
On  any  complexion,  remember  there  is 
need  for  only  one  shade.  There  is  no  un- 
certainty of  matching;  for  the  one  tint 
is  instantaneously 
transformed  to 
blend  with  any  type 
—  blonde,  medium 
or  brunette;  and  this 
tint  may  be  applied 
as  lightly  or  as  full 
and  deep  as  you 
choose  —  with  the 
same  perfection  of 
result. 


1Princes$  f 


The  ^ew,  ''Natural  Tint       :       Always  Ask  for  It  by  Name 
PRINCESS   PAT,  LTD.,  CHICAGO,  U.  S.  A. 

Ice  Astringent  Creams  Almond  Base  Powder  Princess  Pat  Perfume 


Princess  Pat  Tint 
(Seventy-five) 


FREE 

Until  the  shops  have  been  sufficiently 
stocked  with  Princess  Pat  Tint  to  meet  all 
calls  for  it,  we  shall  take  pleasure  in  sending 
to  individuals  a  week's  supply — without 
charge.  At  no  cost  to  you  and  without  any 
obligation,  your  prompt  use  of  coupon  be- 
low will  bring  to  you  Princess  Pat  new. 
natural  tint. 


PRINCESS  PAT.  LTD.. 

2701  So.   Park  Ave..  Dopt.  49,    Chicago 

ENTIRELY  FREE,  please  forward  me 
postpaid,  a  complimentary  supply  of  the 
new  Princess  Pat  Tint. 


Name  (Print).. 

Street 

City 


A  new  use  for  an 
old  friend 

Many  users  of  Listerine  have  never  discovered 
the  unusual  properties  as  a  perspiration  deodorant, 
peculiar  to  this  well-known  antiseptic. 

Many  times  you  don't  have  access  to — or  time  for 
— a  tub  or  shower.  Yet  so  often  your  fastidious  in- 
clinations will  not  permit  you  to  be  comfortable  in 
going  out  without  considering  these  things.  Right 
there  Listerine  steps  in  as  a  friend  in  need.  You 
simply  apply  this  dependable  antiseptic  with  a  towel 
or  wash  cloth.  Note  how  delightful  and  exhilarating 
the  effect  really  is. 

It  is  an  interesting  thing  that  this  scientific 
preparation  that  has  been  used  for  so  many  years  as 
a  surgical  dressing  should  possess  these  remarkable 
properties  as  a  deodorant. 

Moreover  it  is  absolutely  safe.  It  will  not  irritate 
the  most  sensitive  skin  nor  injure  the  most  fragile 
fabric.  You  will  be  delighted  with  this  new  use. — 
Lambert  Pharmacal  Company,  St.  Louis,  U.  S.  A. 


LISTERINE 


—  the  safe 

antiseptic 


The  Girl  Who  Couldn't 
Stop  Crying 

{Continued  from  page  39) 

When  the  World  War  broke  out, 
she  was  dancing  with  her  brother  and 
sister  in  Brussels.  There  was  a 
rumor  in  the  city  that  the  British 
troops  were  coming  to  the  rescue. 
So  they  all  rushed  out  to  cheer.  Only 
they  turned  out  to  be  Germans  in- 
stead. 

German  sentries  were  on  every 
street  corner  and  she  was  to  all  in- 
tents and  purposes  a  prisoner  of  war. 
It  was  no  part  of  her  intentions  to 
stay  cooped  up  in  Brussels  however. 
By  dodging  sentries,  she  reached  a 
railroad  station  and  hid  in  one  of  the 
freight  cars.  In  that  way  she  finally 
got  to  Ghent  and  from  there  the  Bel- 
gian train  men  helped  her  to  get  to 
Calais. 

She  managed  to  get  herself  across 
the  Channel  and  found  an  engage- 
ment in  London  in  a  big  musical 
comedy  in  which  she  made  a  great  hit 
with  a  specialty  dance.  She  went 
back  to  Paris  and  was  one  of  the 
big  hits  of  the  Folies  Bergere. 

After  the  war,  she  made  her  way, 
dancing  all  the  while,  to  Australia, 
by  way  of  Canada,  arriving  in 
Canada  just  in  time  to  get  into  the 
Halifax  disaster. 

She  was  dancing  in  New  York 
when  Sam  Goldwyn  saw  her  and 
persuaded  her  into  pictures.  The 
leading  man  of  her  first  picture  was 
Tom  Moore  who  persuaded  her  into 
matrimony. 

Not  very  long  ago,  Moore  went  to 
London  to  do  a  picture  and  the  little 
bride  went  along.  They  visited  his 
old  home  in  Ireland  and  then  came 
back  home  to  America.  The  day  they 
landed  in  New  York  Moore  had  an 
offer  to  do  a  picture  there. 

But  not  for  Renee — too  cold.  She 
came  out  to  the  Coast  to  get  warm 
and  it  proved  to  be  her  great  oppor- 
tunity. 

Until  this  Barker  picture,  her  two 
biggest  parts  were  in  "The  Strangers' 
Banquet"  and  Fox's  "The  Strongest." 


DISILLUSION 
By  Edward  H.  Pfeiffer 

I  walk  thru  the  darkness 
With  silence,  my   friend. 

I  am  dreaming  of  lovers 
And  love  without  end. 

A  dark  form  is  pressing 
A   woman's  bright   face. 

A  pang  of  sweet  envy — 
I  slacken  my  pace. 

I  grope   and  draw  nearer, 

And  peer  thru  the  night  . 
Tis  only  a  shadow 
Embracing  a  light! 


(Seventy-six) 


The  Genius  of  Gesl 

>ntinued  from  page 

sense  Rhyme,  Fantastic  "ifs" 
such  ;i-  these  mighl  etch  a  Joseph 
Schildkraut. 

A  young  man,  t\\  ent)  -seven,  young 
and  beautiful  and  gifted.  A  young 
man  sought  by  the  world.  Yon 
might  assume  that  he  would  in  turn 
seek  the  world  again,  dance  in  it. 
dine  with  it,  make  merry  with  it. 
But  he  doesn't.  He  lias  never  ac- 
cepted a  social  imitation.  He  nevei 
dances.  He  never  dines  out.  When 
he  is  not  on  the  stage  he  is  in  the 
dim  and  Imok  lined  room,  reading. 
Living,  I  suppose.  Living  his  own 
life,  perhaps,  more  authentically 
than  mosl  of  us  do.  He  knows  ahoul 
six  people  well.  Of  these  six,  three 
are  his  mother,  his  father  and  his 
wife. 

The  world,  he  says,  is  not  inter- 
ested in  Joseph  Schildkraut,  the  man. 
But  only  in  The  Chevalier  and  in 
Liliom  and  in  Peer  Gynt.  The 
men  he  is  on  stage  and  screen.  Very 
well,  they  shall  have  him  as  Liliom 
and  Peer  Gynt.  hut  Joseph  Schild- 
kraut they  shall  not  have. 

He  shrinks  from  "Fame."  and  asks 
what  is  it? 

Acting  seems  futile  ...  it  may 
have  heen  a  mood.  If  one  writes  a 
book,  or  a  poem,  if  one  paints  a  pic- 
ture, one  survives.  One  goes  on. 
One  is  preserved  for  posterity.  But 
an  aetor !  A  shadow  across  a  screen. 
When  an  aetor  is  gone,  when  his 
little  day  is  done,  what  remains  of 
him?  What  has  he  left?  Nothing-. 
A  name.  A  memory.  Fragile  git't- 
to  the  generations.  He  struts,  the 
aetor.  a  few  slight  hours  upon  the 
Ixiards  in  other  guises  than  his  own, 
and  then  is  gone. 

Posterity  is  the  only  reality.  The 
only  worth-while  thing. 

"I  should  like  to  he  a  bank-clerk, 
with  children  .  .  .  but  of  course,  I 
shall  have  children.  Children  are 
what  we  Ming  ahead  of  us  into  the 
ages.    Children  are  our  immortality." 

\nother  curiousness.  that  he  should 
he  so  lightly  touched  with  Egomania 
as  to  care  so  deeply  about  the  To- 
morrows that  will  not  know  him, 
save  by  name. 

Out  of  the  world  he  knows  he  has 
picked  Beauty  and  Posterity  as  the 
final  essentials.  Beauty  of  living. 
Beauty  of  loving.  We.  the  World, 
are  afraid  of  these  two.  he  says. 
Either  we  bruise  them  or  we  turn 
away  from  them.  And  Posterity. 
For  posterity  there  should  be  sur- 
vivals of  art,  children,  symbols  of 
immortality. 

Perhaps,  he  suggested,  he  hasn't 
had  to  struggle  enough.     With  him, 


Why  Women  Smile 

As  they  never  did  before 

Teeth  are  prettier  today  —  Millions  combat  film 


Most  pictures  are  now  taken  with 
a  smile,  showing  pretty  teeth. 

Look  about  you.  Note  how  many 
smiles  now  show  glistening  teeth. 
That  was  not  always  so. 

Millions  of  people  are  now  using  a 
new  teeth-cleaning  method.  Every  day 
they  are  combating  the  dingy  film  on 
teeth.  You  will  also  do  so  when  you 
make  this  test  and  see  the  quick  results. 

Film  is   unsightly 

It  is  film  that  makes  teeth  dingy — 
that  viscous  film  you  feel.  It  clings  to 
teeth,  gets  between 
the  teeth  and  stays. 
If  not  frequently  re- 
moved, it  may  form 
cloudy  coats.  It  is 
also  the  basis  of 
tartar. 

That  film  absorbs 
stains,  so  the  teeth 
look  discolored.  It 
holds  food  substance 
which  ferments  and  forms  acid, 
holds  the  acid  in  contact  with  i!i_ 
teeth  to  cause  decay. 

Millions  of  germs  breed  in  it.  They, 
with  tartar,  are  the  chief  cause  of 
pyorrhea.  Thus  most  tooth  troubles 
are  now  traced  to  film. 

Dental  science  has  t^ng  been  seeking 
ways  to  fight  that  film.   Two  ways  have 


now  been  found.  Together  they  act  to 
curdle  the  film  and  then  remove  it. 
Able  authorities  have  proved  their 
efficiency.  Now  leading  dentists  the 
world  over  are  advising  their  daily  use. 

A  new-type  paste 

A  new-type  tooth  paste  has  been  created,  to 
comply  with  all  modern  requirements.  The 
name  is   Pepsodent. 

These  two  film  combatants  are  embodied  in 
it.  Millions  of  people  have  adopted  it.  largely 
by  dental  advice.  To  the  homes  of  fifty  nations 
it  is  bringing  a  new  dental  era. 


Avoid    Harmful    Grit 

Pepsodent  curdled  tin-  Him  and 
r<in<>\  <■—  it  \\  i  Hi  on  I  liaiinl  ul-<  mcr- 
int.  H-  polliihitu;  ;■  —  <■>•  i-  far 
sofl.T  than  rnaiiu'l.     N.'\i-r  ii-.'  :i 

film    oombatanl    whlcu  eontalna 

linr-li    irrit. 


It 


Pepsodent  brings  two  other  very  important 
effects.  It  multiplies  the 
starch  digestant  in  the 
saliva.  That  is  there  to 
digest  starch  deposits 
which  may  otherwise 
cling  and  form  acids.  It 
multiplies  the  alkalinity 
of  the  saliva.  That  is 
there  to  neutralize  mouth 
acids,  the  cause  of  tooth 
decay. 

Thus  every  use  of  Pep- 
sodent   gives    manifold 
power    to    Nature's    great 
tooth-protecting    forces   in    the   mouth. 


Results  are  quick 


Vou 


Results    are  quicx   and    convincing, 
see  and  feel  them. 

Send  the  coupon  for  a  10-Day  Tube.  Note 
how  clean  the  teeth  feel  after  using.  Mark  the 
absence  of  the  viscous  film.  See  how  teeth 
whiten  as  the  film-coats  disappear.  Cut  out 
the  coupon  now. 


REG  U  S 


The  New-Day  Dentifrice 

A  scientific  film  combatant,  which 
whitens,  cleans  and  protects  the 
teeth  without  the  use  of  harmful 
grit.  Now  advised  by  leading  den- 
tists the  world  over. 


10-Day  Tube  Free 

THE  PEPSODENT  COMPANY, 
Dept.  200.  1104  S.  Wabash  Ave.,  Chicago.  111. 

Mail  10-Day  Tube  of  Pepsodent  to 


Only  one  tube  to  a  family. 


(Seventy-seven) 


WL.  DOUGLAS 


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Forever  removed  by  the  Mahler 
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accomplished  in  the  privacy  of  your  home  or  while  traveling,  by  a  few  minutes'  use 
each  day  of  the  internationally  famous  invention — 

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With  it,  you  easily  perform  a  gentle,  pleasant,  deep-rooted  massage  that  breaks  down 
the  underlying,  unwanted,  unsightly,  unnatural,  excess  fat  from  any  portion  of  the 
body  to  which  you  apply  the  Fat  Reducer.  It  reduces  only  where  you  wish  to  lose 
fat.  The  waste  matter  is  then  carried  out  of  the  system  thru  the  organs  of  elimina- 
tion. No  drugs,  no  exercises,  no  electricity,  no  starvation  diet.  More  than  50,000 
men  and  women  In  the  past  few  years  have  reduced  to  their  entire  satisfaction  by 
the  use  of  this  famous  Fat  Reducer.  It  doesn't  leave  the  skin  flabby.  In  fact,  it 
smooths  the  skin  and  firms  the  flesh.  This  Fat  Reducer  is  approved  by  physicians  as 
absolutely  safe  and  efficient;  they  have  used  and  recommended  it  to  patients.  The 
Reduction  Is  permanent! 

You  can  reduce  your  FAT  whether  10  or  100  pounds  overweight.  If  at  the 
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Dr.  Lawton's  famous  book,  "WEIGHT  REDUCTION."  Is  Included  in  the 
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W^k    *7   I™      done  its  work. 
^F     I    J      Sent  C.  O.  D.  and  you  pay  postman  $3.76  plus  few 
^^^     ■     *^      cents  postage,  or  if  you  prefer  to  remit  in  advance, 
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^^^m  mm^^m      Ke3.     Mailed  in  plain  wrapper.     Send  for  yojr  Fat 
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cpvt     r       r\       n        order,  we  will  send  you  our  FREE  Booklet  "HOW  . 
_  3LW1      C.     U.     V.      JO  REDUCE."     Dr.    Lawton'3  printed  Guarantee:  < 
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120  West  70th  Street 


DR.   THOMAS   LAWTON 


Dept.  6 


New  York  City 


acting  is  in  part  due  to  heredity,  for 
the  elder  Schildkraut  is  also  an  actor 
of  enduring  worth.  And  the  elder 
Schildkraut  didn't  wish  the  young 
Joseph  to  be  an  actor.  He  wanted 
him  to  be  a  musician  and  for  years 
he  studied  music,  the  violin.  .  .  . 
Once  the  parental  objection  was 
overcome,  the  path  was  easy  of  as- 
cent. To  have  played  Richard  the 
Second,  Liliom  and  Ibsen's  Peer 
Gynt  at  twenty-seven  is  to  have 
slain  most  of  the  Goliaths.  Perhaps, 
he  said,  if  he  had  had  to  struggle 
harder,  had  to  climb  with  greater 
difficulty,  the  rewards  would  have 
been  sweeter  and  more  precious. 

So  much  for  an  observation.  A 
romantic  recluse.  An  artist  more 
than  touched  with  the  eccentricity  of 
genius.  A  young  man  with  a  beauti- 
ful face  and  a  ringing  laughter.  With 
a  sense,  not  so  much  of  humor  as  of 
the  grotesque.  Living  in  his  book- 
lined  room,  with  the  things  that  have 
been  his  since  childhood.  Consider- 
ing Futility  and  Beauty  and  Posterity. 


Good  and  Bad  Authorship 

(Continued  from  page  11) 

prerogative  of  helping  to  make  good 
pictures  out  of  their  literary  master- 
pieces. 

This  business  of  making  a  book  or 
j:>lay  into  a  picture  is  frequently  a 
difficult  job,  requiring  much  thought 
to  translate  words  into  visible  action. 
After  we  writers  for  the  screen  have 
spent  weeks  and  weeks  trying  to  keep 
the  spirit  of  the  thing  which  we  are 
adapting,  it  rather  gets  our  goat  to 
have  authors  cry  out,  without  any 
distinction  or  discrimination,  that  all 
picture  writers  are  butchers  who  get 
a  savage  joy  out  of  mangling  their 
works. 

Let  them  give  us  better  books  and 
better  plays  and  we  will  see  what 
happens  to  the  screen.  Or,  better 
still,  let  them  give  up  some  of  their 
valuable  time  and  learn  screen  tech- 
nique, so  that  their  self-admitted 
creative  ability  can  express  itself  di- 
rectly in  terms  of  the  screen.  If  they 
are  as  non-commercial  as  they  admit, 
let  them  stop  writing  mediocre  plays 
and  books  and  try  to  learn  how  to 
write  really  good  pictures.  Perhaps 
they  can  then  convert  the  picture  in- 
dustry into  an  art. 


WHILE   THE    FOREST    SLEEPS  .  .  . 
By   Gladys    Brace  Vilsock 

While  the  forest  sleeps  .  .  . 

The  lake  is  holding  the  moon  in  its  heart. 

As  I  am  holding  you  in  mine. 

Over  the   water   drowsed   with   love, 

A  white  swan  drifts, 

Drifts  over  me, 

And  sings  its  dying  sweetness  to  the  moon 

And  sings   to  you. 


(Seventy-eight) 


The  Movie  Encyclopaedia 

■tinned  from  /m</.- 

Hot  Kissks  Send  along  the  pictures. 
\\  ill  be  glad  ti>  see  thera. 

Anni  1).  Will,  the  reason  that  I  s.,\ 
harsh  things  sometimes,  is  because  .1  word 
to  the  unwise  is  nut  sufficient,  and  l  have 
to  take  .1  club.  Ro)  Stewart  is  playing  in 
"The  Love  Brand."  You  refer  to  Edward 
Burns  Cant  give  you  Norma  Talmadge'a 
home  address  but  you  can  reach  her  al 
5341    Melrose   Avenue,  Los   Angeles,   Cal 

Marion  Most  of  me  players  write  the 
stories  themselves.  \  great  tu.ni>  have 
secretaries.     You're   welcome. 

Lams.  Which  proves  the  truth  of  die 
old  Chinese  proverb,  "First  impressions 
rule  the  mind.'  John  Bowers  is  with  face 
lohii  Barrymore  at  the  I. ami)-  Club,  144 
W.  44th  St.,  New  York  City.  Niles  Welch 
in  "Rags  to  Riches."  All  right,  send  me 
vioKt--  when  1  die. 

Florence  K. — Sincerity  is  all  that  is 
right  and  hest.  Cant  tell  you  much  about 
Harrison  Ford.  You  think  he  is  one  of 
the  most  prominent  nun  on  the  screen. 
Yes,  he  played  in  "Little  Old  New  York." 

C.  G.  B. — Yes,  the  sail  wells  in 
Onondaga  County,  New  York,  near  Syra- 
cuse and  Salina  are  a  large  and  important 
industry.  Michigan  has  the  largest  out- 
put next  to  New  York,  and  many  other 
States  produce  it  to  some  extent.  But 
the  home  supply  is  not  equal  to  the  de- 
mand,   and    there    is    a    large    annual    im- 


portation into  the  U. 
is  not  plaj  ing  now. 

"Rupert    of    Hentzau. 


S.     Xo.  June  Elvide 
Bryant   Washburn  in 
Yes,    indeed,    I    al- 


ways did  like  Alice  Joyce.  Mary  Miles 
M inter  is  not  playing  now.  Clara  Bow 
was  last  year's  winner.  Constance  Tal- 
madge  twenty-three.     Dont  mention   it. 

1  rv  Hand  ok  Oak  Lank. — I  should 
say  not.  The  Terrvs  you  mention  are  not 
related.  Alice  Terry  is  five  feet  two  and 
Rex  Ingram  will  probably  continue  to  di- 
rect. There  is  more  money  in  directing, 
you  know. 

A  Girl  from  Ccba— You  write  a  very 
interesting  letter. 

Ritii  D. — The  reason  that  I  answer 
such  questions  is  that  one  of  my  functions 
is  to  assist  the  inquiring,  to  animate  the 
struggling,  and  to  sympathize  with  all. 
Irene  Castle  is  five  feet  seven  and  weighs 
115  pounds.  Auburn  hair  and  grey  eyes. 
Address  her  at  Ithaca,  N.  Y. 

J.  Brow  nik. — No,  Baby  Marie  Osborne 
is  not  playing   now. 

Ruth. — I'm  sorry  but  I  never  send  out 
pictures  of  myself.  The  only  picture  I 
have  is  the  one  up  above.    Write  me  again. 

Edna  C. — I  enjoyed  your  letter,  but  it 
was  terribly  long.  Your  terminal  facilities 
are  defective.  Mary  Pickford  was  born 
in  Canada,  and  I  am  not  giving  out  her 
age.  What's  the  difference,  she  will 
always  be  our  Little  Mary,  no  matter  how- 
old  she  is.  She  is  five  feet,  has  hazel  eyes 
and  blonde  hair.  Playing  in  "The  Street 
Singer."  Colleen  Moore  in  "April  Show- 
ers." 

Marie  K—  Please  dont  say  to  me  "May 

your  shadow  never  grow  less."  I  am  try- 
ing to  reduce.  Yes,  indeed,  Jackie  Coogan 
is  living  with  his  parents,  or  maybe  they  are 
living  with  him.  Yes,  I  think  Valentino 
will  come  back  to  pictures. 

Lloyd  M. — Sorry,  but  there  is  nothing 
I  can  do  for  you. 

Eileen.— I  haven't  heard  what  Sessue 
Hayakawa  intends  to  do,  but  I  am  inclined 
to  believe  he    favors   the   stage. 

Anti.— Yes,  he  disappeared,  but  I  dont 
know  whether  he  ran  away  with  a  woman, 
p"  ,  ",v!le-  Rod  LaRocque  is  not  married. 
£earl  White  has  been  married  to  Victor 
Sutherland  and  Wallace  McCutcheon, 
(Continued  on   page  86) 

(Seventy-niiu) 


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Ingram's  Milkweed  Cream  has  an 
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//(>!' 


Trilby 


(Continued  from  page  32) 


breaking  the  silence,  "Remember  the 
way  Trilby  used  to  sing,  all  off  the 
key?  How  long  ago  that  seems — 
two  years,  isn't  it  ?" 

And — "I  wonder  whatever  became 
of  Svengali  and  his  wee  bit  fiddler," 
the  Laird  would  burr,  "that  mon  was 
almost  crazy  enough  to  be  a  genius, 
and  he  could  sniff  a  sausage  cooking 
three  blocks  away !" 

One  day  in  a  two-month-old  news- 
paper they  found  the  name  Svengali, 
a  Madame  Svengali  whose  voice  was 
the  musical  sensation  of  the  hour. 
"'So,"  the  gushing  reporter  had 
written,  "might  the  Angel  Israfel 
have  caroled.  The  purity  of  her 
tones  is  almost  unearthly  in  its  sweet- 
ness, melting  strong  men  to  tears." 

"Wonder  if  our  friend  of  the  facial 
foliage  could  have  married  a  great 
singer,"  Taffy  chuckled.  "When  we 
get  back  next  month  we  must  go  to 
hear  her.  I  should  like  fine  to  see  the 
Laird  melted  to  tears !" 

The  Cirque  de  Bashibazooks  was 
crowded  when  the  three  friends  took 
their  places  in  a  box  on  the  first 
night  of  their  return  to  Paris.  Little 
Billie's  elbow  nudged  Taffy's  ribs  ex- 
citedly as  a  familiar  figure  parted  the 
curtains  at  the  back  of  the  stage  and 
took  his  place  at  the  piano.  The  frock 
coat  was  new,  the  unkempt  beard  was 
trimmed,  and  the  long  hands  that 
swept  the  keys  were  somewhat 
cleaner  than  of  yore  but  there  was  no 
mistaking  Svengali. 

"Who    do    you    suppose "    the 

Laird  began,  but  Little  Billie  had 
leaned  suddenly  forward,  staring 
down  at  the  woman's  figure  advanc- 
ing toward  the  footlights.  She  was 
gowned  in  a  classic  robe  which  fell 
about  her  majestic  figure  in  statu- 
esque folds.  The  suggestion  of  a 
Greek  marble  was  heightened  by  the 
whiteness  of  the  face  under  the 
filleted  bands  of  dark  hair.  She 
stopped  in  the  full  center  of  the  stage, 
and  Taffy  felt  a  chill  sensation  at  the 
roots  of  his  hair.  For  one  foot  was 
advanced  beneath  the  trailing  robe,  a 
hare  white  foot  in  a  Greek  sandal — 
the  most  beautiful   foot  in   Paris 

"You  see?"  Little  Billie  breathed 
in  his  ear.  His  hands  were  crooked 
around  the  red  velvet  railing  as  tho 
to  keep  himself  in  his  seat. 

"But  it  couldn't  be,"  Taffy  gasped 
stupidly,  "Trilby  couldn't  sing  a  note 
and  listen  to  that !" 

From  the  deeply  curving  lips  that 
they  remembered  came  a  stranger 
voice,  unearthly  pure  and  clear,  its 
fires  the  cold  flames  that  are  prisoned 
in  ice  floes  in  unsailed  seas,  soaring 
effortlessly    to    the    very    gates    of 


Heaven,  falling  about  their  astounded 
cars  in  a  bright  rain. 

What  she  sang  they  could  not  re- 
member afterward,  only  the  wonder 
of  it,  the  strange  awe.  as  tho  they 
had  listened  to  some  celestial  visitant. 
For  a  moment  after  she  had  disap- 
peared behind  the  sweeping  velvet 
curtains  the  audience  sat  silent  still 
held  by  the  spell,  then  Svengali  was 
bowing  greasily  to  a  mighty  surge  of 
applause,  but  Trilby — or  she  who 
sang  with  Trilby's  lips  did  not  reap- 
pear. 

Without  a  word  the  three  rose  and 
left  the  box.  Their  knock  on  the 
dressing-room  door  was  answered  by 
Svengali,  whose  face  seemed  to  re- 
treat watchfully  into  his  beard  at 
sight  of  them. 

They  stammered  incoherently, 
looking  beyond  his  barricading  arm 
at  Trilby,  their  Trilby  sitting  unmov- 
ing  in  a  deep  chair  with  closed  eyes. 
For  the  sake  of  old  times — if  they 
might  speak  to — to  Madame  Svengali 
and  tell  her  how  much  they  admired 
her  singing 

Thus  Taffy  and  the  Laird,  but 
Little  Billie  spoke  not  at  all,  only 
stared  as  one  at  some  supernatural 
manifestation.  The  musician's  eyes 
were  hostile,  the  eyes  of  the  cornered 
rat,  but  his  voice  was  greasy  with 
loving  kindness.  "The  gentlemen 
were  mistaken,  Madame  was  no  one 
they  knew.  A  resemblance,  perhaps  ? 
But  Madame  was  very  tired,  before 
she  sang  again  she  must  rest — if  they 
would  excuse " 

Little  Billie  interrupted  rudely. 
"D'you  suppose  I  dont  know  Trilby? 
Dont  point  your  finger  at   me,  you 

fakir "  he  made  a  step  forward 

as  if  to. push  Svengali  aside,  "Trilby! 
Dont  you  remember  Little  Billie !" 

"Yes,  tell  the  gentleman  yourself, 
my  dear,"  the  musician  said  softly. 
He  almost  purred,  little  bright  eyes 
never  moving  from  the  pale  face  that 
turned  toward  him  at  his  words,  "tell 
the  gentleman  that  he  is  mistaken  in 
thinking  he  knows  you  !" 

"You  are  mistaken — in  thinking 
you  know  me,"  said  the  deeply  curved 
lips  obediently.  There  was  not  the 
slightest  trace  of  recognition  in  the 
gaze  she  turned  upon  the  three  at  the 
door,  and  Taffy  began  to  back  away, 
hot  with  apologies,  but  Little  Billie 
advanced  upon  Svengali.  jaw  dan- 
gerous. "She's  afraid  of  you  or  she 
wouldn't  have  said  that!  Let  me  in 
or  I'll  come  in  anyway -" 

"Dog !"  panted  his  ancient  enemv, 
and  without  warning  was  upon  him, 
squealing,  kicking,  biting,  winding 
(Continued  on  page  82) 


(Eighty) 


When  Your  Ship  Comes  In 

YOU  will  want  it  loaded  down  with  all  the  treasures  that  your  heart 
desires;  things  of  rare  beauty   and  richness;  works  of  art  to  de- 
light a  connoisseur. 

Are  you  ever  tempted  to  satisfy  your  artistic  longings  without 
waiting  for  your  ship  to  come  in? 

Why  not  gratify  that  desire  now  by  letting  Shadow  land  bring  you 
the  things  you  want? 

There  will  be  lovely  pictures  in  color;  stories  of  art;  articles  on 
drama,  literature  and  music;  charming  verse  and  short  plays. 

Shadowland  is  full  of  beautiful  things.  Make  them  your  own  by 
securing  a  copy  of  the  magazine  and  losing  yourself  in  its  maze  of 
loveliness. 


Advocate  of  Self-Expression 

What  Cizek,  famous  painter  and  revolutionary 
pedagogue,  is  doing  in  his  school  is  told  by  Dorothy 
Donnell  Calhoun. 

When  Harris  Met  Gorky 

An  account  by  Herman  George  Scheffauer  of  the 
time  when  Frank  Harris  attempted  to  interview 
the  great  Maxim  Gorky. 


Play-Going  Pests  in  Paris 

George  Middleton  writes  humorously  of  the  dif- 
ficulties encountered  In  Americans  in  Paris  on 
their  first  trip  to  the  theate 

Why  Do  We  Misbehave  ? 

Is  there  more  lawlessness  than  there  used  to  be 
because  there  are  more  laws  and  easier  ways  to 
break  them?     John  II.  Anderson  discusses  this. 


These,  Too,  Will  Delight   You 

A  reproduction  in  full  color  of  a  painting  by  Leon  Gaspard  and  a  discussion  of  hiv  work  by  Edgar 
e^ahill  ;  two  pages  of  humorous  sketches  by  August  Henkel  ;  paragraphs  gleaned  from  the  writings 
of  the  French  columnist.  Sebastien  Dudon;  extracts  from  "The  Diary  of  a  Small  Boy,"  bv  Lydia 
Steptoe ;  a  one-act  play,  "Red    Hair,"  by    Helen  Woljeska. 


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(Eighty-one) 


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Trilby 


(Continued  from  page  80) 


the  long  hands  into  Little  Billie's  hair. 
Taffy  and  the  Laird  dragged  their 
companion  away,  leaving  the  little 
Italian  panting  and  dancing;  as  they 
glanced  hack  they  saw  that  the  wom- 
an still  lay  in  the  long  chair  without 
motion,  her  eyes  gazing  away  into 
nothingness. 

"We  must  have  made  a  mistake," 
Taffy  burbled  uneasily,  knowing  no 
mistake  had  been  made,  "couldn't 
have     been     she,     Trilby      couldn't 


figu 


sing- 

Little  Billie  stared  down  at  the 
empty  stage  with  suffering  eyes  as  a 
strange  pianist  appeared.  Madame 
Svengali — his  Trilby,  that  was  all 
that  mattered.  He  alone  of  the  vast 
audience  hardly  noticed  what  hap- 
pened as  the  white-robed  figure  came 
down  to  the  footlights  and  began  to 
sing  again,  for  he  was  back  in  the  low 
room  at  the  Passage  des  Abbesses 
and  Trilby  was  smiling  at  him  from 
the  model  throne 

It  was  laughter  that  aroused  him 
from  his  dream,  cruel,  derisive.  The 
audience  was  in  an  uproar,  cat-calls 
and  hisses  sounded  shamefully  from 
the  gallery  and  Taffy's  fingers  dug 
into  the  flesh  of  his  shoulder  while 
Taffy's  voice  sobbed  in  his  ear, 
"God!  She's  forgotten  how  to  sing! 
She's  doing  it  the  way  she  used  to ! 
It's  awful  and  look  across  there  in 
the  box  yonder.  Svengali !  What's 
the  matter  with  him?" 


In  the  velvet  chair  opposite,  the 
of  the  music-teacher  lay 
sprawled  in  a  strange  posture,  one 
hand  clutching  at  his  breast,  but 
Little  Billie  did  not  glance  at  him. 
Hand  on  the  rail  he  had  vaulted 
down  onto  the  stage  in  time  to  catch 
Trilby  as  she  fell. 

The  story  was  in  the  papers  the 
next  morning  under  the  scare  head 
"Death  of  Svengali  from  Heart  Fail- 
ure in  Opera  Box  Reveals  Amaz- 
ing Hypnotic  Feat."  For  two  years, 
the  story  went  on  to  say,  the  music- 
master  had  hypnotized  his  wife  so 
that  she  was  able  to  sing  correctly, 
but  the  moment  his  power  was  with- 
drawn only  deafening  discords  came 
from  the  throat  that  had  enchanted 
the  world.  Dazed  and  bewildered  by 
the  shock  of  yesterday's  fiasco,  the 
report  went  on  to  say,  Madame 
Svengali  was  seriously  ill  and  doctors 
despaired  of  her  life. 

Little  Billie  refused  to  believe  the 
doctors.  He  knelt  for  hours  by  the 
bed  where  Trilby  lay  and  tried  to  call 
her  back  from  the  far  places  where 
her  soul  wandered  with  all  the  power 
of  his  love.  Sometimes  the  heavy 
lids  unclosed  and  she  smiled  vaguely 
at  them,  but  it  was  only  at  the  very 
last  that  she  spoke.  "I  should  so  love 
to — have  been  happy  and  had — a 
home — and  a  little  baby.  But  you 
mustn't     spoil  —  his     career  —  Little 

(Continued  on  page  95) 


Bombed  Into  the  Movies 

(Continued  from  page  26) 

are  "Without  Benefit'  of  Clergy," 
"Doll's  House,"  "Rubaiyat,"  "The 
Infidel,"  "Science  or  God."  "Wheels 
of  Fortune,"  "Is  Matrimony  a  Fail- 
ure?" "Lest  We  Forget,"  and  most 
recently  a  Carter  de  Haven  comedy 
called  "Christmas."  He  is  now 
working  with  Jane  Novak  in  a  di- 
vorce drama. 

Miss  de  Lacey  admits  that  his 
name  is  not  a  Philippe.  She  says  that 
his  first  name  as  a  baby  was  An- 
dreas: further  than  that  she  refuses 
to  reveal.  With  engaging  frankness 
.she  states  her  reason.  She  fears  that 
some  relative  might  hear  of  him  and 
claim  him.  So  far  as  she  knows,  he 
has  no  relatives  left ;  but  why  take 
chances  ?     Why  indeed  ! 

Little  Philippe  has  so  many  moth- 
ers— yet  no  mother.  In  every  play 
lie  has  another  pretend  mother.  For 
the  purposes  of  identification,  he 
calls  them  hi--  "screen  mammas" 
while  Miss  De  Lacey  he  calls  his 
"regular  mamma." 


The  Sport  of  Kings — and 
Movie  Stars 

(Continued  from  page  19) 

inhabited  by  cannibals,  and  the  party 
set  sail  heavily  armed  with  rifles, 
revolvers,  and  machine  guns.  They 
did  not  come  into  combat  with  the 
cannibals,  but  they  nearly  lost  their 
lives  in  the  terrific  storms. 

Then  there  is  the  thrill  of  the  big 
race.  John  Bowers  has  his  schooner 
Uncas  in  the  great  international  race 
that  will  be  held  this  summer  from 
the  Santa  Barbara  Yacht  Club  to 
Honolulu. 

And  Allan  Hale  is  building  a 
speedboat  which  he  expects  will  cap- 
ture the  motor  races  at  Los  Angeles. 

Aye,  verily,  the  sport  of  kings — 
and  movie  stars. 


SQUARING  THE  TRIANGLE 
By  Mary  Carolyx  Davies 

Look  with  what  wisdom  you  can  bring, 
At -hers  and  yours,  and  my  angle. 

Squaring    the   circle's   an   easy    thing, 
But  who  can  square  the  triangle  ? 


(Eighty-two) 


How  the  Motion  Picture  H;i^ 
Influenced  Young  Peru 

ntinued  from  page  22) 

As  a  result,  the  Peruvian  woman 
has  now  not  onlj  changed  her  man- 
ner of  dressing  and  is  reforming  her 
figure  by  a  lesser  indulgence  in 
sweets,  but  she  goes  in  for  sporl  a'nd 
Bport  clothes.  "Esport"  they  call  it 
(low  n  there. 

The  languorous-eyed,  black-gowned 
Peruvian  woman  lias  emerged  from 
behind  the  carved  gratings  of  her 
balcony  from  which,  ever  since  the 
days  of  the  "conquistadores,"  she 
viewed  the  world  and  is  now  to  be 
seen  in  suitable  sport  dross,  or  walk- 
ing costume  on  the  golf  links  or  city 
streets. 

With  this  change  of  dress  has 
come  a  freedom  of  action,  that  was 
undreamed  oi  a  generation  ago.  In 
the  films  perfectly  nice  girls  talk  to 

men  alone.  That  was  an  eye-opener 
for  the  Peruvian  girl  and  her  chap- 
eron. It  had  been  the  custom  oi  the 
country  for  a  young  girl  never  to  be 
allowed  to  remain  in  a  room  alone 
with  a  man.  Also  "ladies"  are  shown 
in  American  dims  as  working.  Often 
they  do  their  own  housework,  or 
earn  their  own  living.  This  is  some- 
thing that  no  Peruvian  lady  could 
do.  A  Peruvian  girl,  no  matter  how 
she  was.  until  very  recently 
never  dreamed  it  was  possible  that 
die  could  support  herself,  could  go 
out  and  work.  It  simply  wasn't 
done.  These  antiquated  standards 
.".re  rapidly  changing. 

Another  very  important  effect  of 
the  moving  picture  in  Peru,  is  bring- 
ing home  to  the  male  population  the 
truths  of  fairness,  honesty  and  play- 
ing the  game. 

No  Peruvian  school  teaches  ath- 
letic-. There  is  no  such  thing  as 
interschool  games.  Hygiene  and 
physical  fitness  as  we  know  them  are 
unheard  of.  Put  when  a  Peruvian 
hoy  sees  a  Douglas  Fairbanks  film. 
in  which  physical  fitness  and  fair 
play  are  the  usual  themes,  it  gives 
him  something  to  think  about.  The 
idea  dawns,  that  standing  on  the 
>treet  corners  or  in  front  of  cafes 
eyeing  the  senoritas  as  they  pass,  or 
whispering  things  in  their  ears,  or 
taking  dope,  or  imitating  the  pasos 
61  the  popular  matador,  is  perhaps 
not  the  only  ideal  of  a  well-spent 
youth. 

Sportsmanship  is  not  a  South 
American  virtue,  that  is.  as  we  know 
it  from  the  Anglo-Saxon  point  of 
view.  Honesty  and  good  sportsman- 
ship are  qualities  which  the  human 
animal  is  not  necessarily  endowed 
with,   hut   they   are   qualities    which 

(Eighty-three) 


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DEAFNESS      IS      MISERY 

I  know  because  I'was  Deaf  ana  had  Head  Noises 
for  over  30  years.  My  invisible  Antiseptic  Eai 
Drums  restored  my  hearing  and  stopped  Head  Noises, 
and  will  do  it  for  you.  They  are  Tiny  Megaphones 
Cannot  be  seen  when  worn.  Effective  when  Deafnes: 
is  caused  by  Catarrh  or  by  Perforated,  Partially  01 
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finite !  5  3.  70  Sth  Avenue        «        .        New  York  Ctpr 


You  Can  Easily  Learn  to  Play  Any  Music  on  the 

HAWAIIAN  GUITAR 

Just   As   Hawaiians   Do  — Native   Instructors  Teach  You   QUICKLY! 


In  Half  an  Hour  You  Will  Be  Playing  "ALOHA".  Soon  You  Will  Be  Winning 
Praise  Everywhere  Playing  "Stumbling",  "Three  O'clock  in  the  Morning", 
"Hot  Lips"  and  ALL  Popular  Music  as  Well  as  the  Beautiful  Hawaiian  Melodies 

Here's  the  chance  you've  been  waiting  for— the  opportunity  to  play 
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Remarkable  Course 

Buchanan,  Va. 
First  Hawaiian  Conser- 
vatory of  Music,  Inc. 
It  has  been  two  months 
■inee  1  have  finished 
your  course  on  the  Ha- 
waiian Guitar  and  lean 
vlav  anything  1  wish. 
The  course  was  all  that 
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since  finishing  your 
course. 
Respectfully  yours, 
Louise  R.  Hammond 

Koester  School. 
S14  So.  Franklin  St.. 
Chicago,  III. 
First  Hawaiian  Conaer. 
vatory  of  Music,  Inc. 
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If  he  does  not  phone  in 
s  day  or  so.  will  write 
him.  Am  sending  a  let' 
terto  Miss  Helen Slavik 
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education    lias    made    almost    second 
nature. 

Now  to  be  educated  always  sounds 
like  a  tedious  process,  especially  so 
in  the  tropics  where  one  is  less  likely 
to  be  energetic  and  eager  for  uplift. 
But  thru  the  sugar-coated  medium  of 
an  exciting  movie  story  these  same 
ideals  are  taking  effect. 

The  result  is  evidenced  on  all  sides. 
And  not  only  in  Lima  but  in  small 
Indian  towns.  In  the  little  fishing 
village  of  Ancon  where  the  cinema 
is  shown  in  a  mud  hut  with  wooden 
benches  for  seats,  I  have  seen  the 
audience,  which  consists  of  Cholos 
(the  Peruvian  Indian),  get  up  and 
cheer  the  bravery  of  "El  Leon  de 
Sierra"  (The  lion  of  the  mountains) 
or  the  Samson-like  feats  of  Elmo 
Lincoln  or  Ruth  Roland's  gallant  es- 
capes in  "La  Hija  del  Sol."  The 
audiences  in  the  smaller  towns 
are  for  the  most  part  illiterate,  and 
an  elected  reader  translates  the  cap- 
tions. So  realistic  is  the  story  to 
these  primitive  people  that  they  will 
sometimes  throw  things  at  the  villain 
and  always  shout  and  cheer  when 
the  heroine  escapes. 

Over  the  summit  of  the  Andes  far 
down  the  other  side  in  the  tropical 
Peruvian  colony  I  saw  a  Mrs.  Ver- 
non Castle  film.  The  audience  con- 
sisted entirely  of  Indians.  She  was 
not  popular,  as  primitive  people  want 
red-blooded  action.  This  accounts 
for  the  popularity  of  the  serial 
thriller,  featuring  such  stars  as  Pearl 
White  or  Ruth  Roland. 

Charlie  Chaplin's  universality  is 
manifest  when  a  Hill  man  untouched 
by  civilization,  who  has  never  been 
away  from  his  village  and  who  has 
probably  never  seen  a  derby  hat  and 
doesn't  know  that  a  small  man  in 
large-sized  clothes  is  traditionally 
funny,  can  yet  meet  a  European  or 
North  American  on  the  common 
ground  of  laughter. 


Foreign  Films 

(Continued  from  page  25) 

when  a  girl  of  his  age  with  whom  he 
often  used  to  play  has  mysteriously 
disappeared 

The  young  Holmes  will  find  where 
his  friend  is.  She  has  been  kept  in 
the  clinic  of  a  mysterious  doctor,  who 
believes  in  the  theory  of  restoration 
to  youth  and  who  is  prepared  to  be- 
gin the  practice  himself.  The  victim 
is  the  young  girl,  who,  however,  is 
finally  saved  by  the  courageous 
Bobby. 

If  the  story  is  improbable,  the  act- 
ing is  excellent,  especially  on  the  part 
of  the  young  actor  who  promises  to 
go  very  far  in  his  profession. 

(Eighty-four) 


[Tie   Hollywood    Boulevardiei 
Chats 

ontinued  from  page  ! 

Harold  Lloyd  has  broken  up  his 
long  association  with  Hal  Roach. 
I'liev  began  producing  together  when 
they  were  extra  l)oys  at  the  Universal 
and  saved  up  $300  to  make  a  cheap 
comedy.  Everything  is  amicable,  bul 
they  have  decided  to  dissolve  their 
partnership  of  nine  years'  standing. 
IJoyd  will  work  at  the  Hollywood 
Studios  am!  his  future  comedies  will 
be  less  given  to  Minus  ami  will  par- 
take more  of  the  character  of 
"Grandma's  Boy,"  which  is  his 
favorite  child. 

*  *  * 

Natalie  Talmadge  Keaton  is  going 

hack  to  the  screen  again.  Buster,  Jr., 
is  now  a  year  old  and  his  fond 
mamma  will  play  the  leads  in  his 
Pa's  next  comedy. 


Lenore  Ulric  has  fallen  in  love 
witli  Hollywood  and  will  return  next 
season  to  film  "Kiki."  She  is  now 
making  "Tiger  Rose." 


COMPARISONS 

By  Ellen  Rogers 

Love  never  blooms  the  same  for  everyone. 
Bul   still   it's   strange   that    it   should   droop 

for  you, 
Who  takes   such  care  of  things! 
Besides,  your  plant  had  such  a  lucid,  neat 

beginning : 
A  white-walled  garden,  with  a  bird's  crisp 

singing. 
And     feathery     cedars    brushing    sunlight 

thru. 

While  mine  grew  in  a  neighbor's  backyard 

plot— 
Bedraggled,  drab  enough  to  be  my  own. 
With  groping  peccancy 
I  plucked  it.  soiled  my  skirts,  and  took  to 

lying. 
And    listening    blandly    to    my    neighbor's 

Sighing.   .   .   . 
Indecent,  isn't  it,  the  way  it's  grown? 


REBUKE 
By  Aida  Rodman  Dr.  Milt 

You  speak  to  me  of  love — O  do  you  know 
What  this  would  mean  to  her  who  hears 

your  name. 
Who  bore  your  children  and  remains  the 
same 
True  and  devoted,  ever  keen  to  show 
Your  best  to  strangers,  SO  where'er  you  go 
Men  deem  you   worthy   of  your  whilom 

fame? 
And    I — if    love    of    you    were    leaping 
tlame 
Within  my  breast  no  hint  would  I  bestow. 

For  1  respect  my  friend  who  is  your  wife: 
The  fact  that  she  might  never  know  is 
not 

Inducement  to  betray  her  faith  in  us; 

Speak  not  again  of  this,  nor  soil  your  life 
So  fair  in  all  else  with  so  foul  a  blot ; 

Forgive  my  having  stirred  this  impetus ' 


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The  Movie  Encyclopaedia 

(Continued  from  page  79) 

hut  not  at  the  same  time.     Jackie  Coogan 
horn  Oct.  26,  1914. 

Helen. — Yes,  send  twenty-five  cents  in 
stamps  for  the  October  1919  issue  of  the 
Motion  Picture  Magazine  containing  the 
story   "Male   and   Female." 

Hope. — Well,  love  is  like  hash ;  you  can 
never  tell  what  you  are  likely  to  find  in  it.' 
Mildred  Davis  intends  to  do  some  more 
honeymooning  by  going  abroad. 

Miss  Dorothy.  —  Where  was  Magna 
Charta  signed?  At  the  bottom.  And  you 
really  intend  to  go  on  the  stage.  There  is 
lots  of  time,  why  not  try  to  get  a  little 
more  knowledge.  When  you  come  to  New 
York,  look  me  up.  Pola  Negri  in  "The 
Spanish  Dancer"  with  Antonio  Moreno, 
Gareth  Hughes  and  Kathlyn  Williams. 

Bert  Lytell  Fan. — You  are  right,  that 
was  Barbara  La  Marr  and  not  Alice  Terry 
in   "Trifling  Women." 

Myrtle  L.  - —  I  understand  Harrison 
Ford  is  again  the  husband  of  Beatrice 
Prentice.  May  they  never  separate.  He 
is  playing  in  "Little  Old  New  York." 
Dorothy  Mackill  in  "The  Fighting  Blade" 
with  Richard  Barthelmess.  Yes,  he  is  five 
feet  seven. 

Helen  J. — That's  right,  someone  once 
said  "Woo  the  widow  whilst  she  is  in 
weeds."  Katherine  McDonald  is  twenty- 
eight,  and  she  is  married  to  Arthur  John- 
son. Madge  Bellamy  is  nineteen  and  not 
married.     Playing  in  "Evangeline." 

Clifton. — You  just  write  in  for  the 
September  1918  and  September  1919 
Classics. 

Vivian  Van.— It  is  very  probable  that 
Job  never  had  to  answer  questions.  You 
want  a  picture  of  Gloria  Swanson's  baby 
in  the  Classic.  Yes,  her  name  is  Gloria 
Somborn.  Betty  Compson  twenty-five,  and 
John  Gilbert  in  "St.  Elmo."  You're  wel- 
come indeed. 

Two  Heap  Big  Fans. — Do  not  con- 
found great  workers  with  ordinary  plod- 
ders. Bebe  Daniels  hasn't  bobbed  hair. 
Just  pronounce  it  Bee  Bee.  All  right, 
send  along  the  custard  pie.  Wallace  Reid 
played  in  "Joan  the  Woman"  with 
Geraldine  Farrar.  Fiance  is  masculine  and 
fiancee  is  feminine. 

Ethel  E.  D. — Yes,  Kenneth  Harlan  is 
twenty-eight  and  born  in  New  York  City. 
You  want  to  see  Charles  Meredith  in  more 
pictures. 

Newberry  Maid. — Hello  there.  Your 
letter  was  filled  with  beautiful  sentiment. 
Monte  Blue  was  born  in  Indianapolis  and 
you  can  reach  him  at  Warner  Brothers, 
Bronson  Avenue  and  Sunset  Boulevard, 
Los  Angeles,  Cal.    Write  to  me  again. 

Frank  Mayo  Fan. — Pauline  Garon  is 
five  feet  and  weighs  one  hundred  and  five 
pounds. 

Christiane  C. — You  are  entirely  in  er- 
ror when  you  say  that  I  snore.  I  have  no 
small  vices.  Address  Richard  Barthelmess 
at  Inspiration  Pictures,  565  Fifth  Avenue, 
New  York  City.  Lewis  Stone  in  "The 
River's  End."  Alice  Calhoun,  Cullen  Lan- 
dis  and  Percy  Marmont  in  "The  Alibi." 

Miss  Lois  N. — Why  Marion  Davies 
lives  on  Riverside  Drive,  but  you  can  ad- 
dress her  at  the  Cosmopolitan  Studio,  2478 
Second  Avenue,   New    York   City. 

Chick  M. — Oh,  but  there  are  beautiful 
flowers  that  are  scentless,  and  beautiful 
women  that  are  unlovable.  Nazimova  is 
forty- four  and  Antonio  Moreno  has  brown 
eyes  and  hair.    Bebe  Daniels  has  blue  eyes. 

Houston  Bill. — Shake  Bill.  Glad  to 
see  you.  Madge  Bellamy  is  only  nineteen 
and  Patsy  Ruth  Miller  is  also  nineteen. 
Clara    Horton    is    twenty.      Tom     Mix    is 


Dull  Hair 


Noted  actresses  all  abhor  dull 
hair — they  can't  afford  to  have  it. 
They  have  no  more  choice  in  the 
color  of  their  hair  than  you  have. 
Their  hair  is  more  beautiful,  be- 
cause their  profession  —  their 
very  environment  —  soon  teaches 
them  how  to  make  the  best  of 
what  nature  has  given  them. 

Practically  every  woman  has  rea- 
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quantity,  texture  and  color.  So-called 
dull  hair  is  the  result  of  improper  care. 
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dull  hair  lacks  can  really  improve  it. 

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hair.    Golden  Glint  Shampoo  is  NOT 

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Eva.  Yes,  I  should  have  answered  you, 
lint  you  *  I « iiit  seem  to  realize  all  ili<-  quea 
limis  1  receive.  Why  donl  you  wril 
Mi>s  Brady,  sl't  will  be  glad  to  hear  from 
you.  Paul  Willis  is  not  playing  now. 
Hasn't  been  for  some  time.  All  right,  I'll 
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iii  my  estimation  he  is  a  very  good  looking 
young  chap.  Stud  me  your  picture  in  that 
dress.     So  long,  little  Eva. 

Jeanne.— Thanks  a  lot.  Leatrice  Joj 
was  born  in  New  Orleans. 

Grky  Eyes.-  Darkness  has  its  uses;  we 
can  see  farther  in  the  night,  for  arc  not 
the  stars  nunc  distant,  than  the  sun?  And 
you  dont  care  for  Pola  Negri.  Claire 
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Swanson  in  "Zaza."  Rod  LaRocque  and 
Eddie  Burns  in  "Jazzmania." 

Mrs.  J.  B. —  Always  glad  to  hear  from 
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cents  to  me,  you  would  never  see  it  again. 
Send  it  direct  to  the  players  for  their 
pictures. 

KaYE  H. — Have  passed  yours  along  to 
the  editor. 

WlLMA  Y. — To  a  woman,  the  romances 
she  makes  are  more  amusing  thtn  those 
she  reads.  Yes,  Mahlon  Hamilton  was 
interviewed  in  the  April  1921  issue  of 
the  Motion  Picture  Magazine.  Agnes 
Ay  res  in  "The  Love  Chase."  Oh,  I  dont 
mind  answering  questions.  I  turn  them 
out  by  the  yard  now. 

Madcap. — I  can  see  you  are  all  for 
Gaston  Glass.  Jack  Holt  and  Sigrid 
Holmquist  in  "A  Gentleman  of  Leisure." 
Marguerite  Courtot  in  "The  Steadfast 
Heart." 

Spark  Plug. — Your  letter  was  mighty 
interesting  and  I  wish  I  could  print  it. 

Tillie  the  Toiler. — Thanks   for  yours. 

Sazzy  Susie. — Yes,  and  Friendship  is 
a  plant  that  one  must  often  water.  Yes, 
May  McAvoy  intends  to  go  on  the  stage 
this  fall.  Bert  Lytell  is  playing  in  "The 
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Lillian  Gish  is  two  years  older  than 
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Reid  was  thirty-one.  Gloria  Swanson  is 
five  feet  three.  Xo,  they  are  not  the  same. 
Whew]  You  sure  do  answer  questions, 
dont  you. 

Madeline  Mary. — My  real  name  you're 
after,  is  it?  Hump!  Yes,  I  like  your 
stationery.  It  is  very  smart.  Chic!  Yes, 
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Flashes  From  the  Eastern  Stars 

{Continued  from  page  51) 

Mensch,"  by  Ernst  Teller;  an  Ameri- 
can play  not  yet  selected,  and  "Lear," 
with  Rudolph  Schildkraut. 


Commodore  J.  Stuart  Blackton  is 
making  preparations  for  the  first  of 
the  Blackton  Productions  which  will 
he  released  by  Vitagraph.  It  is  un- 
derstood upon  good  authority  that 
Commodore  Blackton  will  produce  at 
the  Brooklyn  studios  of  Vitagraph 
where  he  made  the  Blackton  Produc- 
tions which  became  famous  for  their 
exceptional  artistic  as  well  as  box 
office  values. 


Charles  Dillingham  has  returned 
from  London,  Paris,  Vienna  and 
Budapest  with  a  bundle  of  new  plays 
and  novelties  for  his  theaters — the 
best  that  the  market  afforded  in  Eng- 
land and  on  the  Continent. 

"Before  buying  any  foreign  play, 
I  obtained  the  famous  'Italian  Mari- 
onette Players,' "  said  Mr.  Dilling- 
ham. "These  marionettes  are  a  form 
of  art  which  allows  of  great  scope  and 
assures  the  interpretation  of  the  au- 
thor's intentions,  only  they  are  not  so 
wooden  as  many  of  the  unionized 
American  actors.  They  are  the  one 
great  novelty  of  the  London  season," 
he  insisted.  "This  is  a  troupe  of 
more  than  five  hundred  marionettes, 
with  a  repertoire  of  some  twenty-five 
operas,  innumerable  burlesques, 
ballets  and  vaudeville  acts.  The 
musical  settings  are  by  Rossini, 
Csesar  Cui,  Donizetti,  Mazzenet  and 
Ottarine  Respighi.  The  Teatro  del 
Piccoli  is  an  expressive  of  the  soul  of 
Italian  art  as  is  the  Russian  ballet  of 
the  soul  of  eastern  Europe." 


Sam  Wood  is  seeking  a  beautiful 
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version  of  Arthur  Train's  story,  "His 
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They  are  Mary  Eaton  of  the  Follies 
and  Hale  Hamilton,  star  of  both 
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Science  has  discovered  that  fat  can  be  elimi- 
nated   without    diet,    drugs    or    exercising. 
A  NEW  WAV     an  easy,  pleasant  way  that 
Is  Safe  and  Sure.     From  s   ounces  to  a 
pound  a  day    melt  away   as  if  by  magic 

Dissolve    Klo-Ra-Zo-Na    in    warm    water.      Get    In 

and  RELAX   that  Is  the  seeret.     To  reduce  arms. 

mek.   bust  or  any  part  of   the  body  make  a  local 

application  of  FLO-KA-Zo-NA. 

01  AKANTKED   TO    CONTAIN    no   alum,    epsom 

•aits,  or  any  harmful  ingredients.     YOLK  MONEY 

KLKl.VDED  if  you  are  not  satisfied. 

I    BOX    CONTAINS    14    TREATMENTS 

at  druggists,  or  send  S3,  plus  25c  for  postage 

and  packing  {Canada  St.  and  free  booklet  to 
FLO-RA-ZO-NA  CORP.. 

100  Fifth  Ave..  Dept.   F5  New  York 


NO  DIET-' NO  DRUGS 'NO  EXERCISE 


If  You  Can  Tell  it  from  a 
CENUINE  DIAMOND  Send  (back 

I'^EiT?.001'  bloa-whlta  MEXICAN  DIAMOND  cannot  bo  told  f 
•  GENUINE  DIAMOND  and  baa  samo  DAZZLING  RAINBOW 
t  IRE.  wo  will  aaodasrlrctcd  I  carst  Kom  in  ladirs  SohtairoRim. 
■Cat.  prjco  »5.26l  for  Half  Prlcw  to  Introduco,  S2.63.  or  In  Onto 
?,•*£'  ,1l°Sth  Bolcber  Kiog-  (Cat.  Price  S6.60)7orS3.2S.Ourfineat 
biSStf  f\Hti  mountings.  GUARANTEED  20  YEARS.  SEND  NO 
■ONv;V  3a'x  m»"  pootcardor  this  ad,  SUto  Silo.  Wo  will  mail  a 
oaco.  Whon  ring  arrlTro  deposit  I  J.  63  for  Ladica  rim  or  SS.25  foi 
t*ooU  with  postman.  If  Dot  ptoaard  r.- turn  in  2  days  for  money  back 
f—  baodlio*  charges.  Write  for  Froo  catalog.  Afonts  Wan  tad 
■HICIN  DIAMOND  IMPOnTlfW  CO..  OeptCAUasCruces.N.Mei. 
(Exeluswe  control rrs  Mexican  Oiamonds) 


Ai  y£*#s  rue  srAr\'TAG0^r?arw7rt<? 
SCXOOL/Ofit  TH£ATf?£  AJ7TS         ' 

ALVEENE  SCHOOL 
sORAMATOC  ARTS 

TOaEiS"^ IN  ONE-  Pf^CTKAL  STAGE 
TWINING.  THE  SCHOOL'S  STUDENTS  STOCK  •» 
THEATRE  Af FOOD  PUBUC  STAGE  APPEARANCES 

™™i«  otilnj  menloninj  study  eiesired  to  Secretary 
ALVIENE  SCHOOLS,  Suit.  17 
„  .  _.   *3  West  72nd  Street 
Bet.  B'wsyaOntral  Park  Weel.  New  T 

(Eighty-nine) 


i**ii  during  tin-  last  few  da)  ! 
and  a  ncv\    screen  idol  maj   soon  !»<■ 
mm uitecl    i rom  the  pugilistii 
( Cosmopolitan  i^  Riming   lit      Wit 
wer's  popular  fighl  story,  "Cain  and 
Mabel,"    featuring     Anita    Stewart 
The  script  calls  for  a  boxer  a>  one 
of  the  principals,  and  Casting  Dire< 
tor  Gnrencc   Elmer  is  devoting   his 
entire  time  t<>  interviewing  ring  gladi- 
ators.    Among   those   who   have  al 
ready  admitted  that  they  are  ready  to 
take  the  count  in  the  picture  are  :  Jack 
Britton,    ex-welterweight    champion; 
George     Ward,     welterweight 
tender;    fohnny   Basham,  lightweight 
champion  of  England;  Clay  Turner, 
the   Indian  fighter,   Danny  Frush  and 
( rene  1  Jelmont. 


Two  masked  bandits  broke  into  a 
United  States  mail  train  on  the  Rari- 
tan  River  Railway  two  miles  beyond 

South  Amboy,  X.  J.,  last  Sunday. 
(  )ne  of  the  desperadoes  escaped  and 

the  other  is  thoughl  to  have  lost  hi  > 
life  in  the  South  River  when  he 
leaped  from  the  speeding  train  with  a 
mail  pouch.  A  mail  clerk  dived  into 
the  river  and  rescued  the  mail.  The 
attempted  robbery  was  staged  under 
the  supervision  of  the  United  States 
Post  Office  Department.  Colonel 
Paul  Henderson.  Assistant  Postmas- 
ter General,  and  Major  James  A. 
Buchanan,  chief  of  the  Bureau  of  In- 
formation, provided  the  means  by 
which  to  stage  the  mail  robbery. 
They  were  co-operating  with  Whit- 
man Bennett,  producer  of  "Loyal 
Lives."  a  thrilling  romance  of  the  un- 
sung heroes  who  protect  the  United 
States  mail — the  postman  and  the 
railway  mail  clerk.  It  will  be  released 
by  Vitagraph  and  is  the  first  of  six 
pictures  Mr.  Bennett  will  make  for 
them. 


( rlenn  Hunter  is  at  work  on  "Grit." 
his  last  picture  for  the  Film  Guild. 

Clara  Bow,  one  of  our  Fame  and 
Fortune  Contest  winners,  will  play 
opposite  him.  She  has  signed  a  con- 
tract with  the  Film  Guild. 


"Success."  a  play  by  A.  A.  Milne, 
will  be  seen  next  season  with  Nor- 
man Trevor  in  the  leading  role. 


Herbert  Brenon  has  arrived  in 
Xew  York  to  make  preparation  for 
his  next  Paramount  picture.  "The 
Spanish  Dancer."  with  Pola  Negri  as 
the  star.  It  will  be  based  on  the  fa- 
mous play  "Don  Caesar  de  Bazan.  ' 
Mr.  Brenon  has  been  visiting  art  gal- 
leries and  museums  in  Xew  York. 
Boston,  and  Philadelphia,  and  inter- 
viewing several  authorities  on  the 
Spanish  customs  and  dress  of  the 
period  in  which  the  story  is  laid. 


EARLE   E.   LIEDERMAN 
at  he   It  to-day 

Some  day 

a  little  bug 

is  going  to  get  you— 

hav.  there  ai  1 1 •  1  rYiTv.vli.  n\  Ttuy  ar** 
In  the  air.  In  your  hx*!  ind  the  •  I 
drink.  In  fart.  scientist*  t-uy  ><nir  body  b  full  of 
them.  Tin  >  in  only  wfaittng  for  ><>ur  vitality  to 
.iml  then  liny  arc  K"hig  to  feJ  you. 
Hut  wimt  doea  a  strong,  healthy  man  car*  about 
all  thlsl  On.  e  tin-si-  terrible  aerna  find  your  lung* 
breathing  deep  with  ngygeri  and  your  heart  pump- 
ing rich,  red  hl-wid.  they  arc  going  to  nin  f'  r  their 
Hv.s.  ,\  dJseaM  k'  nn  baa  •>-<  mudi  chance  In  a 
healthy  body   as  a  fly  has  In  a  spider"-. 

Food  Was  Meant  to  Eat 

I  don't    ash  you   lo  affB  up  all   the  k,m«I   things  In 
life.      I    make   you    tit    to   enjoy    them       Everything 

was    made    with    some    pari  I    ffM    m-  ant 

to  eat  and  a  healthy  man  has  I 
tying,  his  Keen  ap|>etlrv.  A  man  who  U 
proper  exercise  craTea  f"*Ki  and  must  hare  1l 
water  was  meant  to  bathe  with  -both  ittsbb-  and 
out  Hy  drinking  plenty  of  ".iter  yon  resBOfl  the 
waste  matter  within,  just  ai  vaanln|  yon  skin  re- 
DlOfeS    the    waste    matter    without. 

I  MAKE  MUSCLE 

I  am  not  a  doctor— I  don't  claim  to  cure  disease. 
That  Is  a  physician's  job.  Hut  follow  my  acrrloa 
and  the  doctor  will  starve  to  death  w, 
to  take  sick.  I  build  strength  and  endnra 
make  mutcle;  I  How  my  Instructions  and  yog 
will  increase  your  arm  one  full  Inch  In  thirty  days 
and  put  two  Inches  on  your  chest  in  use 
same  length  of  time.  But  that  Is  only  a  Starter. 
Meanwhile.      I     work     on     those     Inner 

rounding  and   other   vital   organs   which 

affect    your    entire    physical    being.      Too    sr! 

feel    the    thrill    of    life    puiglng    through    youi 
Vou    will    have    pep    In    your    ol  I 
will    be    a    Hash    bo    your    eye    ami    a    spring    I 
i*OU    will   radiate  vitality   an.l   ha 
ody   to  put   n   fvi t.      I  don't  promi- 
thlngs     I    guarantee  thei         •  and   make  me 

"hat    I    Ilk'.  know    I 

can  do  if. 

Send     for    My     New    64-Page    Book 

"MUSCULAR  DEVELOPMENT" 

full- ['age    photocr.t, 
myself  ! 

orer    n  present 

phyalqui 

plrathm    to  :  't. rough 

and  through.      All  I 
of    wrapping    and    mailing    and    It 
Thi-  win  not  ai  all.  but  for  the  sake  of 

\<>ir  future   health 

.•-end    today— r  .1:1    this    page. 

EARLE  E.   LIEDERMAN 

Dept.  1809,  305  Broadway,  New  York  City 

EARLE    E.    LIEDERMAN. 
Dept.    1 809,    305    Braadway.    New    York    City 

•»  for  wMr-h 
\ .'ii   ar.  wiflnmt   any   obligation   on  my 

I'»rl    «!  latest    Injo*. 

iular  Diviloiimcnt."     (I'kasc  srrlte  or  print  plainly.) 

Name 



State 


Doesn  't  hurt  the 
skin  a  particle 


Embarrassing  Hair  All  Gone 
In  A  Few  Minutes 


AMAZINGLY  simple,  easy,  quick,  pleasant  and  sure 

£\    —this   new   way    to   get   rid   of    embarrassing  liair, 

•*■  *-either  under  the  arms  or  elsewhere,  yet  absolute!} 

safe   and    harmless- -sure    death    to   unsightly   hair,    but 

doesn't   hurt  the   skin   a   particle. 

First  you  apply  a  bit  of  powder,  then  a  bit  of 
lotion — in  a  few  minutes  all  trace  of  hair  will  be  gone. 
Has  never   failed. 

A  new  discovery — entirely  different  from  other 
methods.  Kilrute  is  a  combination  treatment — a  pow- 
der that  instantly  dissolves  and  removes  the  external 
part  of  the  hair — plus  a  lotion  that  goes  below  the  sur- 
face and  gradually  devitalizes  the  hair  glands  (en- 
docrine glands)  thus  preventing  new  growth.  It  does 
this  by  stopping  the  secretions  which  supply  nourish- 
ment to  the  hair — literally  starves  the  hair  root  to 
death.  Wherever  this  lotion  is  applied,  its  action  on 
these  glands  bring  about  precisely  the  same  condition 
(starvation  of  the  hair  root  that  is  the  cause  of  so 
much   baldness  among  men). 

A  single  application  of  the  Kilrute  Powder  is  gen- 
erally all  that  is  needed  to  remove  all  outward  or  ex- 
ternal traces  of  hair.  Then  a  few  applications  of  the 
Kilrute  Lotion  will  gradually  devitalize  the  glands 
which   feed   the  hair,   thus   discouraging   future  growth. 

To  Prove  It  To  You 

The  makers  of  Kilrute  guarantee  absolute 
satisfaction.     To  prove  results,  a  complete 

ombination  treatment  with  full  directions 
.pill  be  sent  on  approval.     Send  no  money- 
simply  fill  out  and   mail  the  coupon.      The      T 
>  of  the  complete  treatment  is  $5.00. 


News  of  the  wonder- 
ful work  of  Kilrute 
has  caused  such  an 
over  \v  h  e  1  ming  de- 
mand that  we  are 
ohliged  to  discon- 
tinue sending  out 
free  trial  samples, 
hut  we  shall  he 
happy  to  give  FREE 
DEMOXSTU  AT  ION 
or  full  treatment 
with  charge  at  above 
address. 


SendNoNc 


o/?e, 


W- 


Owing  to  pos- 
tal regulations, 
post  office  mon- 


which  you  pay  the  postman  on  deh\  ^.  ., 
If  for  any  reason  you  are  not  complete- 
ly satisfied  your  $5  will  be  refunded. 


KILRUTE    COMPANY 


Dept.  1009 


247  West  72nd  St. 
New  York  City 


I    KILRUTE   COMPANY, 

,   Dept.    1009.   247  West  72nd   St.,    New   York  City. 

■  Gentlemen: 

Please  send  me  on  approval  a  complete  Kilrute 
Combination  Treatment  for  superfluous  hair  (Kilruta 
Ponder  and  Kilrute  Lotion)  which  you  guarantee  to 
remove  external  hair  immediately  and  to  discourage 
any  future  growth.  I  will  pay  the  postman  $5  plus 
postage   on    delivery.      If   I    am    not   perfectly   satisfied 

I  with  the  results,  you  guarantee  to  refund  my  $5. 

fi  (If  you   prefer,   send   $5  with  this   coupon,    subject   to 

1  above  money-back  guarantee.) 

\  Name 

j  Address 


:_„-j 


$195  PER  CAT 


From  1-8  Carat  to  2  Carats 
Former  Price,  $325 

You  Save  40  per  cent 
1  If  yoa  can  duplicate 
I  these    diamonds   for        _ 

less    than    $326.00  -     ^ 

per   Carat,  we/ 
I  will     RETURN/ 

YOUR 

MONEY 


30 

DAYS  I 
FREE  WEAR  | 
Genuine,  spark- 
ling; blue  white  dia- 
monds set  in  18  Karat 
solid   white  sold  rings. 
CATALOG   FREE 

It  gives  raluable  information  about 

diamond  weights  and  grades  which  you 

should   know   before   buyintr.  and  oners 

a  jewelry  store   full  of  bargains  to  select 

from.    Money  back  guarantee  bond  with  each 

diamond. 


B.GU7TEIUS0NS  fiJS 

172  NASSAU  ST..Pept.  1074.  New  York 


UNLUCKY? 


Then  wear  this  Mystic 
Serpent.  Replica  of 
Ancient  Hindu  charm 
nst     evil     spirits. 


eickn 

symbol  of  GOOD  LUCK  in  love,  busi- 
ness, games.  Heavy,  weird  and  start- 
ling. Genuine  14-Karat  gold  shell,  3 
year  guarantee.     Men  and  Women. 

Secret  "formula  for  luck"  FREE. 
Send  measure  (string  tied  around  fin- 
ger). ALI  G.  BABA,  Box  55,  116 
Str.Sta.G.  New  York.  Pay  $2.27  and 
postage  to  postman  on  delivery. 


ART  PHOTOS 


STUDIES 
BEAUTY  OF  NATURE 

Post-card  Size  and   Larger   Size-  Great   Collection.     Splendid 

Samples  for  SI. l)O-S3.00-$6.O0.    Write 

EDITIONS  O'ART  at  NEUILLV-PLAISANCE  CS  &  0),  France 


SLEEVELESS  GOWNS  AND 
SHEER  FABRICS 

and  present  craze  for  dancing  haa 
made  it  necessary  to  remove  su- 
perflous  hairin  order  to  have  free- 
dom of  movement,  unhampered 
grace  and  modest  elegance. 

MODENE 

will  instantly  dissolve  and  re- 
move Hair  on  the  Face,  Neck, 
On  or  under  the  Arms  without 
the  slightest  injury  to  the  most 
delicate  skin.  For  thirty  years 
M  O  DEN  E  has  stood  the  test  and 
received  the  endorsement  of  thousands  of  people  of 
refinement.  MODENE  for  sale  by  all  Druggists  or 
by  mail,  postpaid,  $1.00.  Every  bottle  guaranteed. 
MODENE  MFG.  CO..       CINCINNATI.  O. 


Enjoy  the  luxury  of  perfumed  water  of  silky  softness 

The  utter  luxury   of   the  bath   when   Itathasweot   has   been    sprinkled    in   it   cannot    be  de- 
scribed,   it  must   be   felt.     The    caressing   softness    of   the   water,    its   dainty    stimulating 
fragranre  are  a  delight  you,  too.  will  love.     And  it  is  just  as  pood  for  your  skin  as  it 
is  delightful.     You  Bitot  try  it.     Your  drug  or  department  store  sells  Bathasweet, 
ie.   50c,  $1.00.      Or  we  will  send  you  a   miniature  ran  for  only   lOe. 

THE  C.S.WELCH  CO.,      Dept.  AB4,      New  York  City, 


The  Celluloid  Critic 

(Continued  from  page  45) 

house  as  a  group  of  incompetents. 
They  notice  her  departure,  but  never 
think  of  following  her. 

Meanwhile  there  is  a  melodra- 
matic flair  when  an  escaped  convict 
is  determined  to  exact  vengeance 
against  the  judge  for  sending  him  up 
the  river — and  the  girl  aids  him  to 
escape.  The  introductory  scenes  are 
by  far  the  best — particularly  the  one 
featuring  the  prison  delivery.  But 
the  picture  becomes  tiresome  and 
dull  and  falters  toward  its  conclu- 
sion. A  discrepancy  creeps  out 
when  the  immaculate  hero  journeys 
down  to  Cherry  Street  attired  in 
evening  clothes  and  a  top  hat.  As  if 
he  were  slumming! 

The  acting  of  the  three  cronies  is 
entrusted  to  Claude  Gillingwater, 
William  H.  Crane  and  Alec  Francis. 
All  give  mellow  performances  with 
the  first  mentioned  surpassing  the 
others.  Eleanor  Boardman's  hero- 
ine is  easy  upon  the  eyes  but  ber  in- 
terpretation merely  skims  the  sur- 
face. Careful  editing  would  improve 
the  picture,  which  despite  its  short- 
comings contains  a  few  appealing 
moments. 

ANY  picture  carrying  as  its  theme 
the  evils  of  dope  is  not  ex- 
pected to  prove  very  enjoyable 
entertainment.  But  because  it  pre- 
sents a  terrific  indictment  of  the 
drug  habit  and  is  offered  as  a  sin- 
cere attempt  to  diminish  the  scope  of 
this  terrible  evil,  "Human  Wreck- 
age" (Film  Booking  Offices)  will 
earn  encomiums,  regardless  of  the 
fact  that  many  will  consider  it  made 
for  commercial  purposes.  It  tells  a 
story  recognizably  real,  touching  the 
high  places  as  well  as  the  low  places 
in  the  social  scale,  thus  revealing 
that  no  one  is  immune  from  the 
deadly  influence  of  narcotics. 

The  continuity  doesn't  always  be- 
have. There  are  times  when  lesser 
characters  are  neglected  entirely  to 
give  emphasis  to  the  major  plot — 
which  concerns  a  powerful  attorney 
becoming  addicted  to  morphine  and 
causing  his  wife  untold  anguish,  un- 
til she  is  unable  to  cope  with  the  vice 
and  is  about  to  become  an  addict 
herself,  when  her  husband,  realizing 
the  terrible  consequences,  shakes  off 
the  grip  of  the  drug. 

Mrs.  Wallace  Reid  has  doubtless 
employed  her  own  personal  experi- 
ences with  other  persons  afflicted 
with  the  craving  for  narcotics — and 
the  story  which  involves  her  is  much 
more  genuine  than  the  by-plots  con- 
cerning characters  from  a  lower  sta- 
tion in  the  social  scheme.  Yet  these 
(Continued  on  page  94) 

(Ninety) 


i 


Gas  or 
Electric 

Ilii:  Lamp- 

Comes  equipped  for  choice 
of  gas  or  electricity.  Has  2- 
light  Benjamin  socket  for 
electricity  only,  with  8-foot 
silk  cord  ready  for  use;  or 
comes  with  6-foot  rubber 
hose,  burner,  mantle  and 
chimney  for  gas. 

Mahogany  Finish 

Standard  is  60  in.  high,  3  in. 
in  diameter.  Highly  polish- 
ed French  mahogany  finish. 

I^Shade- 


Made  in  Fifth  Avenue  de- 
sign, 24  in.  in  diameter,  of 
delft  blue  silk,  shirred  top, 
alternating  plain  and  fancy       AM' 
art    silk    panels.      Twelve 
panels  in  all,  tinsel   braid 
border,  with  four  inch  Chenille  fringe. 
American  beauty  shirred  lining.   The 
harmonious  color  scheme  gives  effect 
of  red  light  shining  through  a  blue 
haze  —  a  rich  warm  light.    Shipping 
weight,  27  pounds. 

Marshall  Silky  Fringe  Pull-Cords 

Also  pair  of  Marshall  silky  fringe  cords 
with  3Vi  in.  silky  fringed  tassels,  giving 
an  added  luxurious  effect. 
For  gas  use,  order  by  No.  G6332NA. 
For  electricity,  order  by  No.  G6333NA. 
Send     only    $1    with    the    coupon,    $2 
monthly.    Total  Bargain  Price  for  lamp 
and  shade,  $19.85. 

Free  Bargain  Catalog 

Shows  thousands  of  bargains  in  home 
furnishings:  furniture,  jewelry,  rugs, 
curtains,  phonographs,  stoves,  dishes, 
aluminum  ware,  etc.  All  sold  on  easy 
terms.  Catalog  sent  free,  with  or 
without  order.    See  the  coupon. 


Down 

Brings 
This 


Floor  Lamp 

5t;:Ze.  Silk  Shade 

Here  is  something  you  have  always  wanted — a  beautiful  floor  lamp 
with  handsome  and  elegant  Fifth  Avenue  silk  shade — to  add  an  extra 
tone  of  elegance  and  luxury  to  your  home.  On  this  generous  offer 
you  can  see  just  how  this  floor  lamp  and  silk  shade  will  look  in  your 
home,  without  risking  anything.  Send  only  $1.00  with  the  coupon 
below,  and  we  will  send  it  complete  to  your  home  on  approval,  equipped 
for  use  with  either  gas  or  electricity.    We  take  all  the  ris!\ 


30  Days  Trial 


s2£2  a  Month 


When  the  lamp  outfit 
comes,  use  it  freely 
for  30  days.  See  how 
beautifully  the  colorings  of  the  handsome  silk  shade  blend  and  har- 
monize with  everything  in  the  home.  How  useful  it  is,  too — so  handy 
for  reading,  can  be  moved  around  with  ease  to  furnish  a  beautiful  light 
and  rich  warmth  and  coziness  to  any  room  in  the  house.  If  after  30  days  trial  you 
decide  not  to  keep  the  lamp,  just  return  it  at  our  expense  and  we  will  refund  your 
$1.00  deposit,  plus  any  freight  or  express  you  paid.    You  cannot  lose  a  single  penny. 

If  you  discover  that  this 
lamp  is  a  tremendous 
bargain  at  the  price 
we  ask  and  you  decide  to  keep  it,  send  only  $2.00  a  month  until  you 
have  paid  the  total  bargain  price  of  $19.85.  Yes,  only  $19.85  for  this 
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D  EAF 


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i-niir  \ 


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Greed 

{Continued  from  page  56) 

Trina  began  to  cry,  remembering 
ber  cold-blooded  selfishness  and  what 
he  had  done  to  ber  at  the  same  time. 
She  piled  the  gold  back  into  its  bag 
and  locked  the  trunk.  The  key  she 
wore  in  a  tiny  chamois  bag  around 
her  neck. 

At  the  kindergarten  the  next  day 
the  children  were  decorating  for  their 
Christmas  celebration.  It  was  four 
o'clock  and  the  early  winter  dusk  had 
set  in.  Everything  was  ready  but  the 
Moor.  The  children  went  home  anil 
left  Trina  to  do  the  scrubbing.  As 
she  sloshed  around  in  the  dirty  water, 
she  thought  of  her  gold  at  home,  her 
bright,  clean,  shining,  gold.  She 
wrung  the  mop  dry  for  the  last  time 
and  was  terrified  to  see  McTeague 
enter  the  room.  He  had  been  drink- 
ing. 

"Wha-what  do  you  want?"  she 
gasped. 

"Your  five  thousand." 

"I  haven't  got  it.  Uncle  Oelber- 
man  still  has  it." 

"You  lie.     I've  been  to  him." 

"I'll  give  you  half " 

"No.   Every  damn  cent  of  it." 

Trina  did  not  reply.  She  slipped 
past  him  and  managed  to  lock  him  in 
the  room.  He  broke  the  lock  without 
any  difficulty  and  followed  her  to  the 
cloak  room.  He  took  her  by  the 
throat  and  pressed  his  broad  flat 
thumb  into  its  soft  throbbing  white- 
ness. She  made  a  funny  litle  gur- 
gling sound  and  started  to  struggle. 
Presently  he  staggered  out  of  the 
dark  cloak  room  and  shut  the  door 
gently  after  him. 

At  home  he  took  Trina's  little  key 
and  unlocked  the  trunk.  He  cursed 
the  heavy  load.  He  cursed  the  avarice 
that  had  demanded  gold  instead  of 
bills,  but  he  stuffed  the  canvas  bag 
in  the  top  of  his  trousers  and  went 
away.  In  the  morning  he  was  back 
at  the  Big  Dipper  Mine  where  he  had 
worked  as  a  boy. 

In  the  morning  the  children  coming 
to  school  in  little  chattering  groups 
walked  happily  toward  the  cloak 
room.  A  black  cat  was  sniffing  at  the 
door,  curling  its  tail.  They  opened 
the  door,  and  ran  back  screaming. 
They  could  see  a  little  white  hand 
with  only  two  fingers  on  it,  out- 
stretched in  its  last  mute  and  futile 
supplication. 

One  night  McTeague  awakened 
with  a  fear  he  could  not  define.  "I 
dont  see  nothing,"  he  muttered,  "I 
cant  hear  nothing,  but  I  feel  some- 
thing. .  .  ."  He  lay  down  again 
but  he  could  not  sleep.  The  Mc- 
Teagues  of  the  world  can  always 
sleep  and  the  fact  that  he  couldn't, 
filled   him    with    a   grim    foreboding. 


The  Spell 

of  Moonlit  Eyes 

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aflNM*.  .  now  rcalizo 

■ 

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Two  Sfcadca:   Brawn  for  Blond—.  Black 
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typewriter   book  as    illustrated   and 
described  above. 


Name 


Street  and  No. 


.State 


I  If  pat  ked   Up  lii^  UK  .f.;i  i    lliii.-.-     ami 

the  l  ild  and  left  w  ithoul  in 

ado. 

Two  daj  s  later  the  sheriff  and 
deputies    inquired    at    the    mine    foi 

Mc  I  i ■ . i <;  1  it ■ . 

Mc  lii  "it  tlic  freighter  ai 

;i  little  tow  ii  far  dov\ n  the  line.  There 
he  fell  in  with  ;i  man  named  Criblx 
They  formed  a  pai  tncrship  and  went 
prospecting  in  Death  Valley  for  gold. 
Miraculously  they  found  it  and 
staked  their  claim.  Their  mine  they 
called  "The  I  ast  ( "hance."  A  new 
life  began  for  Mel  eagiie. 

A  notice  was  posted  in  the  desert 
for  ilic  arrest  of  McTeague  wanted 
for  murder,  offering  one  thousand 
dollars  reward.  Marcus  Schouler,  as 
malign  as  fate,  one  day  read  the 
poster.  He  offered  himself  to  the 
sheriff  as  a  means  of  identifying  Mc- 
Teague.  He  further  adorned  Ins  tale 
by  saying  that  the  five  thousand  Mc- 
Teague carried  was  stolen  from  him. 
The  sheriff  and  his  posse,  including 
Marcus,  set   mil  over  the  desert. 

At  midnight  McTeague  woke  again 
suddenly,  lie  fired  his  Winchester 
in  the  air.  "Aw,  show  yourself,  will 
vim  ?"  he  cried  inexplicably.  Cribbens 
sat  up  in  surprise.  McTeague  was 
wiping  the  sweat  from  his  white  face. 
eery  by  starlight.  "What  in  hell's 
the  matter  with  your"  Cribbens 
wanted  to  know.  At  dawn  Mc- 
Teague was  gone  and  the  posse 
arrived.  But  they  refused  to  go  in- 
to the  desert — only  Marcus,  who 
dreamed   of   the  gold,    followed. 

On  the  desert  McTeague's  mule 
dragged  his  feet  wearily  thru  the  hot 
sand.  Foolishly  McTeague  had 
emptied  his  canteen  at  one  draught. 
More  foolishly  still  he  had  tied  his 
bag  of  gold  to  the  mule's  hack  and  the 
mule  had  eaten  some  loeo  weed.  Mc- 
Teague lay  down  beside  the  beast  and 
went  to  sleep.  He  was  awakened  by 
the  sinister  "Hands  Up,"  of  Marcus. 
Indifferently,  McTeague  complied. 

"Water,"   said    Marcus   weakly. 

"Gone,"  replied  McTeague. 

"The  money,"  whispered  Marcus, 
his  tongue  hanging  out  like  a  dog 
panting. 

"On  the  mule."  McTeague  an- 
swered, as  tho  it  didn't  matter  to  him 
what  became  of  it. 

Marcus  jumped  toward  the  mule, 
which  ran  skittishly  away.  Both  men 
started  after  it  and  Marcus  drew  his 
gun  and  shot  it.  As  the  animal  fell, 
the  gold  pieces  slid  out  of  the  hag  in 
amazing  brightness.  McTeague 
lunged  toward  Marcus  and  in  a  triee 
Marcus  had  clamped  the  handcuffs 
to  him. 

Now   they  begin   to   argue   about 
the  possession  of  the  gold.    They  for- 
get  there  is  no   water,  and  that  they 
(Continued  on  facie  %") 


Weaknesf  Barf  YOU  From 
Happy,  Successful  Marriage 


Wlirn   Marriage 
Meant    Misery 


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t   Me..tth 


Colds 
Catarrh 
Asthma 
.Hay  Fever 
Obesity 
Headache 
Thinness 
Rupture 
Lumbago 
Neuritis 
Neuralgia 
Flat  C 
Deformity 

.Successful 
Marriage 
Plmple> 
.  Insomnia 


..Short  Wind 
..Flat  Feet 
.  .Stomach 

Disorders 
.  .Constipation 
.  .Biliousness 
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.  .Torpid  Liver 
. .  Indigestion 
.    Nervousnevt 
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. .  Rheumatism 
. .  Manhood 

Restored 
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Prostate  Troubles 
.  Female  Disorder, 
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Falling  Hair 
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Despon 

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Name 

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(Ninety-three) 


PREFERRED  PICTURES 


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PREFERRED 
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Coming 
"The  Broken  Wing" 

by   Paul  Dickey   and   Charles 
W.  Goddard. 

"Mothers-in-Law" 

by  Frank  Dazey  and  Ag-nes 
Christine  Johnston. 

"The  Virginian" 

by  Owen  Wister. 

"April  Showers" 

by  Hope'Loring:  and  Louis  D. 
Lighton. 

"Maytime" 

by  Rida  Johnson  Young-. 

"The  Boomerang" 

by  Winchell  Smith  and  Victor 
Mapes. 

"White  Man" 

by  George  Agnew 
Chamberlain. 

"Poisoned  Paradise" 

by  Robert  W.  Service. 

"When  a  Woman 

Reaches  Forty" 

by  Royal  A.  Baker. 

"The  Mansion  of 

Aching  Hearts" 

by  Harry  Von  Tilzer  ami 
Arthur  J .  Lamb. 

"The  Breath  of 

Scandal" 

by  Edwin  Balmer 

"The  First  Year"  (of 

married  life) 

by  Frank  Craven. 

"The  Trlflers" 

by  Frederick  Orin  Bartleit. 

"Faint  Perfume" 

by  2ona  Gale. 

"My  Lady's  Lips" 


'^Ipw  Showing 

"Daughters  of  the  Rich" 
"The  GirlWhoCameBack  " 
"Are  You  a  Failure?" 
"Poor  Men's  Wives" 
*"The  Hero" 
"Thorns  and 

Orange  Blossoms" 
x"Shadows" 
"Rich  Men's  Wives" 

*  Placed  by  Robert  E.  Sherwood, 
critic  of  LIFE,  on  bis  list  nt  th, 
fifteen  best  pictures  of  the  year. 


The  Celluloid  Critic 

{Continued  from  page  90) 

people  in  their  efforts  to  peddle  the 
stuff  and  the  consequences  of  their 
acts  show  that  they  are  not  far  over- 
drawn. There  are  five  or  six  deaths 
— some  of  which  are  violent — which 
make  the  majority  of  scenes  harrow- 
ing indeed.  But  one  is  not  looking 
at  sweetness  and  light  in  an  expose 
of  the  drug  evil.  Many  will  profit 
by  the  picture  and  naturally  will 
watch  their  steps.  The  peddlers  and 
addicts  will  on  the  other  hand  not 
be  attracted  to  it,  for  its  evils  are  too 
sharply  emphasized. 

A  word  for  James  Kirkwood.  As 
the  attorney  he  gives  a  highly  effec- 
tive study  of  human  suffering  when 
he  becomes  an  addict.  And  George 
Hackathorne  as  a  character  in  the 
clutches  of  "coke"  brings  a  sharp 
touch  of  realism  to  the  role.  Mrs. 
Wallace  Reid  is  sincere  and  earnest 
in  her  portrayal  of  the  wife.  Hav- 
ing dedicated  her  life  to  save  others 
from  this  terrible  affliction,  she  suc- 
ceeds in  bringing  value  to  the  picture. 

BAYARD  VEILLER'S  crook 
melodrama,  "The  Woman  with 
Four  Faces,"  (Paramount)  car- 
ries a  teaser  title  which  will  attract 
curiosity.  The  curious,  however, 
once  they  are  in  their  seats,  will  sec 
a  likely  story  which  has  been  com- 
petently executed  by  Herbert  Bre- 
non,  the  director,  even,  tho  the 
author  (he  should  have  known  bet- 
ter) has  allowed  an  array  of  incon- 
sistent episodes  to  mar  his  work. 

Imagine  a  quartette  of  crooks  put- 
ting the  papers  in  a  safe  instead  of 
destroying  them ;  imagine  a  district 
attorney  using  a  personable  girl, 
gifted  at  disguise  and  masquerade 
(hence  the  title),  to  gather  the  evi- 
dence ;  imagine  this  same  prosecutor 
employing  an  airplane  to  lift  a  con- 
vict from  a  prison  yard  so  that  he 
might  crack  the  safe  in  which  the 
papers  are  hidden.  The  improbabil- 
ities may  furnish  novelty,  but  they 
also  give  it  a  pictury  character.  Di- 
rected with  speed  and  acted  with  an 
assortment  of  expressions  by  Betty 
Compson,  who  is  at  her  best  in  crook 
roles. 


A 


XOTHER  Paramount,  "The 
Law  of  the  Lawless,"  is  an  old 
friend  in  a  new  disguise.  The 
girl  who  sells  herself  on  the  auction 
block  to  wipe  out  her  father's  debts 
has  been  treated  upon  the  screen  for 
years.  Here  it  serves  in  bringing 
out  a  gypsy  background,  the  locale 
being  somewhere  along  the  lower 
Danube.  But  all  the  picturesque 
costuming  in  the  world  cannot  make 
Dorothv  Dalton  other  than  a  enmic 


(Kinety-four) 


e  crystal  pure 
deoaoraard 

Spai kling  and  clear, 
tliU  liquid  deodorant 

is  .1  del  10  lit    to    li  ... 

It  is  colorless  and 

odorless.    It  will  not  stain  or  injure  the 

most  delicate  fabrics.   It  cannot  harm  the 

most  sensitive  skins;  apply  it  at  any  time. 

It  comes  in  a  dainty  bottle.    We  cull  it 


(fierf 


— f»r   m*i  a*  tbt  rarl)   morning  den  impart*  a  ilcli.-are 
puruy  and  fresbne-  *  to  thi-  flowers  in  your  garden,  so 
lbi>  l>iw  will  fite  to  you  the  charm  of  dalntini 
tbann  nf  freedom  (rolli  riru  tlir  faintest  (race  of  an  un- 
odor. 

.  Ms  duty  and  tlx-n  vanishes,  leat  ln( 
tin-  -Lii.  >-,.,, I  .in,l  refreshed  ami  at  tlie  sjmr  limr  .1 

treedom  from  perspiration  t^Ior*  fur  many  hours. 

.  C.  V,  F  e  s  1.  e  k    Com  pant 

Chttnim  0m  .   I 
.  OWI  K    111  II  DIN,..   .-.  1.   LOUIS.  U.  S.  A. 

Rue  de  la  l'.i:\.  I'.ins. 

Tue  be*t  drai 
and  drpartmrnt 
iveasupply 
•  I  !>■  u.  A-k  for  it 
by  name.  It  yon 
can't  ret  It,  you 
ma  y  purchase  It 
dim-!,  in  50c  or 
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les 


122 


HOW  TO 
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opera  figure.     \nd  t  harles  de  R< 
making  his  debut   is  coloi  l<  \m 

one  "i  a  d< >zen    \m<  fifted  in 

the  saddle  and  i  cqualh 

■  I  a  physique  could  outshine  the 
frenchman.  Even  hia  li u, 1 1 1  with 
Koslofl  when  he  would  save  the  girl 
he  bought  from  a  tempestui  »u  I  at 
tar  lacks  the  vigor  which  Sills  or  fiv< 
and  seven  others  could  imparl  to  it. 
The  bodj  of  the  picture  is  taken 
up  u  ith  the  heroine  displaying  spirit 
against  the  indifference  and  a 
man  tactics  of  the  gypsy,  lt'>  verj 
old,  very  obvii  itrs  and  very  medii 

CAPITALIZING  upon  a  man's, 
gift  for  expressing  untold  >ui- 
fering  is  Lon  Chaney's  reward 
these  days.  Ever  since  he  was  cata- 
loged as  the  actor  of  a  thousand 
•  arcs,  the  resull  of  his  work  in  "The 
Miracle  Man."  which  picture,  to- 
gether with  "The  Penalt) ,"  showed 
him  ;i-  unusually  talented  in  portray- 
ing a  helpless  cripple,  his  roles  have 
been  marked  out   for  him. 

"  I  he  Shock"  i  I  miversal)  pr<  >- 
vides  him  another  opportunity  to 
show  his  skill  at  characterization  in 
the  part  of  a  crippled  crook  who 
finds  redemption  thru  the  lovelight 
in  a  girl's  eyes.  I  if  course  he  is 
brought  hark  to  health  by  means  of 
the  shock  caused  by  the  Frisco  earth- 
quake. Ail  interim  he  is  saving  the 
girl  from  a  roller  and  her  father 
from  jail.  Fairly  effective  and 
Chaney's  poignant  humanities  are 
given  lull  latitude. 


Trilby 

(Continual  (rum  page  82) 
Billie's  career.  Trilby!    You  must— 


and 


never 


him 


am- 


ain   away 
mor< 

"Trilby!"  Little  Billie  groaned, 
"Oh,  my  dear,  dont  run  away " 

A  little  later  she  whispered 
Svengali's  name.  "He  was— kind  to 
me.         We       were       really      married 

too "    with    a     piteous    Hash    of 

pride,  "so  you  can  put — Madame  on 
icad  -tone " 

"Trilby,"  begged  Little  Billie, 
"think  of  the  old  studio  and  tl>e  good 
times  we  had,  think  of  the  boulevards 
in  springtime  with  the  llower  carts, 
and  the  cafes  and  theaters  at  night. 
We'll  sit  in  the  gallery  at  the  ( )pera 
and  hear  the  trumpets  in  ' Aida.'  and 
we'll  buy  sausages  and  daffodils  and 
little  gold  slippers  for  your  feet- — ■ 
your  beautiful  feet.  Trilby " 

Trilby  laughed  a  ghost  of  her  old 
gay  laughter,  "and  I'll — sing- 


And  then  the  only  sound  in  the 
room  was  Little  Billie's  sobbing  and 
the  rattle  of  the  busses  outside,  taking 
the  tourists  to  Montmartrc  in  search 
of  its  famous  sin. 


Science  Discovers 
the  Secret  of 

Caruso's 

Wonderful  Voice 


Why  i»  it  that  the  humble  peasant  boy  of  Italy 
became  the  greatest  singer  oj  all  time  '     Thie  dia- 
gram  oj  his  tkrat   trill  show  you.    Caruso's  mar- 
velous  voire  uas  due   to  a  superb  dexelupment  of 
./:/"     'jtossue   musete.       lour    Huo  •  Gluteus 
muscle  can  be  developed,  toot    A  good  voice  • 
ma ^e  better— a  weak:  voice  become  ttrung- 
•mmering  and  etutter'tij  i 
•Science  will  help  i«/u. 

Your  voice  can  be 
improved  100 /C 

A  few  very  fortunate  persons— like  the  late 
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Hyo-Glossus  muscle  before  his  voice  was 
perfect.  You  can  develop  a  beautiful  singing 
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is  strengthened  by  correct  training.  Pro- 
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music  centers  of  Europe  for  his  success  in 
training  famous  Opera  Singers— discovered 
the  secret  of  the  Hyo-Glossus  muscle.  He 
devoted  years  of  his  life  to  scientific  research 
and  finally  perfected  a  system  of  voice  train- 
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are  to  be  you'  own  judge — if  your  voice  is 
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His  Students 

Hundreds  of  famous  singers  bare  studied  with 
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If  you  want  to  improve  your  speaking  voice— if 
you  stammer  or  stutter— Professor  Feuchtingsr 
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Prof  Feuchtinger's  Book  FREE 

You  will  do  yourself  a,  greet  and  lasting  good  by 
studying  this  book  "Enter  Your  World.  It  may 
be  the  first  step  in  your  career.  Do  not  delay. 
Mail  the  coupon  today. 


Perfect  Voice  Institute 

1922  Sunnyside  Ave.,  Studio  12.76     Chicago 

-end  me  FREE  Pro  ■  nffer's  book  . 

"Enter  Your  World."  1  have  put  X  opposite  th. 
subject  that  intercuts  me  most.  1  assume  no  obli- 
gations wbati 


Sejatia; 


.Staaaaernf Weak  Vein 


."-" .    i 


A;, 


(Ninety-five) 


nrr 


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Greed 

{Continued  from  page  93) 

are  both  dead  men.  A  choking, 
bitter,  galling  rage  flares  up  in 
McTeague  and  lie  beats  Marcus  over 
the  head  with  the  butt  of  his  gun. 
Marcus  falls,  dragging  McTeague 
down  with  him.  McTeague  tries 
vainly  to  rise.  .  .  .  He  cannot.  .  .  . 
He  is  handcuffed  to  Marcus.  .  .  . 
Now  he  sits  staring  at  the  poured-out 
gold  pieces  touched  into  flame  by  a 
cruel  hot  sun.  ...  A  little  bird  lights 
daintily  on  the  head  of  the  dead  mule. 
...  It  cocks  its  little  head  toward 
the  heap  of  gold.  .  .  .  McTeague 
nods  gravely  .  .  .  once  or  twice.  .  .  . 


Current  Stage  Plays 

{Continued  from   page  6) 

"Lightnin'."  A  comedy  that  crosses 
your  heart — the  one  that  Frank  Bacon 
made   famous. 

"Sally,  Irene  and  Mary."  One  of  the 
best  musical  shows  that  have  ever  blessed 
the   comedy   stage. 

"So  This  Is  London."  George  Cohan 
poking  fun  at  American  and  British 
temperaments.     Not   original   cast. 

"The  Dancing  Girl,"  a  song,  dance  and 
laugh   fete. 

"The  First  Year,"  a  comedy  about 
"breakers    ahead"   on   the   honeymoon. 

"The  Passing  Show,"  as  usual  a  gor- 
geous   revue. 

"Whispering  Wires,"  a  mystery  play 
that   raises   the  hair. 


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Good  music. 


LIFE 
By  Dorothy  Quick 

Life,  once  I  loved  you,  when  I  was  young, 

Nodded    assent    when    your    praises    were 

sung, 

Trustingly  yielded  myself  to  your  sway, 

Followed   your    precepts    day    after   day. 

Now,  I  no  longer  am  under  your  spell. 
As    i    grow    older    I    know   you    too    well. 

Know  you  will  cheat  me  whenever  you 
can, 

Break  me  or  make  me,  just  as  you  plan. 

Life,  I  shall  laugh  at  you  when  I  am  old. 
Perhaps  you  will  wonder  what  makes   me 
so    bold — 
And    I    shall   answer   you    with   my    last 

breath, 
Mine  is  the  triumph,  tho  victory  means 
death. 


Let  Arthur  Murray 

(The  Vanderbilts*  Instructor) 

Teach  You  to  Dance 


Why    Miss    Half 
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ing, etc..  send  25c.  Learn  in  private,  surprise  your 
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Studio  829  290  Broadway,  N.  Y. 


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method.  No  canvassing  or  soliciting.  We  show  you 
how,  guarantee  you  steady  work  at  home,  no  matter 
where  you  live,  and  pay  you  cash  each  week.  Full 
particulars  and  booklet  free.     Write  to-day. 

AMERICAN  SHOW  CARD  SYSTEM  LIMITED 
Authorized  and  Fully  Paid  Capital.  One  Million  Dollars 
207  Adams  Bldg.  Toronto,  Canada. 


(Ninety-six) 


We  Guarantee  to 

Stop  Falling  Hair 

And  Grow  New  Hair 
Or  Money  Refunded 

The  tlay  of  experiment  in  hair  treatment 
has  passed.  Science  has  discovered  new 
principles — a  method  absolutely  and  un- 
qualifiedly guaranteed  in  zvriting,  to  stop 
falling  hair,  and  to  grow  new  hair  in  90 
days  or   money    refunded. 

This  offers  you  a  test  which  it  is  folly 
not  to  make.  For  it  will  cost  you  nothing 
it   it   fails. 

What  it  is 

It  is  called  the  Van  Kss  Liquid  Scalp 
Massage.  It  penetrates  active  germ  com- 
bating elements  directly  down  to  the  hair 
roots,  and  combats  the  infected  scalp  oil 
(Sebum)  to  which  modern  science  traces 
of   all   hair   troubles. 

Results  are  amazing,  often  almost  in- 
credible. And  in  even-  instance  you  must 
be  satisfied,  or  money  refunded. 

If  your  hair  lacks  lustre  and  life,  if  it  is 
thin  and  falling,  by  all  means  try  this  new 
way.  Your  trouble  is  probably  a  simple 
infection,  usually  quite  easy  to  overcome. 
Actual  tests  prove  the  Van  Ess  method 
effective  in  91  cases  in  every   100. 

Obtain  today  a  full  90-day  treatment  of 
\  an  Ess  Liquid  Scalp  Massage  at  an) 
partment  or  drug  .store.  With  it  will  come 
a  guarantee  in  ivriting  as  your  protection 
if  it  fails.  Results  will  prove  a  revelation. 
If  your  dealer  cannot  supply  you,  use 
Coupon  below.  $1.50  for  single  bottle. 
$4.50  for  three  with  guarantee. 


VAN   ESS 

LABORATORIES 

17   East    Kinzic 
Chicago,    III. 


Do  A'of  Enclose  Money 

Mail    this    coupon    and    pay    postman    on    de- 
livery. 

VAN     KSS    I.ALtORATORI  K.S. 

17   East    Kinzie  Street.   Chicago,   111. 
Please  send ...    bottles  ot"   \"an   Ess  to  me.      I 
will    pay    postman    $ on   delivery. 

Xante     


Address     

Ci'y    Slate 


OPPORTUNITY    MARKET 


AGKNTS  WANTED 


inioi       \\  I  It*    Qui.  k    i' 

.ni.l       ; 

Am.  rl.  all    III. Ik'..   flnctmuitl,    Ohio, 

Noll    Madison    "Hotter    Mode"    Milrtu  .llr.-.t    from 
No   •  ipltal    or   •  \ ]••  i  ii-ii. . 

required,        l.-llj      mill.        B 

ipl-    nllllipll'H.        MllilUi.li  Iwiljf,     V     Y. 

FILMS  DEVELOPED 

Any 


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"I'.'t    for    .;,       prlnl  -    !»c    •  ■ "  h.      Oi ernli  : 

FREE     M   in.       \-k    for    di  tail*.      Roanoke 
I'll.. to    Finishing   Co..    li»7    Hell    Ave.,    Itoiinokc,    Vil. 

MAIL  ORDER  METHODS 

$30   A    WEEK    l  \  I  M\<.^    HOM1        I 
with    small    mall   order    business   started    "ith   IB- 
Booklet    tor    stamp    tells    how.      Bample   una    plan 
Bts.      I    doien   articles   free,      1    im-i   ,v»»   (or 

:  i.    Colines.    N.    V. 

MOTION  PICTURE  BUSINESS 

*3.-».00  PROFIT  NIGHTLY.     Small  capital  Marts 

Ontflta   sold  on   Instruments.     No   ezperle 

needed,     "or   machines   are   used   and   endorsed   by 
Government     Institutions.      Catalog     tree.      Atlas 

■Moving    1'leture    Co..    I'M    Morton    IUiIk.,    Chicago, 

NEWS  CORRESPONDENCE 


BARN  *■:.•>  WEEKLY,  spar.-  time,  writing  for 
newspapers,    magaalnes,      Experience    unneci 

details   free.     I'ross   Syndicate.    .'.DO.    St.    Louis.    Mo. 

PATENTS 

PATENTS.  Write  for  Free  Illustrated  Guide 
Book.  Send  model  >.r  sketch  for  free  opinion  of 
Its  patentable  nature,  Highest  references.  Prompt 
attention.     Reasonable  Terms.     Victor  J.   Brans  & 

i'....  621   Ninth.  Washington,  l>.  C. 

PERSONAL 

ARE      YOU     BASHFUL,     SELF-CONSCIOUS, 

easily  embarrassed?  These  troubles  overcome. 
Send  dime  for  particulars.  L.  Veritas,  1  100 
Broadway,    New    York. 


PHOTOGRAPHS 


Real     .Mexican    Realities. 
sample      assortment.         Astei 

Salvador    144,    Mexico   City, 


Semi    doUar    hill    for 
Art     Studios,     s   L, 
Mexico. 


PHOTOPLAYS 


ATTENTION,  STORY  AND  IMIOTOI-I.Xi 
WRITERS — The  service  you've  been  looking  tor. 
KegUter  your  .Scenarios  anil  Stories  with  as. 
We  give  each  story  a  reference  number  and  keep 
iile  in  Los  Angeles  where  pictures  an-  made. 
Send  your  story  today  for  registration  with  us, 
pnclose  si. on  stamps  or  cbeck  covering  our  regis- 
tration fee.  THE  REGISTRY  COMPANY,  1106 
Lane    Mortgage    Bldg.,    Los    Angeles,    Calif. 

state  your  minimum  sale  price.  We  charge  ten 
(to)  per  cent  if  we  sell  your  story. 
Successful  Photoplays  Brinjr  Big  Money.  Send 
for  our  free  book,  "Successful  Photoplays,"  which 
gives  instructions  <.n  photoplay  writing  and 
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SSS    For    Photoplay    Ideas.     Plots    accepted    any 
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SHORT  STORIES 


BARN  *;.">  MEEKLY,  spare  time,  writing  for 
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Producers'    League,    441.    St.    Louis,    Mn. 

Stories,  Poems,  Plays,  Etc.,  are  wanted  for  pub- 
lication. Good  Ideas  bring  his  money.  Suhn.it 
MSS.  or  write  Literary  Bureau,  134  Hannibal,  Mo. 
FREE  TO  WRITERS— A  wonderful  little  ho.Tk 
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Dept   14,   Auburn,  N.   T. 

STAMPING  NAMES 

Stamp    Names    On    Key    Checks.  Make    119    per 

100.    Some  make  .<lo  dally.     Either  s..v.     \v..rk  can 

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VAUDEVILLE 

■I  T  ON  THE  STAGE.  I  tell  you  how!  Per- 
sonality, confidence,  skill  developed,  Experience 
unnecessary.  Send  6c  postage  for  instructive 
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LaDelle,    Hox    657,    Los    Angeles,    Cal. 


a  week 

for  Drawing 


COMMERCIAL  art  is  a  n 
siiy    in    modern    business    and 
advertising.     If  you  like  to  draw. 
you  are  indeed  fortunate— for  well 

trained  artists  arc-  always  at  a 
premium.  They  readily  earn  $75, 
$100,  $150  a  week,  and  even  more. 
Many  Federal  Students  command 
week  or  more  after  a  short 
period  of   practical   work. 

Learn  Quickly  at  Home 
in  Your  Spare  Time 

Develop   your    talent — learn    the   methods 
and    secrets    that    make    your    drawings 
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advertising   drawings  and   d 
No    i  revioua    training    or    experii 
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which    clearly    explains    each    step,    and 
gives    you    individual   personal    criticisms 
on   all    your    Its- 

Leading    designers,    artists,    illustrating 

companies    and     hundreds    of     sn. 
Federal    Students    have    enthusiastically 
endorsed      Federal     Training.        Among 
Federal    Authors,    whose    help    j 
exclusively    in    the     Federal    Course,   arc 
many   of    the   best    known    artists   and    de- 
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'./  hundred* 
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Send  Today  for 

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It   is  beautifully  illustrated   in 

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I    Students,    mam     of    whom 
more   than    : 
tng.       The     Federal 
is    aimed    at 
practical    results 
and    gets    them.       If 
you    arc     in     earnest 
about      your     future. 

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COUPON! 


Federal  School  of  Commercial  Deorninr 

1013  Federal  Schools  Bid*..  Minneapolis.  Miss. 

send    me    "Your    Kuturc"    for   which    I 
nts   in   stamps. 


Na  tnc . 


Occupa-     ■ 

I   address  pi...  argtnt 


(Ninety-seven) 


<\Iks  Jwelij  Slender 
figure  /xKOURS 

This  Beautiful  Woman  *Y0U 

It  is  natural  to  be  beautiful.    Every  woman  is  by 

nature  beautiful.  Only  when  artificial  influencesinterfere 

does  the  human  body,  Nature's  most  beautiful  product, 

lose  its  grace,  slenderness,  or  symmetry.  The  delicious 

foods  of  our  modern  civilization  are  so  tempting  that 

one  eats  too  much.    Machinery  does  so  much  of  our 

work  that  we  exercise  too  little.    The  result  of  this  of 

course,  is  disfiguring  fat— yet  underneath  every  stout 

fleshy  figure  lies  the  lovely  slender  figure  that  is 

yours — the  beautiful  woman  that  is  you. 

LET  THIS  FAMOUS  SPEC 
lAUST'S  PRESCRIPTION  REDUCE 
IN    THIS   EASY    NATURAL  WAY 

Dr.  R.  Lincoln  Graham,  famous  stomach 
specialist  of  New  York,  altera  lifetimeof  re- 
search at  home  and  abroad  has  solved  the 
problem  of  counter-acting  the  fattening 
effect  of  modern  methods  of  living.  After 
countless  experiments  he  finally  has  per- 
fected his  prescription  known  as  Neut- 
roids,  which  neutralizes  sugars.and  star- 
ches taken  into  the  stomach  and  prevents 
them  from  form  ing  into  fat.  His  marvelous 
prescription,  Neutroids,  has  been  pre- 
scribed for  more  than  two  years  to  the 
thousands  of  stout  women  who  have  called 
athissanitariumforobesity-treatmentwith 
complete  success.  Most  important  of  all, 
there  is  not  the  slightestelement  of  danger 
in  taking  Neutroids  treatment  for  super- 
fluous flesh.  Neutroids  contain  no  thyroid 
extract  or  other  dangerous  or  habit  form 
ingdrugs— yet  they  are  guaranteed  by  Dr. 
Graham  to  effect  satisfactory  reduction. 

SEND  NO  MONEY— SATISFACTION  GUARANTEED 

No  bother  to  make  out  a  check  or  little  packet  of  Neutroids  arrives,  de- 
money  order;  merely  fill  in  and  send  posit  purchase  price  with  postman, 
this  convenient  coupon  now.  If  you  This  money  will  be  immediately  re— 
haven't  your  pencil  handy  tear  out  the  funded  if  you  write  us  that  you  are 
coupon  and  send  it  later.    When  the    not  entirely  satisfied  with  results. 

Dr.  R.  Lincoln  Graham,  care  of  The  Graham  Sanitarium,  Inc.,  123  East  89th  Street.  Dept.  426 
New  York  City:— Send  me  2  weeks'  treatment  of  Neutroids  which  entitles  me  to  free  professional 
mail  consulting  service  and  free  booklet  on  Obesity.  I  will  pay  postman  $2  (plus  15c  postage)  on 
arrival  of  the  Neutroids  in  plain  package.  I  understand  my  money  will  be  refunded  if  I  do  not 
get  a  satisfactory  reduction  from  this  2  weeks'  treatment. 

Name Age Sex 

Address Weight 


NO  CHARGE  for 
Professional  Con- 
sulting: Service 

Any  patient  who  is  tak- 
ing the  Neutroids  treat- 
ment may  feel  free  to 
call  at  the  Sanitarium, 
123  E  89th  St  .New York, 
for  special  advice,  or  you 
may  feel  free  to  write 
fully  concerning1  your 
case.  Dr.  Graham  or  a 
staff  physician  will  give 
you  professional  advice 
without  charge. 


Special  Summer  Offer 

$4.50 

Send  order  to 
175  Duffield  Street,     Brooklyn,  N.  Y. 


J.MLY0N6C6 

2~4 Maiden  LanaNeu)Yoik 


Wonderfully  Simple  To  Use 
Simply  Wonderful  In  Results 


BATH 

TREATMENTS 
NO  DIETING 
NO  EXERCISING 
NO  HARMFUL  DRUGS 

A   scientific  medical  compound  containing  absolutely  harmless 
ingredients  that  wiJlrednee  your  weight. 

Morels  dissolve  one  BELCOR  carton  in  yonr  daily  bathand 
si  ,  VMin-»'lt  trrow  slimmer,  healthier,  more  beautiful. 
Send  no  money:  just  moil  y"Ur  order  and  pay  the  postman 
SH.nO  plus  postak-e  upon  delivery. 

Deaartptmt  Booldtt  Free 

DR.  L.  OSBORNE  CO.  220  Fifth  Avenue 

lablimhed  t»U  New  York 


Elinor  Crlyn  and 

xnree    Vveeks 

To  Adele  Whitely 
Fletcher  and  Gladys 
Hall  Miss  Glyn  con- 
fides how  she  wrote 
her  most  sensational 
novel.  The  work  she 
expects  to  do  in  the 
motion  picture  field 
promises  to  be  as  in- 
teresting as  her  fic- 
tion. 

I  tie  Jack  Pickfords 
at  Home 

A  glimpse  of  the 
home  life  of  Jack  and 
Marilyn  is  given  by 
Harry  Carr  who  vis- 
ited them  in  their  at- 
tractive Spanish  cot- 
tage near  Hollywood 
where  they  are  having 
a  second  honevmoon. 


Al 


so- 


Besides  these  two  fea- 
tures there  will  be  a 
number  of  other  inter- 
esting things  for  you. 
This  is  a  number  that 
you  will  regret  miss- 
ing. Be  sure  to  see 
the 

OCTOBER 

MOTION  PICTURE 
MAGAZINE 

On  the  stands  September  First 


(Ninety-eight) 


cCihe   silks   most   popular  for   Fall  and   Winter  are:  — 

PUSSY  WILLOW  FAMILY— Taffeta  •  Crepe  •  Satin  •  Canton  Crepe  •  Satin  Crepe  with  the  latest  addition  of  Pussy  Willow  Moire 

BUTTERFLY  VOILE  SUZANNA  CREPE  CHINCHILLA  SATIN  CHENILLE  ROSHANARA  CREPE 

MOLLY  O'CREPE  KLO-KA  VELORA  BROCADE  INDESTRUCTIBLE  CHIFFON  VOILE  CHIM-R'NG 

(OlHCxMallinjon  TraJc  c^Mai-l  cVamn) 


Palm  and  Olive  Oils 
—  nothing  else  —  give 
nature's  green    color 

to    l'u  I  mo  live    Soap 


"Beauty  That  tyres 


Often  you  meet  a  woman  with  vivid  beauty  that 
exerts  an  irresistible  charm.  It  doesn't  depend  upon 
regularity  of  features,  or  the  color  of  eyes  and  hair. 
A  smooth,  fresh,  flawless  skin — a  complexion  glow- 
ing with  the  radiance  of  health  and  free  from  im- 
perfections— this  is  the  secret  of  alluring  attraction. 

Cleopatra  had  it,  and  her  name  will  always  be  the 
symbol  of  all-conquering  beauty.  She  perfected  this 
beauty,  and  kept  it  in  this  perfection  in  a  simple, 
natural  way  which  history  has  handed  down  for 
modern  women. 

How  She  Did  It 

By  thorough,  gentle,  daily  cleansing  which  kept 
the  texture  of  her  skin  firm,  fine-grained  and  smooth. 
Dirt,  oil  and  perspiration  were  never  allowed  to  col- 
lect, to  enlarge  and  irritate  the  tiny  skin  pores.  The 
lavish  use  of  cosmetics  practiced  by  all  ancient  wo- 
men did  her  no  harm,  because  every  day  she  carefully 
washed  them  away. 

Her  secret — palm  and  olive  oils,  valued  as  both 
cleansers  and  cosmetics  in  the  days  of  ancient  Egypt. 
The  crude  combination  which  served  the  great  queen 
so  well  was  the  inspiration  for  our  modern  Palmolive. 

Bedtime  Is  Best 

Your  daily  cleansing  is  best  done  at  night, 


•\ 


so  your  complexion  may  be  revived  and  refreshed 
during  sleep.  The  remains  of  rouge  and  powder,  the 
accumulations  of  dirt  and  natural  skin  oil,  the  traces 
of  cold  cream  should  always  be  removed. 

So,  just  before  retiring,  wash  your  face  in  the 
smooth,  mild  Palmolive  lather.  Massage  it  gently 
into  the  skin.  Rinse  thoroughly  and  dry  with  a  soft 
towel. 

In  the  morning  refresh  yourself  with  a  dash  of 
cold  water  and  then  let  your  mirror  tell  the  story. 
Charming  freshness  and  natural  roses  will  smile 
back  at  you. 

Once  Costly  Luxuries 

When  Cleopatra  kept  her  loveliness  fresh  and 
radiant  by  using  Palm  and  Olive  oils,  they  were  ex- 
pensive. Today  these  rare  and  costly  oils  are  offered 
in  a  perfected  blend  at  modest  cost.  Palmolive  fac- 
tories work  day  and  night.  Palm  and  olive  oils  are 
imported  from  overseas  in  vast  quantities. 

The  result  is  soap  for  which  users  would  willingly 
pay  25c,  but  which  costs  only  10c,  the  price 
of  ordinary  soap.  The  firm,  fragrant, 
green  cake,  the  natural 
color  of  the  oils,  is  for 
sale  the  world  over.  ^^0B 

r Ar'-SS 1 


cb 


\ 


©n 


^O 


\ 


A   BREWSTER    PUBLICATION 


A  1  '    -    -      ^ 


Z\[ature's  Qreen 

Palmolive  takes  its  color  from  the 
palm  and  olive  oil  blend  which  is 
responsible  for  its  mildness.  It  is 
as  much  nature's  own  color  as  the 
green  of  grass  and  leaves. 

Remember  this  when  you  are  en- 
joying its  wonderful  cleansing 
-lualities  and  marveling  at  its 
mildness.  Palmolive  is  a  modern, 
scientific  blend  of  the  most  per- 
fect soap  ingredients  that  the 
world  has  been  able  to  discover 
in  3,000  years. 


Palm  and  olive  oils 
— nothing  else — give 
nature's  green  color 
to     Palmolive    Soap. 


Reflecting  Beauty  Seer 

of  the  Pa 


Women  of  ancient  Egypt  knew  that  cleanli- 
ness was  the  first  aid  to  beauty.  But  they 
knew,  too,  that  cleansing  methods  must  be 
mild,  gentle. 

Famous  Egyptian  beauties  solved  the  problem 
by  using  palm  and  olive  oils.  The  same  rare, 
natural  oils  are  blended  in  Palmolive  Soap 
today. 

How  it  acts 

This  gentle,  thorough  cleanser  never  leaves 
skin  dry  and  rough. 

The  smooth,  creamy  lather  actually  soothes 
as  it  cleanses.  Yet  it  removes  every  trace  of 
dirt,  perspiration,  and  surplus  oil  accumulated 
in  the  tiny  pore  openings. 

Your  skin  is  kept  rree  of  imperfections  which 
result  from  pore-clogging.  It  remains  fresh, 
soft,  radiantly  clear. 

How  to  use  it 

Never    sleep    without    cleansing    the    skin. 


i 


Wash  with  this  mildest  soap  at  bed- time- 
massaging  the  creamy  lather  well  in. 
Then  rinse  very  thoroughly.     Dry  the  skin 
well,  and — if  necessary — apply  cold  cream. 

Mornings — just  an  invigorating  rinse  in  cold 
water  to  bring  the  fine,  natural  color  to  your 
cheeks. 

Supreme  quality — low  price 

This  scientific  combination  is  within  the 
reach  of  all-  at  the  price  of  ordinary  soap. 
PalmoliveSoap  is  produced  in  suchenormous 
quantities  that  the  price  is  brought  extremely 
low.     Thus  25c  quality  costs  but  10c. 

Everyone  can  afford  this  thorough,  gentle 
cleanser—  for  every  toilet  purpose,  hands, 
face,  and  the  whole  body. 

Supply  yourself  today  withacake  ofPalmolive 
Soap.  Once  you  experience  the  effects  of  its 
profuse,  creamy,  smooth  lather  no  other  soap 
will  satisfy. 


' 


"«*• 


Copyright  1923— The  Falmolive  Co.  1!>SG 


Protect  Yourself  Against  These 
Sudden  Embarrassments  ! 


A  chance  meeting  on  the  street,  an  unex- 
pected invitation,  a  cup  of  coffer  suddenly 
overturned,    an    introduction    to    ionic    person 

of  note these  are  the  occasions  that  demand 

complete  self-possession,  that  demand  calm- 
ness and  ease.  Those  who  become  flustered 
and  embarrassed  under  circumstances  like 
these,  instantly  betray  the  fact  that  they  are 
not  accustomed  to  good  society.  But  those 
who  retain  a  calm  dignity,  who  know  exactly 
what  to  do  and  say,  impress  others  with  their 

fine    breeding and    protect    themselves    from 

humiliation 


DO  YOU  know  the  comfort  of  being 
always  at  ease-  of  being  always  sure 
of    yourself,    calm,    dignified,    self- 
possessed  ! 

li  is  the  most  wonderful  feeling  in  the 
world.  You  don't  have  to  worry  about 
making  blunders.  You  don't  have  to  won- 
der what  people  are  thinking  of  you.  You 
don't  have  to  wish  that  you  hadn't  done  a 
certain   thing,  or  said  a  certain   thing. 

The  next  time  you  are  at  a  dinner  or  a 
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Some    of    the 

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Make 

At  a  certain  thea- 
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a  theatre  -the  man 
or  the  woman?     Do 


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(Three) 


BARKLY    THEATRE 

gt.Kilda.  Victoria. 
Australia 


THE  MAGIC  NAME  IN  ENTERTAINMENT 

THE  WORLD  OVER 


YOU  whose  lives  are  spent  in  one 
locality  may  have  a  dim  idea  of 
the  thousands  of  other  communities 
keenly  enjoying  Paramount  Pictures 
at  the  same  moment. 

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States  have  seen  for  yourselves  that 
Paramount  is  always  mysteriously  there 
ahead  of  you ! 

But  world-travelers  can  add  still 
another  chapter  to 
the  story ! 

They  know  that 


FAMOUS  PLAYERS  LASKYCORPORATION 

AOOLPH   ZLIKOR.Pws/Ant 


Paramount's  fame  is  blazoned  through 
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Japan,  or  Australia. 

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the  name  Paramount  (perhaps  the 
only  English  term  they  know),  is  a 
magic  word  because  it  means  to 
them  just  what  it  means  to  you  — 
"to-night's  the 
night  for  a  great 
show ! " 


^Paramount  0*Uturvs 

If  it's   a    Paramount    Picture   it's   the    best  show   in    town  ! 


(Four) 


1 

< 


COVER  PORTRAIT— ALICE  TERRY 
Painted  bj  E.  DaW 

The  Second  Crusade,  An  Apologj    and  an   Explanation 11 

Our  Portrait  Gallery:     Douglas  Fairbanks,   Peggy  Shaw,  Zazu 

Pitts,  James  Kirkwood,  Norman  Kerry,  Dorothy  Dalton \1 

The  Camera  Man's  Angle,  Mr.  Bausch  Lens  talks  to Harry    Con-     IS 

Famous   Heroines  No.   1.     (lain-    Windsor  as   1  hi    Marry 21 

Foreign  Films,   European  9tudios  at  a  glance Maurice    R 

Divine  Discontent,    \n  interview Faith    s 

Scaramouche,  A  character  study  of  Ramon   Navarro 

Ashes  of  Vengeance,  Fiction ...  .Patricia 

The  Drama  of  the  Decalogue,  Pictures  from  De  Mille's  "Tin-  Ten  Commandments"  ....     32 

Elinor  Glyn  on  the  Technique  of  the  Screen Ivery  Strakosch    34 

After  Rembrandt,  A  poetic  portrait  of  Richard  Barthclnicss 35 

The  Promise  Fulfilled,  The  winners  of  our  contests  who  have  left  obscurity  behind 

"Fifteen  Men  on  a  Dead  Man's  Chest!" 

The  Powers  Behind  the  Screen,  The  first  of  ;i  series  of  live  articles Stanton    Leed 

Hollywood  Homes,  Harold  Lloyd  and  Mildred   Davis 4<i 

An  Old  Story,  Vera  Gordon's . .' Faith  Service    42 

Jean  Arthur,  Sauce  piquante! 43 

The   Photographer  Takes  the   Stage,  Our   theatrical   department 44 

Iris  In,   Pertinent  and   impertinent   screen   comment H.    II.    Hanemanm     40 

The  Celluloid  Critic,  Selects  "Hollywood"  as  the  best  photoplay  of  the  month Laurence   Rcid    47 

The  Rime  of  the  Ancient  Ham,  With  apologies  to  Coleridge I     H.   Giebler    50 

Blow  Your  Own  Horn,  Fictionized Dorothy   Donnell    .-<-' 

Flashes  From  the  Eastern  Stars,  Of  the  stage,  on  the  screen Caught  by  the  Edit, 

On  the  Seven  Hills  of  Rome,  Beautiful  and  authentic  "White  Sister"  backgrounds 

Classic  Considers The  great  and  the  near  great 60 

A  Camera  Study,  George  Walsh  becomes  an  .esthete 61 

The  Hollywood  Boulevardier  Chats Horry    Cat 

The  Movie  Encyclopedia By  The  .  Insvuer  Man    70 


iption  $2.50  per  year,   in  advance,  including  postage,   in   the    United   States!   Cuba,   Mexico  and   Philippine   Islands.      In  Canada 
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Published  Monthly  by  Brewster  Publications,  Inc..  it  Jamaica,  N.Y. 

Entered  at  the  Post  Office  at  Jamaica,  V.   ) '.,  j>  second-class  matter,  under  the  act  of  March  3rd.   IS79. 

PRINTED    IN    U.    S.    A. 

Eugene  V.  Brewster,  President  and  Editor-in-Chief ;  Guy  L.  Harringion.  Vice-President  jnJ  Business  Manager;  L    G.  Conlon.  Treasurer ; 

E.   M.   Heinemann.   Secretjrv. 

EXECUTIVE    and    EDITORIAL    OFFICES.    175    DUFFIELD    ST.,    BROOKLYN,    N.    V. 

Copyright.  1923,  by  Brewster  Publications,  Int.,  in  the  United  States  and  Great  Britain. 


SUSAN  ELIZABETH   BRADY.  Editor 
ADELE   WHITELY    FLETCHER.   Managing   Editor 

Harry    Carr Western     Representative 

A.  M.  Hopfmuller Art    Director 

Duncan  A.  Dobie Director    of    Advertising 

This  magazine,   published   monthly,   comes  out   on   the   12th.      Its  elder   sister,    the    Motion    Pictvre    Magazine,    comes   out    on    the 
1st  of  every   month.     Skadowlahd  appears  on   the  23rd   of   the   month.      BKAUTV   is   on    the   stands   on   thi     S 


Announcement  for  November 

"Only  in  the  little  cave  behind  the  camera  do  you  come  hack  to  the  Occident  .  .  . 
for  there  you  will  find  Raoul  Walsh,  the  director  .  .  .  and  Mrs.  Woods,  the  technical 
director,  who  has  studied  Bagdad  until  she  knows  more  about  it  than   Mohammed  did. 

"And   there   they   sit  .  .  .   making   the   world's    greatest    fairy    story." 

Harry  Carr 

Do  not  overlook  the  story  of  Douglas  Fairbanks'  next  picture  in  the  November 
Classic.     It  is  screen  history! 


(Five) 


I 


If  He  Had  Passed  It  Up 

He  Would  Still  Be  A  Laborer  At  $2  A  Day.  No 
IVbney,  Nothing  Ahead  But  Hard  Work,  Longer 
Hours— and  Regrets.     But  He  Didn't  Pass  It  Up. 

lit  decided  lo  learn  Mechanical  Drawing.  He  buckled 
down  to  work  with  the  Columbia  School  of  Drafting. 
When  lie  had  a  quiet  half  hour  to  spend  he  spent  It — 
as  a  wise  man  spends  money — to  get  full  returns. 
MADE  $275  EXTRA  IN  3  DAYS.  He  recently  received 
.f^7.r>  for  one  drawing  that  only  took  him  three  days  to  draw. 
NOW  HOW  ABOUT  YOU?  Are  you  working  up  hill  or 
down?  Count  the  money  in  your  pay  envelope  next 
nay  day.  You'll  find  the  answer  there. 
MAKE  $35  to  $100  a  WEEK.  We  will  train  you  to  he 
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YOU  NEED  NO  PREVIOUS  TRAINING.  The  course 
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What  We  Give  You 

PRACTICAL  PROB- 
LEMS. Y'ou  are  carefully 
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Drafting  work. 
WE  HELP  YOU  GET  A 
JOB.  We  help  you  get  a 
position  as  a  practical 
Draftsman  as  soon  as  you 
are  qualified. 
PERSONAL  INSTRUC- 
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THE  COURSE.  You  re- 
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Claflin.  president  of  the 
Columbia  School  of  Draft- 
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Draftsman  of  many  years' 
experience. 

DRAFTSMAN'S  EQUIP- 
MENT.  We  furnish  you 
with  a  full  set  of  Drawing 
Equipment     and     Drafting 


Instruments  as  shown  in 
tile  picture  below  when 
you  enroll.  Y'ou  keep  both 
sets  on  completing  the 
course. 

CONSULTATION  PRIVI- 
LEGES. You  are  free  to 
write  us  at  any  time  for 
advice  and  suggestions  re- 
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DIPLOMA.  The  diploma 
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your  proficiency  as  a 
Draftsman.  It  is  an  "en- 
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FREE  SUBSCRIPTION 
TO  DRAFTSMAN'S 
PUBLICATION  ''THE 
COMPASS."  You  are 
given  free  a  subscription 
lo  our  helpful,  inspiring 
publication"The  Compass." 


Given  to  Students  ^^^^^^r 

U.  S.  Civil  Service  Commission  Needs  DRAFTSMEN 

The   following   are  a   few  of   the  many  positions  open  in 
Government  Departments  from  time  to  time.     The  salaries 
are   slatting   salaried,  subject  to  increase.     Practically   all 
of  them  carry  a  bonus  of  $240  a  year  additional. 
Architectural    Designer.    $4,000. 
Chief   Draftsman    (Aeronautical)    Naval  Air- 
craft  Factory — $15.04  per  day. 
Aeronautical     Draftsman — Field     Service    of 
Navy   Department — $5.20  per  day  to  $12 
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gives  full  details  of  our  special  offer  to  those  who  reply 
promptly. 

THE  COLUMBIA  SCHOOL  OF  DRAFTING 

Roy  C.  Claflin,  President 
Dept.  2147.  14th  &  T  Sts.,  N.  W.  Washington,  D.  C. 

f ------- FREE  BOOK  COUPON ------- », 

|   COLUMBIA    SCHOOL    OF    DRAFTING, 
Dept.  2147.    14th   and   T  Sts.,    N.   W., 
Washington.    D.   C. 

Knter    my    name    for    a    tree    subscription   to    "The  * 

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I   secure  your  complete  Home  Study   Course  and  your  ■ 
.   help  in  securing  a  position  as  Draftsman. 

.    Name J 

!   Address ' 

J    City • 

1    State Age ' 


Current  Stage  Plays         \ 

{Readers   in  distant   towns  will  do   well  to   preserve   this   list   for   reference   when   these 
spoken  plays   appear   in   their  vicinity.) 


"Tweedles" 

"Rain" 

"In  Love  with  Love" 

"7th  Heaven" 

"Merton  of  the  Movies' 


Ambassador. — "The  Newcomers,"  a  re- 
vue depending  upon  the  performers  rather 
than  on  setting  and  costumes.  Will  Mor- 
risey  does  the  Balieff  stunt  effectively  at 
times.  The  show  falls  short  of  the  gen- 
eral standard  of   Broadway  revues. 

Apollo.  —  "Poppy,"     a    musical    comedy 
which  marks  Madge 
Kennedy's    first    ap- 
pearance  in   a   musi- 
cal  show. 

Ast or .  ■ —  "Dew 
Drop  Inn."  A  return 
engagement  o  f  the 
lively  musical 
comedy,  with  John 
Barton  again  the 
hlack-face  eomedian, 
who  shakes  a 
wicked  foot  and  is 
nobly  supported  by 
Mooney,  his  dawg, 
and  a  superb  tango- 
ing couple. 

Booth.  —  "The 
Seventh  Heaven." 
Hand-made  on  a 
melodramatic  pattern 
in  a  Montmartre 
tenement  in  Paris, 
of  an  admixture  of 
love,  regeneration, 
humor  and  unreality. 
An  excellent  per- 
formance with  Helen 
Menken   starring. 

Broadhur'st. — "The  Good  Old  Days,"  a 
prohibition  divertissement  by  Aaron  Hoff- 
man, with  George  Bickel  and  Charles  Win- 
ninger   the  contrary-minded  gentlemen. 

Carroll.  —  "Vanities  of  1923,"  with 
Peggy  Hopkins  Joyce  leading  the  delectable 
and   innumerable   vanities. 

Casino. — "Wildflower,"  with  lovely  Edith 
Day  flashing  thru  an  exquisite  musical 
score. 

Cohan. — "Adrienne,"  a  musical  comedy 
with  an  unusually  good  chorus.  Billy  Van 
and  Richard  Carle,  the  latter  of  "The 
Spring  Chicken"  fame,  take  care  of  the 
laughs.  Lou  Lockett  and  Alargaret  Ross 
introduce  a  new  dance,  Adagio. 

Cort. — "Merton  of  the  Movies."  In 
which  Glenn  Hunter  self-visualized  as  a 
movie  hero  of  the  "great  open  spaces" 
plays  havoc  with  our  emotions  as  an  arch 
comedian. 

Elliott.— "Rain."  A  bitter  tragedy  by 
Somerset  Maugham ;  a  violent  attack  on 
the  repressions  of  Puritanism.  Jeanne 
Eagels  is  superb  in  the  leading  role. 

Eltingc. — "The  Woman  on  the  Jury,'*  by 
Bernard   K.   Burns. 

Empire. — "Casanova"  a  play  from  the 
Spanish,  adapted  by  Sidney  Howard,  and 
featuring  Katherine  Cornell  and  Lowell 
Sherman. 

Forty-eight.  —  "Zeno,"  a  melodramatic 
mystery  play,  by  Joseph  R.  Rinn,  with 
Effie  Shannon  the  star. 

Forty-ninth. — "Thumbs  Down,"  a  mys- 
tery play,  centering  around  a  District  At- 
torney, a  bootlegger,  a  matrimonial  melee, 
and  a  butchery-  A  poor  successor  to  "The 
Bat." 

Frasee. — "Tweedles,"  a  comedy  written 
by  a  team  of  humorists — Booth  Tarking- 
ton  and  Leon  Wilson.  Gregory  Kelly  and 
Ruth    Gordon    head    the    cast. 

Gaiety.— "Aren't  We  All?"  Cyril  Maude 
in  a  delightful  light  comedy  that  revolves 
around  a  philandering  husband  and  an  in- 
discreet wife.     Mr.  Maude  in  a  Grumpy- 


Classic's  List  of  Stage  Plays 

in    New     York    That    You 

Should    See 


ish  character  sets  a  rare  pace  of  fun  and 
his   support  keeps   it  up. 

Garrick.  ■ —  "The  Devil's  Disciple."  A 
Shaw  satire,  which  as  usual  shows  up  the 
under  side  of  militarism  and  politics.  It 
ends  ungallantly  on  a  triangle.  An  ex- 
cellent show  with  Roland  Young  as  Gen- 
eral Burgoyne  alone 
worth    seeing. 

Globe.  —  "George 
White's  Scandals." 
A  de  luxe  edition  of 
gorgeously  gowned 
beauties  that  make 
scandals  appetizing, 
including  parodies 
on  Chan  ve -Sunn's 
and  the  Moscow  Art 
Theater. 

Greenwich  }'il- 
lac/e.  —  "Brook,"  by 
Thomas     P.     Robin- 


son. 

Hudson.  —  "The 
Crooked  Square," 
by  Samuel  Shipman, 
with  Edna  Hibbard 
and  Ben  Lyon  tak- 
ing the  leads. 

Klazv.  —  ''The 
Breaking  Point," 
dramatized  from 
Mary  Roberts  Rine- 
hart's  popular  novel, 
is  the  vehicle  of 
Lucile  Sear's  stage  debut.  McKay  Morris 
has  the  chief  male  part,  Gail  Kane  is  also 
in  the  cast. 

Liberty.  —  "Magnolia,"  another  Booth 
Tarkington  comedy  with  its  locale  a 
Mississippi  plantation  and  a  Natchez 
gambling  house,  in  the  early  forties.  Leo 
Carillo  takes  the  part  of  a  young 
Southerner  reared  in  the  North,  and 
Martha  Byran  Allen,  the  youthful  favorite, 
that  of  a  charming   Southern  girl. 

Longacre.  —  "Little  Jessie  James,"  a 
musical  comedy  w*ith  Nan  Halperin  as 
Little  Jessie.  The  Paul  Whiteman  band 
dubbed  the  James  Boys  takes  care  of  the 
orchestration. 

Lyceum. — "Little  Miss  Bluebeard,"  an 
Avery  Hopwood  comedy  adapted  from  the 
French,  with  Irene  Bordoni  supported  by 
Austin  Farnum  and  Stanley  Logan. 

Morosco. — "Red  Light  Annie,"  a  melo- 
drama of  the  underworld  dealing  with  the 
drug  question.  Alary  Ryan  in  the  leading 
role. 

Music  Box. — "Alusic  Box  Revue,"  Ir- 
ving Berlin's  1923  extravagant  display  of 
beauty  and  humor. 

National. — "The  Black  Flag,"  a  fantas- 
tic piratical  comedy  with  Pedro  de  Cordoba 
and  Carroll  AlcComas  in  the  leading  roles. 
New  Amsterdam.- — "Ziegfeld  Follies," 
glorifying  the  American  girl  and  featur- 
ing Patricia  Salmon,  the  tent-show  girl  of 
the  Golden  West. 

Playhouse.  —  "A  Alad  Honeymoon,'' 
Barry  Conners'  farcical  melodrama  in 
which  a  fat  housemaid,  a  minister,  and  a 
constable,  educated  by  correspondence,  de- 
luge the  elected  pair — Boots  Wooster  and 
Kenneth  AlacKenna — with  delightful  non- 
sense. 

Palace. — Keith  vaudeville.  Always  a 
good  bill,  and  drawing  more  and  more 
talent  from  the  headliners  of  the  regulars. 
Plymouth.  —  "The  Next  Corner,"  a 
comedy  by  Kate  Jordan,  the  cast  headed 
by  Florence  Eldridge,  Louise  Closser  Hale, 
and   Basil  Rathbone. 

(Continued  on  page  98) 

(Six) 


- 


Ml.M  MiI'iKm    vM/rr.  itaro/ 

Ziegtictd'*   mutual  comedy, 

"Sally" 


Photacraph  by  LtvU-Smllh ,  Chtmoo 


1  CanTeadxTfou  to  Dance  like  This* 

Ser$efMarinofF 

"And  you  can  study  urider  my  personal 
direction  right  in  your  own  home." 


FEW  PEOPLE  living  outside  of 
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Charm  and  Grace 

The  natural  beauty  of  the  body  is 
developed,  an  exquisite  grace  and 
flexibility  cultivated  by  correct  train- 
ing in  classic  dancing.  For  better 
health — for  greater  beauty— for  poise— 
for  slenderness — dance !  Dancing  is 
the  pleasantest  form  of  exercise. 

As  a  means  of  developing  grace  in 
children,  dancing  is  unsurpassed. 
And  with  my  method,  mother  and 
daughter  can  grow  graceful  together. 

And  Fortune — and  Glory 

The  popularity  of  classic  dancing 
grows  greater  every  day.  It  has  won 
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For  the  theatre  —  vaudeville  —  the 
movies — civic  and  college  pageants — 
for  private  social  aSairs — everywhere 


the  dancer  is  in  demand.  Startling 
salaries  are  paid.  And  those  who  can 
dance  for  charitable  entertainments  or 
for  the  pleasure  of  their  friends 
quickly  become  social  favorites.  In 
addition,  one  is  so  much  more  desira- 
ble as  a  partner  in  ball  room  dances 
when  she  has  developed  a  sense  of 
rhythm,  and  cultivated  suppleness 
through  classic  dancing. 

Write  to  Sergei  Marinoff 
Everyone  interested  in  dancing 
should  write  to  Sergei  MarinoS  at 
once  and  get  complete  information 
concerning  his  splendid  system 
of  home  instruction  in  Classic 
Dancing.  This  information  is  free. 
Send  the  coupon  today. 

M.  SERGEI  MARINOFF 

School  of  Classic  Dancing 

Studio  12-77    1924  Sunnyside  Avenue,   Chicago 


iniiiiiiiiiiiiiiii 


M.  Serge/  Marinoff. 

School  of  Classic  Dancing, 

Studio  12-77  1924  Sunnyside  Ave.,  Chicago 

Please  send   me   FREE   portfolio  of  art  plate* 

and  full  information  about  four  home  study 

course  in  Classic  Dancing.    I  understand  that 

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:     Addr 


If ■■! I  Mil  III  III! Illl Illlimilllt 


■  Af 


(Seven) 


The  Most  Darinf*  Book 
Ever  Written  ! 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  book  that  should  be  read  by  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
— it  is  a  penetrating  searchlight  fearlessly  turned  on  the  most 
intimate  relations  of  men  and  women.  Read  below  how  you  can 
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*\X7"ILL  you  marry  the 
»  »  man  you  love,  or  will 
you  take  the  one  you  can 
get? 

If  a  husband  stops  loving 
his  wife,  or  becomes  infatu- 
ated with  another  woman, 
who  is  to  blame — the  hus- 
band, the  wife,  or  the 
"other  woman?  " 

Will  you  win  the  girl  you 
want,  or  will  Fate  select 
your  Mate? 

Should  a  bride  tell  her  husband 
what  happened  at  seventeen? 

Will  you  be  able  to  hold  the  love 
of  the  one  you  cherish — or  will  your 
marriage  end  in  divorce? 

Do  you  know  how  to  make  people 
like  you? 

IF  you  can  answer  the  above  ques- 
tions— if  you  know  all  there  is 
to  know  about  winning  a  woman's 
heart  or  holding  a  man's  affections 
— you  don't  need  "The  Philosophy 
of  Love."  But  if  you  are  in  doubt — 
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ELINOR  GLYN 
The  Oracle  of  Love" 


What  Every  Man  and 
Woman  Should  Know 


— how   to  win   the   man 

you  love. 
— how  to  win  the  girl  you 

want. 
— how  to  hold  your  hus- 
band's love. 
— how    to    make    people 

admire  you. 
— why    men    "step    out" 

and    leave  their  wives 

alone. 
— why    many    marriages 

end  in  despair. 
— how  to  hold  a  woman's 

affection. 
— how  to  keep  a  husband 

home  nights. 
— why  most  women  don't 

know  how  to  make  love. 
— things   that  turn  men 

against  you. 
— how  to  make  marriage 

a   perpetual  honey- 
moon. 
— the     'danger  year"  of 

married  life. 


— how    to    ignite    love — 

how  to  keep  it  flaming 
— how    to   rekindle    it  if 

burnt  out. 
— how  to  cope  with  the 

"hunting   instinct"   in 

men. 
— how  to  attract  people 

you  like. 
— why    some    men     and 

women  are  always  lov- 
able, regardless  of  age. 
— how  to  make  love  keep 

you  young. 
— must  all  men  be  either 

"dubs"  or  devils? 
— how   to   increase   your 

desirability  in  a  man's 

eye. 
— how  to  tell  if  someone 

really  loves  you. 
— things     that     make    a 

woman  "cheap"  or 

"common." 
— how    to    make    people 

do  the  things  you  want 

them  to. 


What  Do  YOU 
Know  About  Love? 

DO  you  know  how  to  win  the 
one  you  love?  Do  you 
know  why  husbands,  with  de- 
voted, virtuous  wives,  often  be- 
come secret  slaves  to  creatures 
of  another  "world  " —  and  how 
to  prevent  it?  Why  do  some 
men  antagonize  women,  finding 
themselves  beating  against  a 
stone  wall  in  affairs  of  love? 
When  is  it  dangerous  to  disre- 
gard convention?  Do  you  know  how  to 
curb  a  headstrong  man,  or  are  you  the 
victim  of  men's  whims?  Do  you  know  how 
to  retain  a  man's  affection  always?  How 
to  attract  men?  Do  you  know  the  things 
that  most  irritate  a  man?  Or  disgust  a 
woman?  Can  you  tell  when  a  man  really 
loves  you — or  must  you  take  his  word  for 
it?  Do  you  know  what  you  MUST  NOT 
DO  unless  you  want  to  be  a  "wall  flower" 
or  an  "old  maid"?  Do  you  know  the  little 
things  that  make  women  like  you?  Why 
do  "wonderful  lovers"  often  become 
thoughtless  husbands  soon  after  marriage 
— and  how  can  the  wife  prevent  it?  Do  you 
know  how  to  make  marriage  a  perpetual 
honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  answers  these  precious  questions — 
and  countless  others.  She  places  a  magni- 
fying glass  unflinchingly  on  the  most  in- 
timate relations  of  men  and  women.  No 
detail,  no  matter  how  delicate  or  avoided 
by  others,  is  spared.  She  warns  you  gravely, 
she  suggests  wisely,  she  explains  fully. 

A  book  of  this  type,  to  be  of  great  value, 
could  not  mince  words.  But  while  Madame 
Glyn  calls  a  spade  a  spade — while  she  deals 
with  strong  emotions  and  passions  in  her 
frank,  fearless  manner — she  nevertheless 
handles  her  subject  so  tenderly  and  sa- 
credly that  the  book  can  safely  be  read 
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to  read  "The  Philosophy  of  Love";  for, 
while  ignorance  may  sometimes  be  bliss, 
it  is  folly  of  the  rankest  sort  to  be  ignor- 
ant of  the  problems  of  love  and  marriage. 
As  one  mother  wrote  us:  "I  wish  I  had 
read  this  book  when  I  was  a  young  girl — 
it  would  have  saved  me  a  lot  of  misery  and 
suffering." 

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Over  75,000,000  people  have  read  Elinor 
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|    The  Authors'  Press     Dept.  182.   Auburn.  N.  Y 

Please  send  me  on  approval  Elinor  Glyn's  master 
piece,  "The  Philosophy  of  Love."  When  the  post- 
man delivers  the  book  to  my  door,  I  will  pay  him 
only  $1.08,  plus  a  few  pennies  postage.  It  is  under- 
stood, however,  that  this  is  not  to  be  considered  a 
purchase.  If  the  book  does  not  in  every  way  come 
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(Eight) 


Make  Your  Honeymoon 

Dreams  Come  True  / 


"Shattered  ideals,  broken  pi  and  the  di* 

bad  habits  and  tendencies  hidden  during  courtship  cl  the  cau 

misery  in  marriage,  weak,  sickly  children  and  divorce      Tin 
elements  are  undermining  the  family  unil  and  eating  away  the  ba  ic  fabric 
ul  our  civilization." — Lionel  Strongfort. 

Be  True  to  Your  Marriage  Vows  ! 

Courtship  days  l»)  the  foundation  <'t  your  future  happiness  or  woe  in  m 
You  have  shown  the  very  best  >nl<-  of  your  charactei   to  tl  I  «irl  who  has 

faith  given  her  body  and  soul  into  your  keeping,     sin-  looks  up  t"  you  ;i^  the  Prince 
Charming  of  her  maiden  dreams    tin-  answer  to  her  prs  .  virile 

husband    a  real  red-blooded  man  capable  of  fathering  healthy  little  on 

Don't  Betray  the  Girl  You  Love 

Her  eyes  are  clouded  by  Romance  and  her  love  fur  you     Slu-  cannot  know  the 
things  about  your  past  that  YOU  know.    Her  judgment  is  prejudiced  and  she  cam 
thru  the  Eyes  oi  Love  your  many  faults  and  weaknesses  thai  arc  so  apparent  I 
else.      You  fear  to  tell  her  that  you  arc  a  victim  of  Youthful  Errors,  bad  habits  and 
excesses     thai  you  arc  a  pitiable  apology  for  a  real  man.     Yet  you  dare  not  deceive  her 
and  wreck  her  happiness. 

Rout  Out  the  Crop  of  Youthful  Errors 

You  have  sown  a  big  crop  oi  "wild  oat-.*'  You  know  quite  well  that  the  «irl  you 
love  will  reap  most  of  the  harvest  if  you  continue  in  your  present  weakened  contaminated 
and  devitalized  condition.  YOU  KNOW  THAT — and  you  know  that  her  faith  in  you 
as  a  man  would  not  survive  the  truth.  You  are  facing  the  crisis  of  your  life.  Your 
decision  now  will  influence  your  whole  future  and  hers.  It  looks  dark  and  hopeless  to 
you,  but  there  is  a  way  out  I  can  help  you.  I  have  devoted  my  entire  life  to  the  study 
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You  Can  Be  a  Man  Again 

Brace  Up.      Be  true  to  the  best  that  is  in  you  for  the  sake  of  the  girl  you  love.     You  can  come 
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LIONEL  STRONGFORT 

Physical  and  Health  Specialist 
Department  723  Founded  1895         Newark,  New  Jersey 

Special  Notice: — Lionrl  Strongfort,  thr  World's  Famous  Athlete  and  Physical  mot 
IJcalth  Specialist   hat  achieved  wonderful  results  with   the  Principles  "f  Btrongfortism. 
Thousands  of  pupils  throughout  the  world  have  testified  to  thr  benefits  gained   wsdi  i 
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unon  to  do  exactly  as   he  promises. 


|        Mr.    Lionel   Rtrongfort,   Dept    '."■.    Si  rarl      N      '       PI 

vour    book.     "PROMOTION     AND     CONSERVATION     OF     HEALTH. 
I    STRENGTH     AND     MENTAL     ENERGY."     tot     i 
.   enclose  ■  10c  pine  (cm-  dims)      -  n  <vl«l  Infant 

1   jocts  marked    (X)   below,  a<  well   :i~   • 
|    wllliout   obligation. 


..Colds 

Catarrh 

Hay  Fever 

Asthma 

Obesity 

Headache 
.  .Thinness 
.  Rupture 
,  Lumbago 
.  Neuritis 
.    Neuralgia 

Flat  Chest 
. .  Insomnia 

Bad  Breath 
.  Bad  Blood 
. .  Weak  Eyes 

Anemia 

Debility 

Successful 
Marriage 

m  other  jlIIii 
No  matter  what  al 
i<>  you  tbal 


.Fear 

.Neurasthenia 
.Short  Wind 

Flat  Feet 
.Constipation 

Biliousness 
.Torpid  Liver 

Indigestion 
.  Poor  Memory 
.  Rheumatism 
.  Nervousness 

Gastritis 

Prolapsus 
.  Heart  Weakness 

Poor  Circulation 
.  Increased  Height 

Easy  Childbirth 

Despondency 

Female 
Disorders 

fully 


.   Skin  Disorders 
. .  Prostate  Troubles 

Youthful  Errors 

Vlt.,1  Losses 

Impotency 
.   Vitality  Restored 

Falling  Hair 
.    Deformity  (Describe) 
.    Stomach  Disorders 
.   Successful  Marriage 

Pimples 

Blarkheads 

Round  Shoulders 
.    Lung  Troubles 

Weak  Back 

Drug  Addiction 

Healthy  Children 

Weaknesses    (Specify  > 

Muscular    Development 

Great  Strength 


about   II   and   I   «l 


(Nine) 


Is  It  Worth  The  Price? 

Success  is  the  result  of  intelligent  labor.  It  is  not  acquired 
overnight.  It  comes  thru  well-directed  efforts.  The  same 
law  applies  to  attaining  beauty.  All  women  do  not  inherit 
this  coveted  gift  but  they  can  cultivate  the  integral  parts  that 
go  to  make  up  the  whole — health,  correct  grooming,  grace, 
charm,  and  a  knowledge  of  how  to  dress.  If  one  does  not 
possess  these  things,  time  and  labor  will  bring  them.  The 
means  will  justify  the  end.  Beauty  is  the  best  means  to 
employ. 


WHAT  YOU  CANNOT  AFFORD  TO  MISS 

How  to  Breathe  and  Build  the  Body 
The  Importance  ox  V  itamins 
Personality  and  Perfumes 
Early  Fall  Fashions  and  Style  Service 

The  Memoirs  of  Mme.  Vavara 

A  new  serial  with  a  wide  appeal.  If  you  are  a  young  girl  standing  at  the  threshold  of 
life,  the  frank  confessions  of  a  woman  who  has  lived  deeply  will  be  as  guide  posts  on 
your  journey  thru  life.  If  you  are  a  mature  woman  you  will  appreciate  mure  fully 
the  wisdom  and  truth  embedded  in  the  account  of  Mme.  Vavara's  life  as  written  by 
herself  to  her  youthful  ward  in  a  French  convent.  This  clever  woman,  famous  for  her 
beauty  and  brains,  does  not  hesitate  to  conceal  anything  in  her  own  life  which  she  be- 
lieves will  tend  to  instruct  this  young  girl.  This  story  by  Stanton  Leeds  is  one  to  enjoy 
and  to  remember. 

November 
Beauty  Secrets  for  Every  Woman 


(Ten) 


The  Second  Crusade 

An  Explanation  and  an  Apology 


A  CERTAIN  person  whose  opinion  we  re- 
spect has  said  that  an  editorial  should  be 
more  impersonal  than  our  last  one  was — 
the  one  about  the  movies  as  a  field  of  incredible 
contrast.  But  we  cannot  be  impersonal  about  Mrs. 
Wallace  Reid  and  her  heart-breaking  picture, 
"Human  Wreckage." 

We  confess  to  being  among  those  doubting  ones 
who  questioned  the  motive  and  criticized  the  taste 
of  this  unprecedented  film.  We  went  to  the  open- 
ing night  in  Xew  York  frankly,  out  of  curiosity, 
legitimate  perhaps,  but  with  no  idea  of  praise  or 
even  of  respect. 

And  we,  like  many  others  remained  to  pray. 

No  one  could  impugn  the  motives  of  Mrs.  Reid 
if  they  had  seen  her  standing  up  in  a  box,  after  the 
picture,  while  flowers  in  gracious  tribute  were  laid 
at  her  feet ;  standing  there  white  faced  and  weary- 
eyed,  the  tears  rolling  down  her  cheeks,  very  near 
to   collapse,   a   tragic,   pitiful,   inarticulate    figure. 

Here  is  a  gallant  crusader  who  was  not  deterred 
by    an    adverse    public   opinion ;    who    bared    her 


grief  that  others  might  see  and  be  warned;  who 
has  sacrificed  herself  to  the  common  good  ;  who  has 
consecrated  her  life,  more  than  nobly,  intelligently, 
to  the  elimination  of  a  ghastly  traffic. 

"Human  Wreckage,"  is  a  profoundly  moving 
picture  handled  with  dignity  and  restraint.  There 
is  nothing  cheap  or  sensational  about  it.  Quite  the 
contrary.  A  tremendous  and  unmistakable  sincerity 
animates  everyone  who  had  anything  to  do  with  it. 
It  is  a  grim,  terrific  tragic  indictment  of  stupidity 
and  criminal  indifference  toward  these  "living 
dead,"  whose  pitiable  army  is  vaster  than  you  or  I 
ever  dreamed  of. 

Altho  our  motive  be  likewise  misinterpreted,  we 
say  in  all  sincerity,  that  every  man  and  woman  in 
the  United  States  should  go  to  see  this  picture ; 
not  as  a  Christian  duty,  but  for  the  sake  of  being 
intelligently  informed  on  a  subject  that  has  been 
heretofore  shrouded  in  darkness.  We  realize,  of 
course,  that  the  only  effectual  appeal  is  to  the 
emotions  first.  .  .  .  Well  .  .  .  go  to  see  the  pic- 
ture.  .   .   .   That  is  all  we  ask. 


(Eleven) 


Photograph  by   C.   Smith   Gardiner 


The  second  generation  of  the  movies  is  at 
hand.  We  hope  for  this  boy  who  has 
adopted  at  the  age  of  thirteen  the  profession 
of  his  father,  that  he  may  have  the  vision 
and  courage  of  that  ■well-loved  star 


DOUGLAS  FAIRBANKS,  Jr. 


'hotogriph   £   b?    George   Maillartl    Kcsslere 


PEGGY  SHAW 


Another  Follies  girl  who  has  made  good  on 
the  screen.  Well,  why  shouldn't  they.'  She 
made  her  debut  with  Fox  a  year  ago  and 
will  be  starred  soon  in  "The  Arizona  Ex- 
press," to  be  made  in  the  West 


Photograph  by  Edwin   Bower  Hesser 


Who  has  the  opportunity  of  a  lifetime  in 
"Greed,"  as  the  ill-fated  Trina  Sieppe 


ZAZU   PITTS 


Photograph   by   White  Studios 


JAMES    K1RKWOOD 


Whose   performance   in    "Human    Wreckage" 
is  to  be  commended  for  its  power  and  restraint 


Photograph  by   Freiilich 


This  man  is  almost  too  handsome.     We  would 

suggest  that  some  director  "shoot"  him.    It  would 

certainly  improve  his  picture.     You  may  see  him 

in  "Merry  Go  Round" 


NORMAN    KERRY 


DOROTHY  DALTON 


Is  vacationing   in   Europe   after   the   manner   of 

movie  stars.    She  will  spend  a  great  deal  of  time 

in  England  with   her  father,  and  possibly  make 

a  picture  or-er  there 


The  Camera 


Mr.  Bausch  Lens 
HARRY 


I  DO  NT  know  about  a  man  and  his  valet ;  but  I  know 
that  no   woman   is  a  heroine  to  her  cameraman.     I 
know;  I  am  one  of  them.     From  first  to  last  I  have 
photographed  about  every  star  in  the  business. 

The  hardest  woman  I  ever  tried  to  photograph  is  Ina 
Clare.  She  has  a  difficult  mouth  which  requires  very 
careful  treatment  and  she  will  not  co-operate  with  you  in 
this  treatment. 

She  can  be  very  charming  when  she  chooses ;  but  she 
is  very  sure  of  her  position  in  the  theater  world  and  she 
isn't  too  much  excited  over  the  movies  anyhow.  The 
consequence  is  she  will  not  give  you  the  right  amount  of 
help  necessary  to  solve  the  problem  of  photographing  her 
difficult  mouth. 

On  the  other  hand,  there  is  Mary  Pickford.  Mary 
is  not  the  cinch  to  photograph  that  some  people  seem  to 
suppose.  Oddly  enough,  only  one  side  of  her  face  is 
ever  photographed  in  profile. 

This  was  the  most  exasperating  lesson  that  Ernst 
Lubitsch,  the  German  director,  had  to  learn  when  he 
began  to  direct  in  the  Pickford  studio. 

In  Europe  they  have  an  entirely  different  standard  of 
art.  The  public  in  Europe  does  not  seem  to  insist  that 
every  heroine  be  fatally 
beautiful.  They  recognize 
the  fact  that  plain  women 
might  also  have  a  life  story. 
In  America,  the  movie  pub- 
lic is  frankly  indifferent  to 
the  fate  of  homely  women 
-on  the  screen  at  least. 

The  first  lesson  that  the 


astonished  Lubitsch  had  to  learn  was  that  Mary  Pickford 
had  to  do  all  her  emotional  storms  with  her  right  side  to 
the  camera. 

Mary  helps  the  cameraman  however  so  skilfully  and 
adroitly  that  it  is  a  cinch  to  take  her  pictures.  You  have 
to  take  care  not  to  make  her  face  look  too  long — and  you 
leave  the  rest  to  Mary.  In  the  projecting- rooms  she 
studies  her  own,  face  as  an  Indian  trailer  studies  foot- 
prints. She  is  a  past  mistress  of  make-up  and  she  knows 
how  to  control  her  acting  to  co-operate  in  the  fullest 
way  imaginable  with  the  cameraman. 

Marguerite  Clark  in  her  younger  days,  had  a  round 
baby  face,  but  she  was  not  so  easy  to  photograph  for  all 
that.  She  had  a  way  of  wrinkling  her  brows  that  abso- 
lutely wrecked  your  best  close-ups  unless  you  arranged 
the  lighting  with  great  skill.  The  job  of  photographing 
Marguerite  Clark  was  also  complicated  by  her  sister.  This 
older  sister  is  Miss  Clark's  business  manager  and  general 
guide,  philosopher  and  friend.  She  makes  a  great  deal  of 
trouble  on  the  sets  by  interfering  with  the  arrangements 
of  the  cameramen. 

Another  girl  who  frowns  away  many  good  close-ups  is 
Blanche  Sweet.     Like  a  lot  of  girls  with  real  characters 

behind  their  beauty,  Blanche 
has  somewhat  irregular 
features.  She  has  a  great 
width  at  the  cheek  bones 
and  a  face  that  tapers  so 
rapidly-  that  it  gives  her  the 
appearance  of  having  hol- 
low cheeks  —  which  she 
really   hasn't.     This  effect 


Photograph    by 
Arnold    Genthe 


Did  you  know  that  Blanche  Sweet  (left) 
frowns  away  many  a  good  close-up?  And 
that  Billie  Dove  (above)  is  particularly 
hard  to  photograph?  And  that  John  Barry- 
more  (above)  'looks  beautiful  from  any 
angle?  And  that  Nazimova  (right)  directs 
her  own  lighting  and  so  forth? 


Photograph  (left)  by 
Evans,  L.  A. 


Photograph  by 
Hoover  Art  Studio 


(Eighteen) 


Man's  Angle 


Confesses  To 
CARR 


lias  to  be  overcome  with  lighting.  Another  difficulty  you 
have  to  look  out  for  with  Blanche  Sweet  are  her  eye- 
brows. When  she  frowns,  it  gives  the  odd  effect  of  eye- 
brows that  grow  straight  across  and  meet.  I  do  not  wish 
to  give  the  impression  that  she  is  not  a  beautiful  girl ; 
because  she  is.  The  difficulty  is  that  she  has  certain  fea- 
tures which  cast  photographic  shadows. 

To  my  mind,  the  most  beautiful  girl  on  the  screen  is 
the  hardest  to  photograph.  This  is  Mae  Murray.  With 
that  little  rose-bud,  bee-kissed  mouth,  her  aura  of  golden 
hair  which  stands  about  her  head  like  a  golden  haze ;  and 
her  lithe  beautiful  body,  she  is  a  perfect  picture.  But 
these  effects  are  not  easily  achieved.  The  cameraman 
has  fairly  to  burn  her  up  with  lights. 

She  spreads  a  white  coat  of  liquid  make-up  that  is  like 
kalsomine  over  her  whole  face  before  she  goes  on  the 
let    Her  bare  legs  and  body  are  practically  painted  white. 

On  the  sets,  they  put  a  strong  back  light  behind  her 
which  makes  that  beautiful  hazy  effect.  They  hit  her 
full  in  the  face  with  strong  sunlight  arcs.  I  dont  see 
how  she  ever  stands  it  without  going  blind.  No  girl  on 
the  screen  ever  used  anything  like  the  light  and  the  make- 
up. She  is  very  particular  about  her  photography,  but 
she  knows  her  job  and 
knows  how  to  help  the 
cameraman. 

The  direct  opposite  is 
Lillian  Gish.  She  uses  al- 
most no  make-up  at  all. 
Beyond  a  little  powder,  Lil- 
lian is  photographed  just 
"as  is."     Where  most  girls 


spread  on  make-up,  Lillian  gets  the  same  results  by  skil- 
ful lighting.     She  is  lucky  in  having  the  same  photogra- 
phers for  many  years.     Billy  Bitzer  has  reduced  pi. 
graphing  Lillian   Gish  to  an  exact  science.     He  knowi 
every  curve  and  angle  to  shoot  from  and  to  shoot  at. 

Carol  Dempster  is  a  photographic  problem  ju>t  in  the 
exact  ratio  that  you  can  get  her  to  do  her  hair  up  on  her 
head.  Her  eyes  are  lovely.  When  she  raises  her  hair 
up  on  her  head,  her  eyes  become  the  center  of  the  picture. 
When  she  used  to  insist  upon  wearing  it  in  long  cork- 
screw curls,  it  framed  her  face  and  made  it  lo6k  thin. 
Like  most  young  girls,  however,  she  thought  it  made  her 
look  too  old  to  wear  it  on  top  of  her  head. 

The  most  extraordinary  instance  of  a  woman  refusing 
to  help  the  cameraman  was  Doris  Keene.  She  is  too 
great  an  artist  to  be  young  and  the  evidence  of  her 
maturity  is  beginning  to  show  at  the  corners  of  her  mouth. 
In  "Romance"  she  absolutely  insisted  upon  using  the 
same  costume  she  had  worn  during  the  long  and  tri- 
umphant runs  in  London.  One  feature  of  this  costume 
was  a  pair  of  jingly  crystal  earrings.  The  result  wat 
that  your  eye  was  caught  by  the  glitter  of  one  ear- 
ring   and    traveled    instinctively    to    the    other    earring, 

straight  across  the  line  of 
her  mouth. 

One  stage  star  nearly 
drove  the  cameramen  to 
drink ;  that  was  Laurette 
•Taylor. 

She  is  a  high-tempered, 
headstrong  woman  of  bril- 
liant   mind    and    obstinate 


Photograph  by 
W.    F.    Seel > 


Photograph    ©    by 
Strauss    Peyton 


You  wouldn't  believe  that  Tommy  Meighan 
(left)  was  a  difficult  camera  subject;  or  that 
Constance  Talmadge  (above)  was  even 
more  so;  or  that  Bert  Lytell  (above)  was 
in  the  same  class,  as  well  as  that  appealing 
Carol  Dempster  (right).     Now  would  you? 


(Nineteen) 


CLASSIC 


^nilMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIUMIIMIIIIIIIUIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Illlll 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 

Life's  Little  Ironies  in  Verse 


By 


EXPERIENCE 
Constance  Blessing  Smith 


(~)H,  once  I  loved  deeply, 

(Some  women  do  this; 
They    fling   all   their    freedom 
Away  in  a  kiss.) 

Yet,  wisdom  or  folly, 

That  course  lived   its  day, 

At  present  I'm  using 
A    much   safer    way. 

For  now  I  love  lightly, 
I  love  with  a  laugh, 

The  thrill's  quite  as  pleasing, 
The    trouble — one   half. 


will.  When  she  made  "Peg  O'  My  Heart,"  she  presented 
a  fearful  problem.  She  is  a  woman  of  mature  years,  as 
everyone  knows,  with  a  grown  son.  To  make  her  look  a 
girl  of  fourteen  was  considerable  of  an  undertaking. 

When  the  picture  was  first  started,  she  was  very  wilful 
and  insisted  on  having  her  own  way  in  every  particular. 
She  nearly  drove  the  cameramen  to  suicide. 

Finally  they  resolved  to  discipline  her.  They  took  the 
pictures  exactly  as  she  directed  them  to  be  taken.  Then 
they  took  her  into 
the  project ing-room 
and  showed  her 
how  they  looked. 
That  cured  her. 
From  then  on,  she 
was  a  lamb  in  their 
hands  and  turned 
out  a  marvelously 
beautiful  picture  in 
which  most  of  the 
close-ups,  by  the 
way,  were  made  by 
placing  her  at  quite 
a  distance  from  the 
camera  and  using  a 
telescopic    lens. 

Even  some  of  the 
great  beauties  of 
the  screen  are  hard 
to  photograph.  One 
of  the  most  difficult 
I  ever  saw  was 
Billie  Dove,  who 
was  a  wonderfully 
beautiful  girl.  She 
had  a  bad  shadow 
on  her  face.  If  you 
threw  the  light  on 
her  face  to  kill  this 
shadow,  you  made 
her  face  look  flat 
and  broad. 

The  same  is  true 
in  a  lesser  degree 
with  Constance  Tal- 
madge.  Constance 
is  one  of  the  most 
beautiful  girls  on 
the  screen  and  one 
of  the  hardest  to 
photograph. 

Norma  Talmadge 
is  a  very  curious 
problem  for  the 
cameraman.  In  any 
one  position.  Norma 
is  not  difficult  to 
"shoot"' :  but  when 
she  turns  her  head, 
it  spoils  the  show — 
in  other  words,  any 
one  aspect  of 
Norma  is  a  compar- 
atively easy  task, 
but    changing    versions    of    Nonna's    face    are    difficult. 

Alice  Joyce  is  much  more  beautiful  than  she  screens; 
Mrs.  Wallace  Reid,  much  more  slender;  Priscilla  Dean 
not  nearly  so  tall ;  Andree  Lafayette  taller,  Marion 
Davies.  fairer,  face  and  hair,  and  so  on.  It  is  just  as 
true  to  say  that  the  camera  changes  us  all  (a  little)  as 
to  say  the  camera  does  not  lie.  I  can  see  both  sides  of 
that  argument. 

Nazimova  would  be  a  homely  woman  but  for  the  art 


UNRECOGNIZED 

By  Frieurich  vox  Falkexburg 

T~)0  not  weep,  little  stars, 

Because   the   meteor 
Passed  you   by   without   a 
Word  of   friendly  greeting. 

One   I   have  known    for  years, 
Today  rushed  swiftly  by 
Without  a  smile  or  nod  .  .  . 
And  yet,  I  do  not   weep. 


By 


ROOTS 
Dorothea    Dali.ett 


FATALITY 
By  Helexe  Mullins 

LIE  had  lived  so  long 

In   despair's   shadowed  cell 
That  when   success  came 
Its  sudden  brilliancy 
Blinded  him. 

It  was  his  destiny 
To  live  in  darkness. 


WHY? 
By  Lee  Shippey 


WfE  rail  at  life, 

And  yet  we 
To    see    a    white 
Passing   by. 


sigh 
hearse 


ANACHRONISM 
By   Albert   Brush 

VOU  lean  indolently 

Against  the  ship's  rail, 
There  are  six  wild  geese  in  the  sky 
And  three  white-breasted  birds 
On  the  water. 

What  right  have  you 
In  a  Japanese  print? 


J I Ml, 1 1 II II  Illlll  t II II II ill!!!' illinium  Milium  I  I.IIIIUIIIHIIIIMIIH.IIIIIIM'IIHI  llll  1 1 


and  brains  she  u>es  in  getting  herself  photographed. 
Every  close-up  of  this  great  Slavic  actress  is  practically  a 
painting  in  which  she  herself,  dictates  the  lights  and 
shades  and  composition. 

Mary  Astor,  a  new  comer  to  the  screen,  has  about  the 
most  perfect  set  of  screen  features  I  have  ever  shot. 
Actually,  this  young  girl  is  rather  insignificant-looking 
but  she  photographs  like  a  million  dollars.  There  is  only 
one  bad  angle  and  that  is  a  three-quarter  view  with  her 

head  drooped. 
These  youngster- 
are  no  trouble  at  all. 
They  do  just  what 
the  director  tells 
them  to.  Give  them 
a  few  more  years 
tho,  and  they'll  be 
directing  the  direc- 
tors. It  is  those  who 
are  midway  in  their 
experience  that 
make  the  trouble 
for  us.  and  cause 
endless  retakes. 

What  applies  to 
the  women  also  ap- 
plies to  the  men  of 
the  screen. 

The  easiest  he- 
star  to  photograph 
is  John  Barrymore. 
He  has  a  profile 
like  a  cut  cameo. 
His  manner  i  - 
charming ;  every  at- 
titude is  grace  per- 
sonified; his  fac< 
one  of  the  most  ex- 
pressive and  mobile 
it  has  ever  been  my 
privilege  to  shoot. 
It  is  true  that  he  is 
a  bit  temperamental 
and  one  can  never  be 
wholly  sure  that  he 
will  be  there,  but  if 
he  is.  there  is  no 
trouble. 

Valentino  would 
be  easy  to  photo- 
graph were  it  not 
for  his  ears.  He 
has  very  small  and 
misshapen  ears 
which  the  camera- 
man has  to  be  care- 
ful to  hide. 

Tommy    Meighan 
is  rather  hard  to 
photograph,   an< 
is  Bert  Lvtell. 

Dick'  Barthel- 
mess,  altho  willing 
and  anxious  and 
handsome,  presents  considerable  difficulties.  His  face  is 
somewhat  broad  and  has  to  be  watched  carefully.  Ramon 
Navarro  is  another  handsome  youngster,  but  be  is  easy. 
Character  actors  always  present  a  stiff  problem.  Some- 
times their  make-up  is  so  grotesque  that  the  mere  elonga-  j 
tion  or  exaggeration  of  a  single  feature  will  burlesque  a 
most  serious  effort.  For  all  its  problems  my  job  is 
interesting,  a  regular  handbook  of  human  psychology.  I 
wouldn't  give  it  up  for  the  world. 


I   HAVE  chased  a  butterfly, 

I  have  dreamed  a  dream, 
I  have  floated  miles  and  miles 
Down  a  summer  stream. 

I  have  always  thought  to  find 

Deep    reality, 
Something  always  led  me  on 

But  eluded   me. 
Will   I  ever  find  that  thing 

Rooted  like  a  tree? 

Passing  loves  I've  often  felt 

Deep   within   my  heart. 
Stab  they  did  but  passed  away — 

Of  me  were  no  part. 

Now  my  own  has  come  to  me, 

Happiness    I've   found ; 
I  am  rooted  like  a  tree 

In   the   solid   ground; 
No  more  errant,  restless  thoughts, 

No  more  roaming  'round. 


B] 


DOULEUR 
A.  R.  Wagneb 


WHEX  a  girl 

With  youth  and   prettiness, 
Glances  at  a  man 
Demurely  under  shadowed  lids. 
With   carmined   lips  apart 
In  half  a  smile. 
And  elicits  no  response — 
It  is  worse 
Than  the  tragedy 
Of  the  first  grev  hair. 


iimiiiiiiiiiiiiMmimitiiiiiititil 


(Twenty) 


MARIE-JEANNE  DU  BARRI 

Famous    Heroines    No.    1.      Posed    by    Claire    Windsor 

Here  is  Madame  Du  Barri's  own  description  of  herself  taken  from  her  memoirs:  "My  lovely  face, 
my  locks  which  waved  most  enchantingly  over  my  eyes,  which  were  melting,  sparkling  and  liquid 
as  crystal,  my  mouth,  small  and  red  as  a  cherry,  my  delicately  formed  nose,  my  excessively 
fair  skin,  my  elegant  and  sylphlike  figure,  in  fact,  the  perfect  beauty  of  my  person  made 
my  mother  conceive  the  greatest  hopes  of  success."  Everyone  knows  of  the  tragic  "success"  of 
the  little  milliner's  girl  with  Louis  XV,  that  eventually  led  her  an  ignominious  dance  to  the  guillotine 


(Tzventy-ouej 


There  is  an  air  of  nobility  about  Alma  Rubens,  with 

her  sculptural  early  Italian  face,  the  fine  pallor  of  her 

skin,  the  remoteness  of  her  eyes.    .    .    . 


Divine  Discontent 

By  FAITH  SERVICE 


Alma  is  frank,  too,  frank  and  direct.  She 
doesn't  "set  the  stage."  She  talks  like'  one 
young  person  to  another,  without  an  ever 
present  sense  of  "I  wonder  how  this  will 
look  in  print." 

Some  gelatin  goddesses  might,  for  in- 
stance, think  it  more  judicious  not  to  say 
that  they'd  leave  the  screen  if  they  could 
do  something  else  better.  Not  Alma.  Be- 
tween you  and  me,  we  hope  that  she  doesn't 
leave  the  screen  even  if  she  does  develop 
into  an  Edith  Wharton  or  an  Anzia 
Yzierska  or  something.  For  we  cant  im- 
agine Alma  doing  anything,  even  writing, 
better  than  she  does  screening.  It  would 
be  a  pity  to  hide  her  sculptural,  early-Ital- 
ian face  behind  a  noiseless  typewriter.  Her 
art  is  noiseless,  as  it  is,  why  not  leave  well 
enough  alone? 

Besides,  it  will  probably  seem  incredible 
to  most  fans  to  know  that  to  be  a  star,  a 
cinema  celebrity,  is  not  enough.  To  be 
feted  and  adored,  publicized  and  pictured, 
and  bowed  down  to — what  more  could  the 
heart  of  a  maid  demand  ? 

But  the  heart  of  Alma  Rubens  desires 
more. 

Over  the  Honey  Dew  melon  at  the  Ritz, 
our  talk  went  something  like  this : 

Alma  :  I-  wish  to  goodness  I  could  be  a 
writer.  I  wish  it  so  much  that  I've  begun 
to  try  my  hand  at  it,  and  if  I  succeed  .  .  . 
(gesture  of  eliminating  several  studios.) 

Myself:  Well,  if  you  do,  what  then? 
(Continued  on  page  76) 


r 


N  a  recent  article 
in  a  fan  maga- 
zine Alma  Ru- 
bens is  referred  to 
as  "a  Duchess"  and . 
other  elegant  things. 
We  get  the  point, 
exactly.  There  is  an 
air  of  nobility  about 
Alma.  Perhaps  it 
lies  in  her  seeming 
abstraction ;  a  sense 
of  noble  detachment  from 
the  more  harassing  and 
mundane  things  of  life;  a 
sort  of  plastic  serenity ;  a 
garment  of  glamour  cover- 
ing undertones  of  purple 
and  passion.  Or  it  may  lie 
in  the  set  of  her  head,  poised 
and  proud;  in  the  remote- 
ness of  her  eyes,  when  she 
is  gazing  into  space;  in  the 
fine  pallor  of  her  skin,  the 
firm  modeling  of  her  lips. 

But  Alma  is  red  blooded 
as  -well  as  blue  blooded.  She 
is  human  as  well  as  haughty. 


(Twenty-two  J 


Renee 


This  is  Alma  as  we  shall  see  her  in  "Under  the  Red  Robe."  But  she 
is  not  satisfied  with  motion  picture  starring.  She  wants  to  write.  .  .  . 
She  says:  "I  admire  most  those  people  who  are  able  to  sacrifice  every- 
thing   .    .    .    for  the  sake  of  the  thing  they  most  want  to  do  and  can  do  best" 


(Twenty-three) 


Foreign 

European  Studios 
MAURICE 


agree  to  meet  each  other  later,  at  a  fixed  date,  to  relate 
what  has  happened  during  their  separation.  The  girl 
arrives  in  her  luxurious  dress,  happy  at  her  success,  and 
the  boy  sends  a  mutual  friend  with  a  letter.  He  cannot 
come,  he  is  very  ill,  and  about  to  die.  But  as  films  now 
require  happy  endings,  George  Pearson,  who  wrote  this 
story,  was  obliged  to  modify  the  epilog.  And  we  then 
know  that  all  this  is  the  story  of  the  book  our  young 
author  is  writing. 

FRANCE 

It  is  not  the  first  time  that  two  producers  have  directed 
together  a  picture  in  France.  This  happened  before  the 
war  at  the  Pathe  studios.  And  now,  two  good  directors. 
L.  Mercanton  (who  made  "Phroso"  and  many  other  films. 
one  of  which,  with  the  late  famous  stage  actress  Mme. 
Rejane)  and  Rene  Hervil,  have  presented  their  new  photo- 
play "Sarati  the  Terrible."  This  is  a  story  of  adventure 
which  takes  place  in  Africa  and  which  has  proved  very 
lucky  to  French  producers. 

Two  brothers  who  are  rivals  and  who  will  find  at  the 
end  a  nice  looking  girl  who  will  happily  metamorphose 


"'  I  'HE   English   studios   are   just   like 
the  American  ones,"  Betty 
Compson  said  to  me  when  I 
saw  her  for  the  first  time  at  the 
studios  of  the  Famous  Players- 
Lasky  in  London,  "I  mean  this 
one,"  she  added,  thus  confirm- 
ing what  Mae  Marsh  had  said 
previously. 

Before  us  the  studio  No.  1 
presented  the  aspect  of  the 
Paris  Moulin  Rouge,  with  its 
orchestra,  its  crowds  of  dancers, 
while  the  electric  wings  of  the 
mills  were  turning  slowly.  Some  of 
the  dancers  were  considering  the  Ameri- 
can star  with  considerable  curiosity.  On 
his  pedestal,  near  the  camera,  Graham  Cutts, 
the  director,  smiled  at  us  from  time  to  time. 
"He  is  a  very  clever  producer,"  said  Betty, 
*'I  am  glad  to  work  with  him,  and  I  like 
the  story  so  much  besides." 

"Woman  to  Woman"  is  the  title  of  the 
play  which  ran  so  successfully  in  England, 
and  which  will  be  the  name  of  the  British 
film  in  which  Betty  Compson  plays  lead. 
She  will  be  seen  as  a  dancer  of  the  Moulin 
Rouge,  where  an  Englishman  (Clive  Brook) 
will  notice  her  and  fall  in  love  with  her. 
And  both  will  be  happy  ...  at  the  end 
of  the  picture. 

"Love,  Life  and  Laughter,"  otherwise 
called"The  Story  of  Tip-Toes, "the  new  film 
directed  by  George  Pearson,  has  obtained  a 
legitimate  success.  It  tells  us  of  the  adven- 
tures of  an  ambitious  girl  (Betty  Balfour) 
who  succeeds  in  her  ambition  to  become  a 
music-hall  star,  and  of  a  boy  (Harry  Jonas) 
who  remains  as  he  is,  a  poor  author.     Both 


At  the  top  of  the 
page  is  Maria 
Corda  as  Delilah, 
in  the  Austrian 
film,  "Samson 
and  Delilah."  Left 
i  s  little  Miss 
Myrtle  Peter  who 
is  appearing  with 
Betty  Compson 
in  the  British 
made  picture, 
''Woman  to 
Woman."  Below 
is  Pasteur  (cen- 
ter) played  by 
Charles  Mosnier 
ifl  the  French 
photoplay  of  that 
name 


Films 

v  .1  Glance 
ROSETT 


the  eternal  triangle  into  a  quadrangle,  and 
iti,  the  villain,  are  the  principal  characters 
if  tins  new  photoplay  which  has  many  good 
qualities  and  is  among  the  best  pictures  lately 
made  in  France. 

t  hi  the  occasion  oi  the  celebration  "f  the 
centenary  of  the  great  scientist  Pasteur,  Jean 
Benoit  Levy  made  a  picture  which  follows 
faithfully  the  principal  episodes  of  the  life 
of  the  tamou>  benefactor  of  humanity.  In 
spite  oi  its  actuality,  this  is  a  very  interesting 
picture  possessing  the  advantage  of  being 
educational  and  also  at- 
tractive as  a  story  when  it 
shows  to  us  how  Pasteur 
made,  after  long  hesita- 
tions, his  first  experience 
on  the  body  of  the  little 
Meister.  The  role  of  Pas- 
teur is  perfectly  revived 
by  Charles  Mosnier. 

ITALY 


I  had  the  opportunity 
of  meeting  Carmine  Gal- 
lone,  one  of  the  best  of 
the  Italian  producers. 
Speaking  to  him  of  the 
nt  situation  in  Italy. 
I  referred  to  what  I  wrote 
in  Classic  about  my  visits 
to  that  country. 

"You  are  right."  he  re5 
plied,  "many  mistakes 
have  been  made  in  my 
country.  A  few  producers 
among  my  friends  as  well 


as  myself  have  seen  the  danger, 

have  decided  to  take  steps  to  alter  things. 
We  have  formed  a  Consortium  which  will 
he    for   Italy   what   'The   Allied    Artists'    1- 
for  the  States.     It  includi 
Righelli.  A.   1'alermi  and  myself.      But  no 
doubt    we    shall   be   joined    by    others,    by 
(iuazzoni   (the  producer  who  made  'Mes- 
salina'),  for  instance.    We  shall  not  • 
to  pay   frequent   visits   to  other  countries 
in  order  to  see  what   is  being  made  there 
and  to  follow  the  progress  of  others." 
Carmine   Gallone   has   just   completed   a 
[Continued  on  page  86) 


Above  is  Albert  Bassermann  as 

Christopher  Columbus,  the  title 

role   of   a   German   film 


At  the  top  of  the  page  is  a  scene  from 
"Jola."  a  Russian  picture  in  the  typically 
Russian  manner.  Above  is  Soava  Gallone, 
an  Italian  star,  as  the  daughter  from  the 
Italian  film,  ,,The  Poor  Mother."  Left  is 
a  scene  from  another  desert  picture,  "Sarati 
the  Terrible,"  a  French  photoplay  with 
two  directors 


Photograph    by    Aubert 


'  Twenty-five) 


Scaramouche 

"He  was  born  with  the  gift  of  laughter  and  a 
sense  that  the  world  was  mad." — Rafael  Sabatini 

Ramon  Navarro,  in  a  striking  study  by  W.  F.  Seely  in  the  title  role  of  Rex  Ingram's  "Scaramouche" 


:.*~>,,l  *>-  -r 


(Twenty-six) 


Ashes  of  Vengeance 


By  PATRICIA  DOYLE 


1AM  Anne  de  Breux.  1  am  a  little  girl  and  a  cripple. 
1  have  many  long  hours  with  nothing  to  do,  so  I  have 
decided  to  write  down  the  story  oi  mj  sister,  my 
itiful  sister,  Yoeland.     It  is  an  exciting  tale,  full  of 

thrills  and  romance,  and  while  it  was  happening,  nobod) 
I  much  attention  to  me,  but  1  kept  m\  eyes  open  and 
;ned  and  thought,  and  my  darling   Rupert   and  his — 

that  i».  Yoeland  told  me  of  the  things   1  could  not  see. 

Yoeland's   story   really   began   when   my   brother,   the 

Ote  itc  la  Roche,  brought  home  to  our  castle,  M.  Rupert 

Vrieacs  as  his  bond  servant.    The  De  Vrieacs,  altho 

they  are  Huguenots,   are   as  noble   and  of   as   ancient  a 

lineage  as  our  own.     It  is  another  story  how  the  last  scion 

its  illustrious  family  came  to  be  a  bond  ser- 
vant of   ours,   and   perhaps    1    would   better 

tell  that  first. 
The  De  Vrieacs  and  the  De  Breux 

were  bitter  enemies,   had   been    for  g 

several  generations.     Altho  I  can-  i    I 

not     understand     how      anyone 

could    hate    either    Rupert    or 

Charles,  the  feud  between  our         ^| 

families  was  started  by  the 

unhappy    and    unfortunate 

marriage    of    Yvonne    de 

Marbleu   and    Raoul    de 

Yrieac,    and    has    been 

ended  only  by  the  mar- 
riage of But    I 

must  not  tell  the  end 

of  my  story  first. 
It    was    after    the 

cruel     massacre     of 
Bartholomew's 

day,    when    Rupert 

was  the  affianced  of 

Margot    de    Vain- 

ceoire,     another 

Protestant.     My 

brother  Charles, 

who  is  irresistible  to 

women,  who  wears 

lace  at  his  wrists, 

tho  they  are  hard 

as  steel  with  gallant 

sword  play,   had 

started    a    flirtation 

with  the  Vainceoire, 

a  f  roward  piece,  to  be 

sure.  He  did  it  mere- 
ly to  annoy  and  har- 
ass his  enemy  Rupert. 

but  the  girl,   it   seems, 

took    it    seriously,    and 

when  young  Rupert  found 

her  in  the  arms  of  Charles, 

he  immediately   challenged 

him  to  a  duel. 

Now  these  are  hot-blooded 

times  and  altho  I  am  young  and 

carefully  guarded  the  reports  of 

these  stirring  conflicts   reach  even 

my  secluded  life.     The  Comte  de  la 

Roche  is  one  of  the  finest  swordsmen 

in  France,  but  Rupert  bested  him  and  in- 
stead of  taking  his  life  as  is  customary,  pre 

(Twenty-seven) 


Mimd  ins  Libert;  to  him  with  intuiting  I  do 

not  understand  these  amenii  but   I   know  it 

humiliated  my  brother  to  a<  i  epl  anything  from  nil  enemy. 
h  was  intolerable  to  one  of  his  proud  spin' 

life   to   One   he   hated,    and    <   bailee    dreamed    and    thought 
of  nothing  but  re\cnge. 

I  le  got  it  much  sooner  than  he  expet  ted  it,  too.    It 
during  the  terrible  days  oi  August,  1572,  and  the  I 
that  Margol  de  Vainceoire  was  in  Paris  and  a  Huguenot, 

and  that  Charles  was  also  there  and  .1  I  atholie,  that  he 
was  able  to  guarantee  her  safe  e-cape  from  the  city.  He 
saw  tO  il  thai  she  was  not  one  of  the  thousands  of  mar- 
tyred Protestants  whose  blood  will  forever  cry  for  ven- 
geance on  the  house  of  the  De  Medici.    The  price 

he  exacted  of    Rupert    for   the   safety  Of   hi> 

fiancee  was  five  years  of  serfdom  in  our 

household.      He  was   revenged    indeed. 
The  ignominy  was  now    I  )e  Vrn 
but    Rupert   has  borne   himself 
nobly     and     comported     himself 
with  such  exceeding  honor  that 
out  of  the  ashes  of  vengeance 
has   come   at   last   love,   tri- 
i,        umphant  and  gloriou-. 

When    Rupert    first   came 
to  Castle  de  la  Roche  in 
my    brother's   train,    he 
was  treated  exactly  like 
any  other  of  our  servi- 
tors.     His   mien    was 
haughty  and  unbend- 
ing, not  at  all  that  of 
a  servant,  but  he  was 
never    insubordinate 
in  the  performance 
of  his  duties,  tho  it 
must  often  have 
chafed    and   galled 
his     proud     spirit. 
Charles  seemed  to 
take  particular  de- 
light in  humiliating 
him    and    as    for 
Yoeland,  well,  she 
treated   him   worse 
than    the    scullions 
that    helped    in    the 
great  kitchen.     That 
is.    she    ignored    him 
altogether,   or   if   she 
wanted   any    disagree- 
able  duty   done  she 
would  say.  "Here,   fel- 
ow,  take  this  refuse  out 
to    the     swineherd,    and 
make   haste  to   return.      I 
want  my  hound  plucked  and 
brushed  before  even." 
Such    unwelcome    tasks    were 
usually  left  to  the  lowest  meni- 
als  in   our   retinue,   and   the   fact 
that  Rupert  performed  them  always 
with  a  grave  and  deferential  courtesy 
often  gave  my  sister  to  blush.    Yoeland 
was  a  ravishing  woman,  with  hair  like  a 
falcon's  wing  and  skin  like  the  red  and  white 


CLASSIC 


The  fascinating  Comte  de  la  Roche  with  his  men  in  the  inn 
fought  the  duel  that  resulted  in  intensifying  the  family 


roses  that  clambered  over  the  castle  wall.  When  she 
blushed  she  was  more  than  beautiful.  Rupert's  mouth 
was  stern  but  his  eyes  laughed,  laughed  at  Yoeland  when 
she  ordered  him  about  and  that  made  her  self-conscious 
and  uncomfortable,  and  she  ordered  him  about  the  more, 
and  played  harder  than  ever,  the  great  lady.  Sometimes 
I  was  wont  to  think  Rupert  did  it  on  purpose,  tho  of  that, 
I  cannot  be  sure.  Even  so,  he  must  have  been  dolorous 
indeed  to  be  separated  from  the  lady  of  his  heart  and  to 
be    serving'  in    so    shameful    a    capacity    in    his    enemy's 


household. 

I  loved  him  from  the  first. 
so  tall  and  to  me,  tender  as 
the  mother  I  had  long  since 
lost.  He  used  to  carry  me 
all  over  the  castle  gardens 
in  his  strong  arms,  Yoeland 
walking  arrogantly  before. 
Sometimes  Yoeland  would 
forget  to  be  cool  and  severe. 
"Ah,  Rupert,"  she  once 
said,  in  that  husky  sweet 
voice  of  hers,  that  was  the 
toast  of  all  her  admirers. 
'  'Tis  a  pity  to  see  you 
thus.  I  shall  speak  to  my 
brother." 

"Nay,  Lady,"  Rupert  re- 
plied, drawing  himself  up 
proudly,  "I  pray  you  say  no 
word  in  that  direction.  A 
De   Vrieac  pays  his  debts, 


He  was  so  handsome  and 


ASHES    OF   VENGEANCE 
Fictionized    by    permission    from    the    Joseph    M. 
Schenck  production.     Directed  by  Frank  Lloyd  and 
starring  Norma  Talmadge.     The  cast: 

Yoeland  de   Breux Norma   Talmadge 

Rupert  de  Vrieac Conway   Tearle 

Due  de  Tours Wallace   Beery 

Catherine   de   Medici Josephine   Crowell 

Margot  de  Vainceoire Betty  Francisco 

Comte  de  la  Roche Courtney  Foote 

Charles   IX Andre  de   Beranger 

Due   de   Guise Boyd   Irwin 

Andre    William   Clifford 

Anne    Jeanne  Carpenter 

Vicomte   de    Briege Howard   Truesdale 

Denise    Mary   McAllister 

Philibert  de  Bois Kenneth  Gibson 

Father  Paul Forrest  Robinson 

Lupi    Frank   Leigh 


no     matter    what 
it  cost  him." 

And  then  Yoe- 
land became  more 
aloof  and  cruel 
than  ever.  We  De 
Breux.  alas,  are 
cursed  with  a 
flaming  and  in- 
tractable pride, 
and  Yoeland,  high 
spirited  and  great 
hearted  tho  she 
was,  suffered 
from  it  too.  Even 
after  Rupert  had 
heroically  risked 
his  life  for  u>  in 
a  battle  with  one 
of  the  starving 
wolves  that  oft- 
times  prowl  about 
the  castle,  it  did 
not  alter  her 
mood.  She  seem- 
ed to  resent  the 
fact  that  she.  too, 
owed  her  life  to 
Rupert.  Of  that 
awesome  battle.  I 
cannot  speak,  it 
was  too  terrifying, 
and  altho  I  loved 
and  do  still  love 
my  sister  dearly  I 
fell  out  of  pa- 
tience with  her 
for  her  attitude 
toward  so  gallant 
a  gentleman.  If 
I  had  known  then 
as  much  as  I  do  now,  I  could  have  understood  that 
because  she  talked  of  him  all  the  time,  even  tho  that  talk 
was  all  abuse,  was  that  he  interested  her  more  than  she 
would  have  found  possible  to  admit. 

"You  think  this  oaf,  handsome  little  Anne?"'  she  would 
ask. 

"Yes,  truly."  I  would  answer.     "And  he  is  no  oaf!" 
"Well,  I  like  him  not.    I  find  him  most  ill  favored,  dour 
and  gloomy  as  a  donjon  keep.     I  like  him  not." 

Affairs  progressed  in  this  wise  for  some  time  and  then 
something  happened.  Something  always  happens,  give  it 
but  time.    My  uncle,  the  Vicomte  de  Briege,  came  one  day 

to  pay  us  a  visit.  He 
brought  most  unwelcome 
tidings.  Denise.  his  fair 
daughter  and  my  sweet 
cousin,  he  had  betrothed  to 
the  Due  de  Tours,  a  most 
wicked  and  profligate  man 
but  of  great  estates  and 
riches.  This  was  grievous 
news  to  Yroeland.  for  she 
loved  her  cousin  dearly; 
and  wdien  she  heard  my 
Aves  that  night,  she  wept 
a  little  and  I  could  say 
naught  to  comfort  her. 

"  'Tis  sad.  sweet  sister,  to 
marry  where  you  do  not 
love,"  she  said,  kneeling  be- 
side my  cot,  "and  I  know 
Denise  cares  only  for  that 


where  he  and  Rupert  de  Vrieac 
feud  ten  thousand  times  over 


(Twenty-eight) 


>sic 


impoverished  young  nobleman,  Philiberl  de  Bois.  I  \\  i^h 
I  might  help  hei  Most  certain!)  I  shall  return  with  '>ur 
Uncle  and  give  hei  whal  solace  1  ma)  Fan  you  well, 
bantling,  and  the  good  (  k>d  keep  my  little  ^nne  tree  from 
pain  while  1  am  gone.    I  shall  take  De  \  rieai  as  lacqw 

"Ah,  sister,"  1  entreated,  "subject  him  not  to  this 
further  humiliation." 

"He  i-  our  enemy,  the  enemy  of  our  house,"  she 
peated  in  a  resolute  voice,  as  tho  reminding  herseli 
that  fact. 

\ml  so,  when  my  uncle  returned  to  the  Chateau  Briege 
mpanied  l>y  hi>  niece,  Voeland,  Rupert  was  one  of  her 
entourage.  I  hated  to  see  him  go.  \ltho  everyone  is 
kinci  to  me  here,  from  Nannette,  my  tirewoman,  up  to 
Yoeland,  1  am  often  lonely.  Rupert  \\a>  now  my  dear 
friend,  m\  true  knight,  and  when  we  had  to  part  I  gave 
him  a  talisman.  as  ladies  always  do  when  their  knights 
ride  a-venturing,  to  have  and  to  hold  while  he  should  be 
away.  It  was  a  lock  of  hair,  the  smooth,  fine  flaxen  hair 
clipped  from  the  wax  doll  Charles  had  brought  me  from 
Brittany.  1  wanted  to  give  him  a  lock  of  mj  own,  hut 
1  wasn't  allowed  to  cut  it  and  1  knew  it  wouldn't  really 
matter  to  Rupert. 

They  found  a  gay  party  at  the  Chateau  when  they 
arrived.  There  was  a  temporary  truce  between  the  Catho- 
lics and  the  Huguenots,  and  a  great  many  of  both  sides 
were   there,   including 


occupy  hei  thought*  that  when  the  I'm  de   i 
arrived  to  pa)    I  and  prompt 

attentions  from  I  lenise  to  thi  more  sti  ik  ii 
made  no  effort  to  conceal  hei  dislike  of  the  man 

he   impressed   b)    the   imposing   following   he 
broughl    with    him.      More   and    moi  thought 

Rupert,  but  proud  maul  that  would  not  let  him 

see  it,  only  spared  him  an)    further  humiliation 
hands. 

At  a  gl  '   later    in  thi 

drank  too  much  wine,  became  intO>  i<  ated  b)  tl 

and  quantit)  of  m\  uncle's  hospitality  b)  the  abusi 
n  rather  and  bo  far  forgot  his  high  station  as  to  kit 
little  kit.  hen  wench.      The  girl's  loser  tried  right  valiantly 

to  protect  her  and  the  wicked  Due  ran  him  thru  without 

any  more  ado  than  one  would  -tick  a  wild  hoar  at  a  hunt. 

This  foul  murder,  for  such  it  was,  so  enraged  the  n 

cenaries   that    they   determined   upon    I  And    who 

can    sa)    that    these    lowly    folk    had    not    a    truer    idea    of 
justice  than   the  high-born   lord-,   who  held   them   in    I 
Suffice  it  to  say,  they  planned  an  attack  on  all  the  men, 
of  the  household,  including  my  precious  Voeland. 

But  the  ever  vigilant  and  valiant  Rupert  learned  of  their 
plans  and  caused  my  sister  to  take  refuge  in  the  turret 
room,  with  sixteen  of  his  men  who  had  come  with  Andre 
to  see  their  lord  once  more,  to  defend  her.     Thru  a  mis- 


Margot    de    Vainceoire, 

the  woman  for  whose 
>  a  f  e  t  y  R  u  pert  had 
pledged  five  years  of 
minions  servitude. 
This  beautiful  sacrifice 
of  honor  had  been  made 
in  vain,  a-  it  subsequent- 
I)  proved ;  for  she  ac- 
cepted the  suit,  that  very 
night,  of  a  nephew  of  the 
Due  de  Tours,  and  sent 
hack  Rupert's  ring  and 
the  news  of  her  engage- 
ment by  Andre,  his  trust- 
ed henchman  whom  he 
had  left  with  Margot  for 
her  protection.  She  must 
have  been  a  poor  thing 
indeed  to  jilt  so  fine  a 
man  as  Rupert  and  that 
he  should  have  grieved 
over  so  faithless  a  crea- 
ture, cause-  me  discom- 
fort to  this  day.  It  was 
perhaps  a  greater  blow 
to  his  pride  than  to  his 
heart ;  and  to  think  he 
had  to  keep  his  oath  of 
sen  ice,  tho  naught  could 
come  of  it;  to  have 
to  endure  the  humilia- 
tion of  a  servant's  lot 
and  no  reward  at  the 
end  of  it. 

Ah.  well,  these  things 
are  ordered  for  the  best 
1  am  sure.  Altho  I  have 
not  lived  very  long,  I 
ha\e  had  long  times  in 
which  to  think,  and  I 
discovered  that  this  blow- 
had  softened  Yoeland's 
heart  toward  him  and 
piqued  her  intere-t  as 
!   well.     So   much   did   he 


Catherine  de   Medici  persuading  her  son,  the   weakling   Charles   IX,   to   sign   the 
order  for  the  bloody  massacre  of  St.  Bartholomew's  day 


(Tzrenty-nine) 


CLASSIC 


Yoeland  de  Breux  takes  leave  of  her  brother  as  she  is  about  to  pay  a  visit  to  her  uncle.    Rupert  is  now  her  lacquey 


taken  tho  understandable  sense  of  hospitality  Yoeland 
insisted  that  the  Due  be  allowed  to  join  them.  This 
proved  a  very  serious  mistake,  for  the  men  outside  then 
became  more  determined  than  ever  to  get  the  Due. 
Inflamed  by  good  red  Burgundy  and  exhorted  by  the 
half-wit  serving-maid,  they  stormed  the  turret-room. 
Right  valiantly  Rupert's  men  fought  to 
save  the  lives  of  their  little  garrison. 
They  were  outnumbered  two  to 
one  and  their  besiegers  held 
the  point  of  vantage  be 
sides.-  I  am  thankful 
I  did  not  know  about 
this  until  it  was  over. 
I  could  scarce  have 
lived  thru  that  night. 
One  by  one  Rupert's 
men  were  killed  or 
wounded.  The  stone 
steps  ran  with  their 
loyal  blood.  The  de- 
voted Andre  was 
mortally  wounded  and 
died  in  his  master's 
arms.  So  perilous  had 
their  position  become 
that  my  brave,  my 
peerless  Yoeland 
seized  a  sword,  forgot 
her  maidenhood  and 
fought  courageously 
beside  her  defender. 
Then  Rupert's  doub- 
let was  ripped  open 
by  a  ferocious  sword 
thrust  which  pierced 
his  side,  and  he  col- 
lapsed. 

That  would  have 
been  the  end  of  both 
my  loved  ones,  had 
not     young     Philibert 


de  Bois  and  his  men  come  unexpectedly  to  their  rescue 
and  put  the  offenders  to  rout.  Father  Paul,  who  was  the 
chaplain  of  the  Chateau,  had  let  himself  down  from  the 
east  wing  on  a  rope  made  of  bedding  and  tapestries  and 
swum  the  moat  and  never  halted  till  he  reached  De  Bois. 
'Twas  a  fine  brave  thing  to  do,  for  a  priestly  man  unused 
to  the  hardships  and  vigors  of  fighting. 

Both  Yoeland  and  Rupert  told  me 
the  tale  of  the  encounter,  each 
laying  all  credit  and  praise 
at  the  other's  feet,  tho  I 
doubt  not  that  it  was 
equally  divided  be- 
tween them.  Rupert 
is  utterly  fearless  and 
Yoeland,  for  a  wom- 
an, the  bravest  I  have 
seen.  It  was  when 
Rupert  lay  sore 
wounded  that  Yoe- 
land. of  the  high 
hand,  realized  that  she 
loved  him.  Forgot  was 
all  her  pride,  her  for- 
mer hatred.  She  let 
him  read  the  tender 
message  in  her  eyes 
and  his  own,  tho  they 
were  dark  with  pain, 
answered  her  in  kind. 
She  nursed  him  with 
all  care,  finding  hap- 
piness in  the  doing  of 
it,  until  one  day  she 
sat  mending  his  torn 


De  la  Roche  offers  the 
Huguenot  De  Vrieac  the, 
badge  of  Catholicism 
as  a  guarantee  of  safety 
for  his  affianced,  Mar- 
got  de  Vainceoire 


(Thirty) 


CLASSIC 


doublet  and  cam*  across  .1  lock  of  fine  gold  hair  pinned 
carefully  in  the  innermost  pocket, 

Alas!     She  thought    it    was    Margot's   hair   and   thai 
Rupert  still  loved  her.     Whereupon  she  became  all  cool 
.mil  distant  again  and  left   the  nursing  to  the  servants. 
Rupert  could  not,  of  course,  understand  this  change  and 
it  wounded  him  deeply  so  that  he  was  longer  getting  well 
than  need  be.     M>   sistei   cherished  her  grief  and  dis- 
lintmcnt  .in  secret  anil  put  on  a  bold  and  indifferent 
t   for  outsiders.     If   1   cpuld  but   have  been  there  to 
iin ! 
I'd  take  her  mind  out  of  its  .sorrowful  channel,  Yoeland 
schemed  and  put  into  operation  plans  for  the  wedding  of 
Denise  and    Philibert,   which   was   successfully  consum- 
mated.    But  m\    sister's  troubles  were  not  yet  over  ;   the 
■  unbearable  and  trying  was  yet  before  her.     On  her 
back   from    the   wedding,   she   was   captured   by   the 
Due's  men,  right  on  the  highway,  and  carried  by  them, 
bound  and  gag- 
ged, back  to  the 
turret  -  room. 
There   Rupert 
lay  likewise 
bound  and  help- 

"YVhat  is  the 
meaning  of  this 
indignity  ?"  Yoe- 
land demanded 
as  soon  as  she 
A-as  released. 

"Peace,  my 
beauty,"  the  Due 
replied,  "and  I 
will  tell  you.  I 
never  cared  a  fig 
for  that  little 
nouse,  Denise. 
Tis  you  I  love. 
Vou  are  the 
.voman  I  want 
for  my  wife, 

ind "    he 

lesitated.  "I 
nean  to  have 
••ou." 

Rupert  nearly 
nirst  his  bonds, 
veakened  by 
oss  of  blood, 
ho  he  was. 

"Never,"  Yoe- 
and  replied, 
lolding  her  head 
igh.  "I  despise 
ou." 

"A  h  -  h  a," 
lughed  the  Due. 
0    matter  ! 
'ou  love  this 
russed    fowl,    I 
ave    disco  v- 
red,"  waving  a 
isdainful    hand 
nvard    Rupert. 
A  deep  crim- 
en   gradually    suffused    the    countenance    of    Yoeland. 
"Ah.  you  confess  it  by  your  blush."  declared  the  Due. 
\oeland  made  no   reply,   only   held  her  head   higher 
aan  ever. 
"VA  ell  then,  marry  me  and  he  shall  go  free — unhurt. 
efuse  and  he  shall  go  free— but  blind.     See !"    The  Due 
pened  a  door,  behind  which  was  Lupi,  a  professional 

(Thirty-one) 


4    .    .    .    and  so  the  feud  was  ended,  for  neither  Charles  nor  Rupert  dared 
displeasure   My   Lady   Yoeland  as  they  both  loved  her  too  well.    .    .    .    " 


torturer,  heating,  ovei  a  little  braziei  of  charcoal,  the  long 
irom  with  which  he  expected  to  burn  out  Ruperi 
Yoeland  almost  swooned  with  horror.    "You  shall  i. 

she  cried   OUt      "And    it    he    the   only    way   to   BaVC    bun,    1 

will  mai  rj  even  you,  scorpion  I" 

"Nay,  dear  lady,"  interrupted  Rupert,  "mind  bun  not. 
I  beseech  you  nol  to  do  tins  thing,    I  had  rathei  be  ten 

thousand  tunes  blind   than   sec  you   wed   tO  bun." 

"She  shall  be  wed  to  inc.  my   friend,"  sneered   the    I  I 

"but  do  not  distress  yourself,  you  shall  not  see  it,    Lupi, 
do  your  work." 

The  evil  creature  entered  tin-  room  with  the  red-hoi 

irons  held  OUt  before  him.  Yoeland,  for  all  her  high 
heart,  closed  her  eyes  and  moaned  in  horror.  I 
Rupert  drew  in  a  mighty  breath  and  the  hue  turned  away. 
Suddenly,  there  was  a  sound  of  voices  and  many  mailed 
lists  beating  on  the  door.  It  gave  way  before  the  on- 
slaught and   Rupert's  own  men  entered  the  room.      Lupi 

they  slew  with- 
out a  qualm  and 
awaited  their 
1  o  r  d's  orders 
about  the  Due. 
Rupert  had  the 
room  cleared  of 
all  but  himself 
and  the  Due  and 
there  despite  his 
wounds  gave 
him  a  chance  for 
his  life  in  hon- 
orable duel.  He 
was  spared  the 
necessity  of  kill- 
ing the  wicked 
'man,  however, 
by  the  sudden 
entrance  of  the 
poor  half-wit 
serving  -  maid 
whom  the  Due 
had  wronged, 
who  stabbed  him 
fearfully  in  the 
back.  That  was 
the  end  of  a 
coward  and  an 
u  n  s  crupulous 
wretch.  It  is 
sometimes  given 
to  these  humble 
agents  to  be  the 
instruments  of  a 
divine  justice. 

Yoeland    then 
returned  to  Cas- 
tle de  la  Roche, 
weary  and  sad.  I 
was  so  glad  to  see 
her   and  Rupert 
that   I   cried 
tears  like  a  ba- 
by.   Whereupon 
Rupert  took  me 
up    in    his   arms 
to    comfort    me, 
and  pulling  out  that  yellow  lock  of  doll's  hair,  held  it  up 
for  me  to  see.     "Here,"  he  said,  "is  your  talisman.     See 
how  faithfully  I  have  kept  it  for  my  little  lady." 

Yoeland  gave  one  look  at  the  thing,  blushed  a  rosy 
red.  and  fled.     Rupert  sighed  after  her,  and  I  sighed  too, 
for  I  did  not  even  know  that  they  lov^d  each  other. 
(Continued  on  'page  76) 


Photograph  by   Donald   Biddle   Keyes 


The  Drama  of  the  Decalogue 


Photograph  by   Edward    S.    Curtis 


Above  is 
Moses  with  the 
Children  of 
Israel  before 
the  Red  Sea, 
on  their  way 
to  the  Prom- 
ised  Land 


Left  is  Theo- 
dore Roberts 
as  Moses,  the 
great  patriarch 
and  lawgiver, 
with  James 
Neill  as  Aaron 


(Thirty-two) 


Cecil  DeMille 

Makes  a 

Picture  oi 

The  Ten 

Commandments 


Cecil  De  Mille  held  a  contest 
recently  which  offered  a 
thousand  dollars  for  the  best 
original  idea  for  a  motion 
picture.  The  winner  was  a 
suggestion  that  he  film  the 
Ten  Commandments.  The 
pictures  on  these  two  pages 
are  from  the  prolog  which 
serves  to  introduce  a  modern 
society  drama.  To  the  right 
is  a  group  of  musicians  in  the 
Pharaoh's  palace 


These  are  the 
Children  of 
Israel  in  bond- 
age to  Rame- 
ses  II  build- 
ing the  gates 
of  the  city 
which  he 
forced  them 
to  erect  to  his 
glory 


(Thirty-three) 


Elinor  Glyn  on  the  Technique  of  the  Scenario 


By  AVERY  STRAKOSCH 


"IV  TO  writer 
I  V  can  logical- 
ly object  to 
having  his  story 
hashed  about  by  a 
scenario  depart- 
ment, until  he  has 
thoroly  learned 
the  movie  angle 
of  his  business, 
and  has  sent  in 
his  picture  play  in 
the  right  form." 

This  is  the  de- 
cisive statement 
made  by  Elinor 
Glyn,  who  after 
years  of  fame  as 
an  authoress,  and 
as  an  intelligent 
and  charming 
woman,  remains 
apparently  un- 
spoiled. Talking 
with  her  in  her 
drawing-room  at 
the  Hotel  Am- 
bassador in  New 
York,  where  she 
remained  for  a 
few  days  recently, 
before  going  on  to 
Hollywood  to  di- 
rect the  picturiza- 
tion  of  her  novel 
"Three.  Weeks," 
I  was  enchanted 
to  discover  a 
famous  personali- 
ty who  admits  the 
necessity  of  pub- 
licity, and  who 
even  asks  to,  be 
granted  one  boon 
from  it — that  she 
shall  be  quoted 
correctly. 

Slender  of 
figure  in  a  pastel 
negligee  of  silk, 
copper-red  plaits 
of  hair  about  her 

ears,  gracing  her  with  the  medieval  quality  of  Maeterlinck's 
Monna  Vanna,  narrow,  fascinating  eyes  of  sea  green — 
this  is  the  Elinor  Glyn  of  today.  It  is  truly  difficult  to 
fancy  three  grandchildren  awaiting  her  return  to  England  ! 

"You  know,"  she  continued,  choosing  her  words  care- 
fully, the  delightful  music  of  a  pure  English  voice  slightly 
accentuated,  "the  modern  author  should  make  it  a  busi- 
ness to  master  the  technique  of  scenario  writing  if  he 
wants  to  have  firm  ground  to  stand  upon,  in  requesting 
to  see  his  works  pictured  coherently,  as  well  as  artistically. 
Authors  in  general  have  not  come  to  the  stark  realization 
that  they  must  practically  do  away  with  the  colorful 
beauty  of  words — a  real  sacrifice,  I  grant  you. 

"One  of  the  best  ways  that  I  know  for  gaining  the 
experience  of  this  new  technique,  is  to  place  a  chair  or 


lounge  in  front  of 
a  blank  wall  or 
curtain,  and 
seated  there  un- 
disturbed, im- 
agine one's  story 
passing  by :  the 
figures,  the  mise 
en  scene,  all, 
across  that  blank 
space.  You  must 
see  in  thought 
your  entire  story, 
without  the  words 
that  you  have  so 
carefully  used  to 
build  up  your 
plot.  Put  it  all  be- 
fore yourself  in 
action.  Watch  it 
go  by,  asking  al! 
the  time,  how  is 
this?  Does  it  lag, 
or  does  it  gallop? 
Remember,  there 
is  nothing  >o  ex- 
plain all  this  to 
you,  the  unfold- 
ing of  your  story, 
but  the  action. 

"The  art  of 
writing  for  the 
movies  is  as  dif- 
ferent from  other 
writing,  as  is  the 
art  of  the  violin- 
ist from  that  of 
the  pianist.  No 
one  would  think 
of  asking  the 
master  violinist  to 
play  the  piano 
with  the  same  de- 
gree of  skill  that 
he  would  have  in 
playing  his 
chosen  instru- 
ment. Would  you 
expect  the  pianist 
to  take  up  his  fel- 
low musician's 
fiddle  and  do  him- 
self justice?  No.  But,  if  either  one  spent  an  equal 
amount  of  time  in  developing  the  technique  for  each 
other's  instruments,  you  might  then  be  justified  in  asking 
for  satisfying,  artistic  results. 

"And  so  it  is,  when  writing  f  -r  the  movies.    But !" 

Here  Mrs.  Glyn  stopped  for  a  moment,  an  expression  of 
challenge  crossing  her  face.  "When  a  writer  has  be- 
come a  master  of  this  technique,  he  has  every  right  to 
complain  about  the  absurd  mill  thru  which  his  original 
idea  is  drawn  and  mangled,  changed  and  distorted,  to 
such  an  extent  that  upon  production  he  blinks  his  eyes 
in  amazement,  thinking  perhaps  some  mistake  has  been 
made,  that  it  is  not  really  his  picture  after  all ! 

"Every  story  has  to  go  thru  about  seven  departments 
{Continued  on  page  78) 


Photograpn  by  Hoover  Art  Studios 

Elinor  Glyn,  the  celebrated  English  authoress,  says:  "The  only 
perfect  pictures  I  have  ever  seen  in  America  are:  "The  Four  Horse- 
men of  the  Apocalypse,'  'The  Kid,'  and  Douglas  Fairbanks  in  'The 

Mark  of  Zorro' " 


(Thirty-four) 


After  Rembrandt 

Albin  has  gone  back  to  the  immortal   manner  of  Rembrandt  for  the   inspiration 
tor  this  portrait  of  Richard  Barthelmess  in  the  title  role  of  "The  Fighting  Blade" 


(Thirty- fiie) 


The  Promise  Fulfilled 

These  Newest  Stars  in  the 
Cinema  Sky  Have  Left 
Obscurity  Behind 


Photograph  by   Melbourne   Spurr 

ALLENE  RAY 

This  young  girl's  beauty  is  the  rare  ash-blonde  type. 

Since  the  Brewster  Publications  discovered  her  she 

has  made  good  in  pictures.     She  is  at  present  with 

Fox,   in   "Times    Have    Changed" 


Photograph  ©   by   A I  bin 


MARY   ASTOR 

This  exquisitely  lovely  girl  has  climbed 
steadily  up  the  movie  ladder  in  the  last  two 
years.  She,  too,  is  one  of  our  contest  win- 
ners, and  the  last  and  best  news  about  her 
is  that  Famous  Players  have  signed  her  for 
three  years.  Her  first  picture  for  them  will 
be  "Spring  Magic" 


Photograph 
by  Apeda 


FLORINE  FINDLAY  DE   HART 

By  an  imposing  list  of  beauty  judges  this  dainty 
little  sixteen-year-old  was  acclaimed  The  Ameri- 
can Beauty  in  our  last  contest.  She  is  an  inter- 
pretative dancer  and  is  dancing  both  at  the  Rivoli 
and   Rialto   motion   picture   houses 


(Thirty-sir) 


CLARA  BOW 
(below) 
Is  the  little  ingenue 
flapper  who  ran 
away  with  that 
great  whaling  pic- 
ture. "Down  To 
The  Sea  In  Ships." 
She  has  just  signed 
a  long-term  con- 
tract with  Prefer- 
red Pictures  and  is 
out  on  the  Coast  to 
make  "Maytime," 
and  "The  Boom- 
erang." Brewster 
Publications     gave 

Clara   her   start 


VIRGINIA 
BROWNK 

FAIRE 

(below) 

Perhaps  you  re- 
member her  in 
"Omar  The  Tent 
Maker,"  or  in 
"Without  Benefit 
of  Clergy"?  She 
has  gone  back  to 
Universal  City  to 
support  William 
Desmond  in  "The 
Skyline  of  Spruce." 
We  found  her,  too 


Photograph 


hv    Lumiere 


CORLISS  PALMER 

This    charming    daughter    of    the    South    has    given    up,    temporarily, 

her  screen  career  for  the  less  exacting  field  of  editorial  and  beauty 

research  work,  of  which,  she  accomplishes  a  great  measure 


:>grarh   by    Ira   S.    Hill 


Photograph  by  Edwin   Bower   Hesser 


As  the  proof  of 
the  pudding  is  in 
the  eating,  so  the 
proof  of  success 
is  in  the  arriving. 
These  beautiful 
and  ambitious 
girls  were  every 
one  winners  of 
the  contests  of 
the  Brewster 
Publications.  We 
gave  them  their 
chance,  and  they 
have  all  made 
good.  We  are 
proud  and  glad 
to  sponsor  their 
artistic  develop- 
ment 


(Thirty-seven) 


'  Fifteen  men  on  a 
dead  man  s  chest, 
Yo-no-no,  and  a 
hottle  o    rum 


"Captain  Applejack" 
was  a  great  stage 
success  with  a  long 
New  York  run. 
Now,  those  of  us 
who  missed  these 
pirates  on  the  stage 
will  see  them  on  the 
screen.  The  play  was 
colorful  and  full  of 
thrills  and  should 
lend  itself  beautiful- 
ly to  the  silent  me- 
dium. Fred  Niblo 
is  directing  the  pic- 
ture for  Metro.  The 
girl  in  these  scenes 
is  Enid  Bennett 


It  is  almost  too 
bad  that  the  days 
of  buccaneering 
are  no  more. 
There  never 
could  be  a  mod- 
ern thrill  equal 
to  a  Henry  Mor- 
gan or  a  Captain 
Kidd  episode. 
Thanks  are  again 
due  to  the  movies 
for  reviving  (and 
safely)  the  pic- 
turesque picaroon 
and  his  exciting 
adventures 


(Thirty-eight) 


IE 


The  Powers  Behind  the  Screen 

Who's  Who  in  the  Motion  Picture  Business 
By  STANTON  LEEDS 

Editor's   Xotk:     This  is  the  first  of   a   series  of  five  articles  on    the   history  of 

the  busintfS  end  of  the   motion   picture,  and  a  discussion  and  description   of   the 

truly  great  personalities  who  have  put  the   movitS  on   the  maf 


POPU1  AK  interest  in  the  vital  structure  and  frame- 
work supporting  that  incredible  bonanza,  the  motion 
picture  business  in  America,  has  multiplied  and  in- 
creased to  the  proportions  of  a  gigantic  national  question 
mark,  since  the  movie  magnates  two  years  ago  parted 
the  bulrushes  and  discovered  in  the  bread  basket  of 
politics,  a  Moses  to  lead  them  from  Egypt.  This  vcar  a 
razor-edge  has  been  given  that  same  thirst  for  informa- 
tion by  the  government's  attempt  to  discover  if  there  were 
in  the  picture  industry  a  combination  in  restraint  of  trade. 
Reading  the  Federal  Trade  Commission's  investigations, 
as  published  in  the  daily  newspapers,  people  began  to  ask: 
Who  are  these  persons  so  prominently  mentioned ?  Who 
are  Zukor,  Laemmle, 
Cochrane,  Hodkinson. 
Williams,  Rowland, 
Fox,  Powers,  Shee- 
han.  Selznick,  Gold- 
wyn  and  so  on.  and 
just  exactly  what  do 
they  stand  for? 

Incredible  as  it  may 
seem  to  those  close  to 
the  tense  drama  of 
the  pictures'  business 
and  politics,  they  do 
ask  these  very  ques- 
tions, just  as  a  year 
before  they  demanded 
to  know  why  on  earth 
Will  H.  Hays  should 
resign  as  Postmaster 
|  General,  even  to  head 
the  chamber  of  com- 
merce of  motion  pic- 
tures, even  for  $150,- 
000  a  year. 

"Search  me !"  said 
the  man  on  the  street. 
Even  those  who 
should  be  better  in- 
formed, who  see  fur- 
ther than  the  gifts  of 
a  bankroll,  who  look 
far  down  the  widen- 
ing avenue  of  the  fu- 
ture where  statesmen 
are  bound  to  adven- 
ture, even  these 
shook  their  heads  over 
Hays,  muttering. 
"How  are  the  mighty 
fallen!" 

For  years  there  has 
hung  over  the  picture 
business,  now  the 
country's  fourth  larg- 
est, bootlegging  excepted,  an  obscuring  fog.  thickest 
of  all  in  its  sanctums. 

Few  have  been  told  what's  what,  who's  who.  behind 
the  screen.    Most  of  us,  too,  are  all  too  inclined  to  forget 


Adolph    Zukor,    perhaps   the    most    important    figure    of   the 

cinema   today,   is   compared   to   that   tremendously   powerful 

and  diplomatic  statesman,  Disraeli.     He  is  president  of  the 

Famous  Players-Lasky  Corporation 


that  the  golden-haired  l: i r  1  -. .  the  laughter-coaxing  come 
dians,  the  stories  thai  entrance  us  at  the  cinema,  arc  no 

more  than  the  advertisements  of  a  gold  mine,  the  herald* 
of  an  army,  an  army   with  commanders  and  even  a   field 
marshal   who   foresaw,  in  part,    the  mass  impact  of  pic 
tures  upon  the  hearts  and  minds  of  a  world  of  people. 

Foreseeing  it,  he  attempted  its-  control.  The  attempt 
brought  disputes  and  battles.  Came  the  peacemaker,  then. 
but  to  explain  why  and  how  he  came,  to  suggest  some- 
thing of  the  vision  before  him,  something  of  that  vast 
and  majestic  view  of  an  unconquered  empire  of  emotions 
— to  do  this  convincingly,  we  must  go  back  a  way. 

It  need  not  be  too  long  a  way.     The  history  of  the 

motion  picture  starts 
in  the  eighties  with 
experiments  that  led 
to  patents,  but  it  was 
not  till  early  in  this 
century  that  the  Mo- 
tion Picture  Patents 
Company  and  its  sub- 
sidiary, the  General 
Film  Company  (com- 
prising Edison,  Bio- 
graph,  Vitagraph,  Es- 
sanay,  Kalem,  Melies, 
Selig  and  others),  be- 
gan marketing  these 
patents  at  a  profit  by 
selling  to  theater  own- 
ers, called  exhibitors 
in  the  trade,  the  right 
to  use  them  along 
with  the  manufac- 
tured film. 

Because  it  control- 
led these  patents,  the 
General  Film  Com- 
pany was  the  only 
source  of  supply.  The 
little  arcade  owners 
found  themselves 
soon  in  a  state  of 
feudal  dependence. 
This  is  shown  by 
court  records.  Ex- 
hibitors, those  who 
dared,  protested,  and 
among  these  last  was 
Adolph  Zukor.  at  that 
time,  ten  years  ago. 
the  owner  oi  several 
nickelodeons  in  the 
vicinitv  of  New 
York's  14th  Street. 

To   the   great   ones 

in   the    General    Film 

Company  the  name  meant  next  to  nothing,  so,  when  he 

called,  they  kept  him  waiting.     One  hour.     Two  hours. 

Three !     While  he  waits,  observe  him. 

(Continued  on  page  81) 


PhotoRravn    t>y 


(Thirty-nine) 


These  are  the 
first  pictures 
to  be  taken  of 
the  beautiful 
Italian  villa 
that  Harold 
Lloyd  has 
built  at  an  ap- 
proximate cost 
of  two  -  hun- 
dred thousand 
dollars 


The  home,  of 
which  the  pic- 
ture on  the 
left  is  the  ex- 
terior, is  lo- 
cated in  the 
most  exclusive 
section  of  Los 
Angeles,  the 
W  i  1  s  h  i  r  e 
district 


A  corner  of  the  recep- 
tion hall  with  its  two 
fine  old  chairs,  its 
grandfather  clock,  and 
its  many  spindled  rail- 
ing. The  woodwork 
is  oak 


Here  is  the  lucky 
Mr.  Lloyd  and  the 
fortunate  little  Miss 
Davis  on  their  own 
front  lawn 


One  of  the  guest  rooms 
which  is  done  in  orchid 
and  a  delicate  green. 
The  rugs  are  soft  grey 
velour.  A  room  of 
comfort,  convenience, 
and  charm 


The  Lloyd  romance 
seems  to  us  a  par- 
ticularly happy  one. 
They  certainly  seem 
satisfied 


(Forty) 


Hollywood 
Homes 


No.  XII 


Exclusive  views  of  the 
beautiful  new  home 
Harold  Lloyd  built  for 
his  bride,  Mildred  Davis 


Above  is  the  breakfast-room  in  coolest 
green  and  ivory.  It  looks  out  on  a  little 
covered  portico  that  faces  the  tennis 
court.  On  the  tiled  floor  of  the  portico 
is  a  famous  urn,  one  of  the  rare  pieces 
of  Capo  di  Monte  in  this  country.  It 
has  been  in  the  Lloyd  family  since  the 
sixteenth  century.  Below  is  the  south 
side  of  the  reception-hall,  with  a  price- 
less old  hand-wrought  chest  and  "The 
Storm,"  by  Colone,  a  German  artist 


Above  is  one  end  of  the  large  and  luxurious 
living-room.  Its  color  scheme  is  rose  and 
grey  and  Alice  blue.  Here  the  Lloyds  have 
collected  many  art  treasures;  the  pictures  are 
some  of  them  famous  originals;  the  desk  is 
a  beautiful  piece,  hand  carved;  the  table,  an 
antique,  and  so  on.  Here  too,  they  are  "at 
home"  to  their  friends.  It  had  to  be  a  big 
room  to  hold  them  all 


■Forty-one ; 


I 


Photograph  by  Bloom,  Chicago 


I 


HAVE  spent  most  of  my  liberally 
literary  career,  well,  liberal  anyway, 
writing  about  movie  stars,  ingenues, 
vampires,  grande  dames,  ad  lib.  And  I 
would  be  hard  put  to  it  to  remember  one 
who  was  not  possessed  of  pulchritude  of 
one  sort  or  another,  many  who  were 
bearing  the  banners  of  an  abortive  youth 
and  almost  none  who  did  not  bear'  in' 
some  wise  a  first  or  second  cousinship  to 
the  well-known  bisque  doll,  or  "Cy- 
therea,''  or  something. 

Few,   if   any,   are   frankly   what   they 
are.     Few  have  struggled  long  and  dis- 
couraging years,  bringing  up  a   family, 
doing  their  own  work,  constantly  going 
without  this  or  that,  constantly   frightened  by  the 
twin  Ogres,  Bread  and  Rent,  and  still  preserving 
within   themselves,   intact,   the  triumphantly   unex- 
tinguished torch  of  Art.     There  are  so  many  ways 
out  of  this,  when  one  is  young  and  pretty,  so  many 
short-cuts,  so  many  detours. 


An  Old  Story 

Told  to  FAITH  SERVICE 


Vera  Gordon  is  what  she  has  always  been  and 
must  always  be — herself.  She  haB  in  incal- 
culable measure  the  sympathetic,  world-endur- 
ing, passionate  and  patient  artist-soul.  To 
the  left  is  a  character  study  and  below  her 
latest  portrait.  We  shall  see  her  soon  again 
in  "Potash  and  Perlmutter" 


But  Vera  Gordon  has  justified  my  faith  in  many 
things — even  stars.  Here  is  one  "artist,"  and  she 
is  that,  who  has  travailed  and  come  thru.  Oh,  it's 
an  old  story,  I  know.  All  opinions  to  the  contrary, 
I  believe  that  mute,  inglorious  Miltons  have  lived 
and  loved  and  died  .  .  .  still  mute  and  still  in 
glorious.  But  it  ceases  to  be  an  old  story  after  ont 
has  come  thru.  Then  is  the  test  called  acid.  Fail- 
ure is  easy  to  bear  for  great  and  humble  souls.  But 
Success !  Success  is  another  matter.  Many  a  great 
and  humble  soul,  stoically  simple  and  erect  under 
the  most  bludgeoning  blows  of  obscurity,  has  faced 
about  and  showed  a  front  of  brass,  when  Success 
has  come. 

But  Vera  Gordon  is  what  she  has  always  been 
and  must  always  be,  Vera  Gordon.  Herself.  She 
is  stout.  And  she  doesn't  let  it  annoy  her.  She 
dresses  plainly  and  without  any  attempt  at  re-mak- 
ing herself.  If  you  saw  her  coming  out  of  the  door 
of  her  apartment,  you  would  rate  her  as  merely 
another  Jewish  woman  going  to  market  to  buy 
matza  for  the  "fem'ly."  That  is,  if  you  didn't  look 
(Continued  on  page  79) 


Photograph 
by    Mishkin 


(Forty-two) 


i 


PhotogTaph  by  Nickolas  Muray 


JEAN  ARTHUR 

This  young  charmer  was  selected  by  a  prominent  group  of  New  York  artists  in  an 
unpublicised  campaign  by  William  Fox  for  new  leading  lady  material.  She  is  to  be 
featured  with  John  Gilbert  in  "Cameo  Kirby."     This,  we  think,  is  a  remarkable  tribute 

to  her  ability 


(Forty-three) 


Above  is  Claiborne  Foster,  the  girl 
of  "Two  Fellows  and  a  Girl,"  the 
newest  Cohan  success,  which  runs 
true  to  form.  That  is,  it  has  been 
persistently  rapped  by  the  critics, 
yet  fills  its  house  nightly.  Below 
is  a  scene  from  the  same  play  with 
Claiborne  Foster,  Ruth  Shipley, 
John  Halliday  and  Allan  Dinehart 


The 

Photographer 

Takes 

the  Stage 


Above  is  Lucile  La 
Verne  as  the  Widow 
Cagle  in  "Sun-Up,"  a 
really  remarkable 
drama  put  on  by  the 
Provincetown  Players. 
So  great  has  been  its 
success  that  it  moves 
up  to  Broadway  this 
fall.  Classic  recom- 
mends it 


(Forty-four) 


I 


Photogra 


Above  is  Ben 
Ali  Haggin's 
beautiful 
living  curtain 
for  the  new 
Ziegfeld  Fol- 
lies. He  calls 
it  simply, 
"Lunette" 


Photograph   by   Muray 


Photograph    by    White    Studios 


Classic's 

Monthly 

Department 

of  the 

Theater 


Left  is  Martha 
Bryan  Allen  in 
"The  Devil's  Dis- 
ciple" and  right, 
by  way  of  con- 
trast, is  Elsie 
May  in  "The 
Passing  Show  Of 
1923" 


Left,  Eliza- 
beth Brown 
and  her  danc- 
ing partner,  G. 
G.  Sedano,  who 
will  contribute 
one  of  the 
most  artistic 
and  unusual 
dances  this 
fall  to  the 
vaudeville 
stage 


Photograph    by    White    Studios 


I  Forty-five) 


M 


USIC  cue  for  the  love  scenes  between  Flavia  and 
Rassendyl  in  "Rupert  of  Hentzau" :  "I  Flavia 
Truly,"  by  Carrie  Jacobs  Bond. 

4*        4*        4* 

"Anyhow,"  said  our  peerless  pal  and  critic  at  the  above 
mentioned  movie,  "Elaine  Hammerstein's  interpretation 
of  the  Queen  is  consistent,  if  nothing  else." 

"Yes,"  we  answered — and  you'll  die  laughing — "the 
Flavia  lasts." 

•J,  ►£.  if 

At  the  climax  of  the  most  passionate  tete-a-tete  be- 
tween the  queen  and  Rassendyl,  a  subtitle  remarked: 
"W hat  is  life  without  the  one  you  love?" 

"You  said  it,"  intensely  muttered  one-of-those-for- 
whom-the-movies-are-made.  No  doubt  these  grown-up 
eleven-year-olds  have  run  right  down  thru  history.    "Give 

me  liberty  or  give  me "  thundered  Patrick  Henry  in 

1775. 

"Th'ow  'at  gemmun  a  fish,  suh!"  remarked  one  of  the 
members   of   the   revolutionary   convention. 

4*       4*        4* 

By  the  way,  dont  deny  your- 
self— if  you  are  that  sort  of 
person — the    pleasure    of 
seeing  the  first  part  of 
"Lawful  Larceny." 
It's     Naldi    .    .    . 
but  it's  nice ! 

4*         4*         4* 

In     the     New 
York    Tribune , 
Harriette    Un- 
derbill speaks  of 
Baby   Peggy  as 
being     four 
years   old.      On 
the     same    day, 
Quinn      Martin, 
in  the  New  York 
World,     discloses 
her  age  as  six. 

And  yet  both  of 
them,     we'd     bet, 
would    hop    on    some 
poor     director     if     he 
made  the  slight  error  of 
having    an    armored    tank 
in  the  Battle  of  Hastings. 

4*       4*       4* 


They  agree,  however,  that  Baby 
Peggy    is    the    most    talented    child 
actress    on    the    screen.     The    polite 
question     is     raised     whether     Baby 
Peggy,  with  her  remarkable  intelligence, 
is   eligible   to   the   child  motion   picture 
actress   class.     We   know   of    others,    in 
their  early  twenties  and  thirties.    .    .    . 

4*         4*         4* 

Speaking  of  Things  That  Have  To 
such  as  the  method  in  which  a  movie  ingenue 
enters   her   father's   Wall    Street   office,   why 
are  the  organists  in  the  movie  theaters  per- 
mitted  a   constant   ego-debauch    of    what,    we 
suppose,  they  imagine  is  improvisation?     With 
the  innumerable  modern   improvements  a   four- 
manual  organ  carries,  all  these  doctors  of  music 
seem  to  be  able  to  produce  is  detached  grunts  and 


squeals,  disassociated  snatches  and  fragments  in  lacerat- 
ingly  sudden  crescendos  and  the  Big  Bertha-like  rumblings 
of  the  sixty- four-foot  diapasons. 

4*        4"         4* 

Such  performance  on  the  noblest  of  instruments  per- 
meated our  troubled  spirit  at  "Trilby,"  and  Heaven  knows 
"Trilby"  was  irritating  enough.  And  now  we  have  two 
standards  to  judge  a  bad  movie  by.  A — one  that  puts  us 
to  sleep  and  B — one  that  makes  us  conscious  of  the  organ. 
If  something  is  not  done  to  these  organists,  we  are  going 
to  join  the  Kuklux  Klan  and  have  every  miscreant  chained 
to  a  steam  calliope  with  riveting,  blasting  and  subway  ex- 
press attachments,  and  place  them  in  vaulted  cells  with  a 
triple  echo. 

4.         4.         •{• 

As  a  matter  of  fact,  there  probably  is  heavy  rivalry 
between  the  musical  directors  in  the  Ritzy  movie  houses 
and  the  organists.  "You  go  your  way,"  says  the  organist 
to  the  conductor,  "and  I'll  go  mine." 

Whereupon  the  full  orchestra  and  the  complete  organ 
give  a  joint  rendition  of  Tschaikowsky's  "1812" 
Overture. 

4*         4"         4" 


Fantasie 


"The 


Brass  Bottle": 
Arabian  sol- 
diers in  Jap- 
anese medieval 
armor  rowing 
out  to  sea  in 
an  Alaskan  In- 
dian war-canoe. 
Which  evi- 
dently means 
that  to  Maurice 
Tourneur  a 
spade  is  not 
only  a  spade 
but  a  combina- 
tion pogo-stick, 
beach  umbrella 
and  mashie- 
niblick,  as  you  please. 

4*       4*        4* 

And  in  "The  Purple  Highway." 
Madge  Kennedy  points  to  a  print 
tacked  upon  her  attic  wall.    She  has 
wistfully    labeled    the    picture   her 
"Dream  Ship."    But  the  picture 
is   Maxfield   Parrish's  reason- 
ably familiar  one  of  an  evil 
crew  of   Moorish   pirates 
sailing    with    the    wind, 
hell-bent  for  trouble. 
Of    course   you    cant   see 
that  in  the  movie,  so  we  take 
our  carping  is  out  of  order. 

4-         * 


Or  perhaps  it's  a 
ship. 

4-         4* 


welsh 


4- 
rarebit 


dream 


ate 


Pola  Negri,  on  dit,  has  forsaken  Charlie 
Chaplin  to  roll  those  roly-boly  eyes  of  hers  at 
Bill  Tilden,  the  tennis  chap.  Here  is  a  chance  for 
some  bright  little  girl  or  boy  to  rise  and  remark- 
that  tennis  is  a  love  game  that  keeps  the  players 
in  the  courts  most  of  the  time. 

(Continued  on  page  96) 


(Forty- six ) 


m 


The  Celluloid  Critic 

Laurence  Reid  Reviews  the  Latest  Photoplays 


w- 


\ 


ITH  the  fall  promising  an  unusually 
heavy  crop  of  good  pictures — so  good  in 
fact  that  the  producers  must  needs  lease 
several  Broadway  legitimate  theaters  to  give  them 
extended  runs,  along  comes  Paramount  and  steals 
a  march  on  the  field.  They  have  heaten  the  gun 
— to  use  an  expression  of  cinder-path  circles — 
with  "Hollywood"  which  comes  as  the  real  saving 
grace  of  a  summer  burdened  with  disappointing 
attractions.  Merely  a  handful  have  scored  and 
these  will  not  reach  the  open  country  until  the 
leaves  have  turned  a  golden  russet. 

This  "Hollywood"  is  at  once  the  most  inter- 
esting and  novel  excursion  into  Picture  Land 
that  has  ever  raced  across  a  screen.  True,  Rupert 
Hughes  used  a  similar  idea  in  "Souls  for  Sale,"  but  where 
he  faltered  was  in  treating  his  subject  without  drawing 
upon  his  imagination.  He  fol- 
lowed conventional  lines  in 
conceiving  a  story  which  pre- 
sented a  girl  reaching  stardom 
in  the  movies  only  after  she 
had  encountered  the  cus- 
tomary pitfalls.  The  manner 
in  which  she  was  thrust  into 
pictures  carried  a  familiar 
theatric  touch,  and  the  intro- 
duction of   various  celebrities 


Mr.  Rcid  selects  "Hollywood,"  directed  by 
the  man  who  was  responsible  for  "The 
Covered  Wagon,"  James  Cruze,  as  the  best 
photoplay  of  the  month.  He  says,  "  'Holly- 
wood'  is  the  most  interesting  and  novel 
excursion  into  Picture  Land  that  has  ever 
raced  across  a  screen" 


of  the  silversheet  bordered  upon  circus  publicity. 
In  other  words  they  composed  a  separate  unit — 
a  body  of  stars  who  had  nothing  in  common  with 
the  development  of  the  story.  Furthermore  tht 
author  exposed  the  tricks  of  the  profession — thus 
destroying  the  illusion.  His  was  an  excursion 
into  a  fictional  Hollywood.  And  one  could  not 
accept  it  as  real. 

Tom  Geraghty  and  Frank  Condon,  on  the 
other  hand,  have  painted  a  genuine  Hollywood — 
the  studio  center  serving  as  a  background  for  the 
telling  of  a  semi-whimsical,  semi-wistful  story 
of  a  screen-struck  girl  who,  because  of  the  adula- 
tion of  her  small-town  villagers,  thought  herself 
destined  for  the  heights  of  stardom.  How  deftly  drawn  is 
this  character  may  be  appreciated  in  the  modest  assump- 
tion   of    greatness.      She    thinks    she    is    beautiful    and 

talented — yet  there  is  nothing 
of  a  superiority  complex  about 
her.  Where  the  authors  in- 
troduce a  real  novel  touch  is 
in  having  her  fail  where  her 
plain  relatives  have  no  trouble 
at  all  in  posing  before  the 
camera. 


You  can  imagine  the  hu- 
-morous  possibilities  of  such 
a  plot — you   can   imagine  the 


I  Forty-seven) 


CLASSIC 


Above : 
Cody 


unlimited  opportunities  to  emphasize  all  the  color,  back- 
ground and  detail  of  studio  life.  It  is  at  once  humorous 
and  tragic,  wistful  and  quaint. 

James  Cruze,  whose  good-luck  star  is  following  him 
persistently  (he  jumped  right  into  "Hollywood"  after 
"The  Covered  Wagon"),  has  brought  out  all  its  spirit, 
vitality,  charm  and  humor.  He  has  deftly  balanced  each 
element  so  that  it  progresses  evenly  without  once  adding  a 
single  false  scene.  It  is  another  triumph  for  him — but  the 
major  honors  go  to  the  authors  for  conceiving  a  genuinely 
novel  play.  One  may  appreciate  that  it  is  a  well-con- 
structed story  in  the  manner 
which  the  girl's  struggle  for 
recognition  is  visualized  from 
the  day  that  she  looks  on 
enraptured  at  a  movie  in  a 
typical  picture  theater  back 
home — to  the  day  when  she 
realizes  that  she  has  failed. 
Each  effort  she  makes  to  get 
into  the  circle  of  Fortune's 
Darlings  is  drawn  with  all  its 
emphasis.  There  is  a  reason 
for  everything  and  everything 
is  in  place. 

The  girl  goes  to  Hollywood  be- 
cause   her    quaint    grandfather 
must     have     a     healthy 
climate.    One   indi 
cation  of  rhyme 
and     reason. 
The  old  man  is 
a   type   and    is 
quickly 
chosen,  tho  he 
didn't  seek  the 
job.    While  we 
are  mentioning 
these    charac- 
ters,    let     us 
state  that  they 
appear     the 
more     genuine 
because    Cruze 
selected     them 
from     stock- 
thus  they  appear  to  be 
everyday   folks.     Hope  Drown 
plays    the    girl    with    wistful 
charm  and  a  depth  of  under- 
standing,   while    Luke    Cos- 
grave      is      another      Frank 
Bacon  as  the  quaint  grandpa. 
He    undergoes     a    complete 
metamorphosis  in  Hollywood 
and     really    provides     a    most 
colorful     and     amusing     charac- 
terization. 

So  the  girl  makes  the  rounds  of  the 
studios  and  naturally  encounters  one  star 
after  another.  You  will  see  there  is  even  a 
reason  for  their  introduction  without  exploiting  their 
fame  to  catch  the  shekels  at  the  box-office.  Directors, 
casting  directors,  and  studio  managers  give  her  the  cold 
shoulder.  And  the  details  which  show  her  adventures 
on  the  lots  are  accurate  and  interesting.  A  large  assort- 
ment of  close-ups  are  given  of  Meighan,  Doug,  Mary,  the 
De  Milles,'Will  Rogers,  Bill  Hart,  George  Fawcett, 
Hope  Hampton,  Ben  Turpin — and  approximately  thirty 
others — including  Fatty  Arbuckle,  whose  moment  is  brief 
as  the  casting  window  is  closed  in  his  face. 

The  biggest  mirthful  moment  is  the  result  of  a  dream 
visualized   by   the  girl's   rural   lover   as   he   tosses   in   a 


Marjorie  Daw  in 
"Rupert  of  Hent- 
zau."  Below: 
Jackie  Coogan  in 
"Circus  D^ys." 
Left:  Madge 
Kennedy  in  "The 
Purple  Highway." 
Right:  Shirley 
Mason  in  "The 
Eleventh     Hour" 


Pullman  on  his  way  to  Hollywood.  He  fancies  her  being 
pursued  by  sheiks  'n'  everything.  And  in  every  episode 
as  long  as  the  dream  continues,  there  is  Laurence  Wheat 
in  his  B.  V.  D.'s  shaving  himself.  He  may  be  on  a  busy 
corner  of  Los  Angeles  or  a  member  of  a  wild  orgy  in 
some  Arabian  palace.  But  is  always  shaving.  A  pic- 
turesque, erotic  dream  which  touches  the  high  spots  of 
spectacular  appeal,  adventure  and  humor. 

Eventually  all  the  girl's  relatives  get  into  the  movies. 
Even  the  rural  swain  has  no  difficulty  in  signing  a  con- 
tract.   The  conclusion  shows  them  happily  married  in  one 

of  the  colossal  mansions  which 
are  presided  over  by  successful 
stars.  Twin  babies  are  their 
reward.  Even  they  are  selected 
for  small  bits.  And  the  bird  is 
not  forgotten.  He  supplies  at- 
mosphere. Thus  they  all  get 
into  the  movies  except  the  girl. 
And  her  failure  rings  true. 

A    picture    which    serves    as 
rich  and  colorful  entertainment 
—  packed     with     humor     and 
pathos  —  a   picture   which   also 
serves  in  stopping  screen-struck 
girls     from     making     the     pil- 
grimage  to    Hollywood,   think- 
ing that  the  fortunes  of 
the     Make  -  Believe 
world  are  theirs 
for  the  asking. 
Such  fine  story 
interest,      such 
excellent    de- 
tails —  such 
stars     in     one 
picture    make 
it  as  conspicu- 
ous in  its  field 
as    the    Levia- 
than    is     upon 
the  ocean.  The 
real  Hollywood 
at  last. 


Lew 

and 


UNIV] 
SAI 
•  <  vr  „ . 


FR- 
L'S 
Merry- 
Go-Round"  possesses  senti- 
ment and  charm  and  there  is 
at  times  a  definite  poignancy 
about  it  which  brings  a 
wistful  appeal.  We  wonder 
what  Stroheim  would  have 
made  of  it  had  he  been 
allowed  to  follow  it  thru  to  a 
conclusion.  His  successor,  Rupert 
Julian,  has  brought  out  some  spark- 
ling bits — and  at  the  same  time  he 
allows  himself  to  be  swallowed  up  in  con- 
ventional grooves. 
The  tale — really  a  screen  version  of  "Old  Heidelberg" 
— presents  a  sentimental  heartache  of  a  pathetic  organ- 
grinder  who  transforms  a  playboy  into  a  gentleman  who 
respects  a  young  girl's  innocence.  The  scene  is  Vienna's 
Coney  Island — Der  Prater,  and  as  she  grinds  out  the 
tunes  to  the  stern  commands  of  the  relentless  conces- 
sionnaire,  well  played  by  George  Seigmann,  there  comes 
into  her  life  a  gay  lieutenant  bedecked  in  a  brilliant 
Austrian  uniform.  There  is  some  counter-conflict  when  he 
is  married  to  a  lady  of  royalty,  but  his  charter  is  born 
upon  the  battle-field.  And  he  returns  home  after  the  con- 
venient death  of  his  wife  to  lift  the  girl  from  drudgery. 


{Forty-eight) 


, 


CI  ASSIC 


The  important   factors  of  this  picture's  entertainment 
the  backgrounds,  atmosphere  and  the  compelling  pei 
formancc  b)    Mar)    Philbin,  who  approaches  Lillian  tiish 
in  her  poignant  moments. 

WK  find  "Circus  Days"  (First  National)  an  ideal 
Btorj  for  Jackie  Coogan'a  expression,  since  it 
places  him  against  a  background  of  tan  bark  and 
big  tops,  no  tale  of  (.-ircus  life  has  evei  failed  to  hold  the 
spectator's  attention  since  its  chief  qualitj  heart  inter- 
est i-  exposed  in  every  little  detail.  Where  this  story 
falters  is  in 
its  planting 
Of     lack ic    as 

the  m  n  c  h  - 
abused  child 
in    a     brutal 

uncle's  home. 
It  ;>  easy  to 
see  that  he 
will  eventu- 
ally run  away 
when  the. 
circus  comes 
to  town.  The 
brightest  mo- 
ments are 
w  h  en  he 
doubles  for  a 
tiny  bareback 
rider  —  per- 
forming some 
c  1  o  w  n  i  s-h 
stunts 
modeled  after 
an  act  in  the 
present  Ring- 
ling  show. 
The  pathos  is 
exaggerated, 
thus  destroy- 
ing the  illu- 
sion  of 
reality.  And 
Jackie's  emo- 
tional gifts 
are  sup- 
pressed to  a 
great  extent. 
A  t'rail  story. 
bolstered  up 
w  i  t  h  so  m  e 
circus  i  n  c  i  ' 
dent  —  which 
will  interest 
after  a 
fashion. 

IF  we  must 
have     pic- 

t  u  r  e  s  o  f 
mythical 

kingdoms,  let  us  at  least  have  them  after  the  manner  of 
Anthony  Hope's  adventurous  yarns.  "The  Prisoner  of 
Zenda."  and  "Rupert  of  Hentzau."  The  latter,  produced 
under  the  auspices  of  Selznick.  is  a  sequel  to  the  other — 
and  presents  the  wily  Rupert  and  his  gift  at  intrigue  in 
a  conventional  s»rt  of  way.  There  is  nothing  about  the 
opus  to  stimulate  the  imagination — the  story  being  so 
ancient  and  obvious.  But  at  least  it  is  done  ever  so  much 
better  than  the  volume  of  mythical  kingdom  stuff  which 
reaches  the  screen. 

Rex    Ingram    was    missed    in    the    production    of    the 


Above:  Anton 
Waverka  in 
l'M  erry-Go- 
Round."  Below: 
Mae  Murray  and 
Monte  Blue  in 
"The  French 
Doll."  Right: 
Andree  Lafayette 
in  "Trilby" 


Photograph  by  Ed.  E.   Morrison 


Selznick  number,     \\  hile  it  has  been  dire<  ted  so  thai 
court   flavoi    is  dominant,  it   lacks  the   vitality  ol 
Prisoner  of  Zenda."    Furthermore,  it  doei  not  l> 

"Zenda"  made   Navari  Rupert 

suggested  the  wily,  unscrupulous  nobleman  mi  [ope 

painted  him.     Lew  (  ody  i«  good  in  the  role,  but  fail 
color  it  with  the  fascinating  deviltries     I  i 
in  "Zenda,"  is  much  better  suited  for  the  part  of  the  I 
than  Bert  Lytell  who  never  realizes  a  real  kingly  beat 
and  dignity.     Elaine  Hammerstein  gives  a  colorli 
formance  of  the  queen,  acting     as  she  ha    always  acted 

without 
inspiration  or 

enthn  -i.i 

11      looks 
encou  ra 

ing    to 
Fox     turning 

tow  a  r  d  t  In- 
artistic 
heights.     Not 

I  that  its  "Soft 

fl     P\       %'     J       Boile(1" 
\    H  '    Lfc?*^  ■        destined  for  a 

ft     J       EjApQFfl  sun.  but   that 

this   company 
has    packed 
up     its     wild. 
melodramatic 
troubles  in  its 
old     kit     bag 
and      has 
ceased     mak- 
ing pictures 
for  the  Toms. 
Dicks    and 
Harrys    of    a 
moron  world. 
The    above- 
m  e  n  t  i  o  n  e  d 
piece    takes 
Tom  Mix  out 
of    his    chaps 
and     places 
him    in    store 
clothes  to 
lead    a    dizzy 
pace     in     a 
farce-comedy. 
The     idea     is 
brittle,     re- 
volving  as    it 
does     around 
an      eccentric 
uncle's  will,  a 
clause     of 
which     com- 
pels  the   heir 
(  Mix  )     to 
curb  his  temper  for  thirty  days  or  lose  his  inheritance. 
Simply  a  variation  of  the  "Brewster's  Millions"   formula. 
There    is   ample    room    for   the   star   to   attempt    some 
comic  high  jinks — at  which  he  is   fairly  successful.     But 
the  picture  repeats  itself  too  often — and  there  is  too  much 
of  Tom  Wilson  in  blackface.    The  conclusion  brings  the 
long-awaited  release  of  temper  when   Mix   foils  the  bad 
man  with  rights  and  lefts  a  la  Dempsey.   The  number  stops 
several  times  to  introduce  some  unimportant  hokum,  but 
with  all  its   faults,  it  is  Tom   Mix's  best   in  a  long  time. 
(Continued  on  page  97) 


Above  :  Barbara 
La  Marr  and  Er- 
nest Torrence  in 
Maurice 
Tourneur's  fan- 
tasy, "The  Brass 
Bottle."  Below: 
Tom  Mix  in  "Soft 
Boiled" 


(Forty-nine) 


The  Rime  of  the  Ancient  Ham 

By  A.  H.  GIEBLER 


After  the  man- 
ner of  Samuel 
Taylor  Cole- 
ridge, with  the 
hope  that  the 
imitation,  how- 
ever crude,  will 
give  an  affirma- 
tive answer  to 


Thomas  Gray's 
highly  rhetorical 
question:  "Can 
flattery  soothe 
the  dull  cold  ear 
of  death  ?"  and 
thus  keep  Sam 
from  turning  in 
his  grave 


A  Movie  Fan,  about 
to  ooze  himself  into 
a  Picture  Dump,  is 
estopped  by  an  aged 
barn-storraer 


It  is  an  ancient  Thespian, 

And  he  stoppeth  a  Bozo, 
Who,  com  in  hand,  would  fain  attend 

A  moving-picture  show. 


The      Ham       press- 

agenteth       himself 

somewhat 


No  rambunctious  termagant,  as  some 
I  moved  to  laughter,  tears ; 

Nor  passion  tore  to  shredded  rags 
To  split  the  groundlings'  ears. 


The      Fan      thinketh 
he's    being    pan- 
handled 


And  adviseth  the 
Ham  to  take  the 
local  constabulary 
into     his    confidence 


The       Fan       wa-teth 

sore  and  is  about  to 

tap    the  old   guy   on 

the   conk 


But  the  Ham  putteth 
the  hypnotic  eye  on 
him  and  he  is  con- 
strained   to    listen 


The  Fan,  impatient,  craned  his  neck. 

He  took  a  look  inside, 
Saw  Usherettes  in  pantalettes, 

"Say  !    Have  a  heart !"  he  cried. 

"There     was     a     time,     a     gladsome 

time " 

"Aw  !    Can  the  chatter,  Pop  ! 
They're   showing   'Fruits   of    Sin'   to- 
night. 
Go  tell  it  to  a  Cop !" 

He  holds  him  with  a  skinny  hand, 
"There  was  a  time."  quoth  he. 

"Lay  off!     Lay  off!"   The  Fan   was 
wroth. 
Eftsoon  his  mitt  dropt  he. 

He  holds  him  with  a  glittering  eye. 

The  Fan,  he  lit  a  pill, 
And  listens  like  a  husband  meek. 

The  Old  Bird  hath  his  will. 


And    runneth    on    in 
the    same    strain 


This      statement      is 

open      to      question, 

(All  actors  talk  that 

way,   however) 


The  Fan  beareth  the 

jazz     and     his     goat 

slippeth    its    tether 


The  Ham  comfoTteth 
him 


I  reflected  Nature's  every  mood 
With  utmost  care  and  quiddity ; 

Erred   not   in   sad   or   jocund   speech 
To  e'er  o'erstep  her  modesty. 

I  played  Broadway  in  every  town, 

'Twas  always  S.  R.  O. 
I  stood  'em  up  and  packed  'em  in, 

At  each  and  every  show. 

I  never  worked  a  one-night  stand, 
Tank  circuits  left  alone " 

The  Movie  Fan  here  beat  his  breast, 
For  he  heard  the  saxophone. 

"Why  listeneth  thou  ?    That  sound  but 
tells 

Of  a  comedy  on  the  screen. 
My  woeful  tale's  more  sad  by  far, 

Than  comic  thou'st  ever  seen. 


The   Ham    admitteth 

he   hath    seen    better 

days 


"I  am  a  veteran  of  the  stage, 
To  this  sad  state  become. 

To  ribald  ones  with  vulgar  minds 
I'm  nothing  but  a  Bum ! 


See  paragraph   above 
but  two 


The  ghost  walked  regular  every  week, 
My  salary,  Broadway  top. 

Thus  Fortune  smiled  on  me  for  years, 
And  then  she  took  a  flop ! 


And   starts  a  mono- 
log  about  them  days 
that    was    but    ain't 
no    more 


But  years  the  mimic  boards 
I  trod. 
Homage  was  mine,  and 
oft 
Crowned  heads  have  melted 
to  applause 
At  Nature's  mirror  held 
aloft. 


(Fifty) 


A 


mi   onnplaln 

•  III        l.lttrtly        •limn 

llli-     picture    poll 

Irlii-r 


And     rcinniki-ili      an 
nrly    odcoim 


The  i  "i  ■  ed  pictures  hit  the  land, 
\ml  evei  v  vacant   store. 

\\  nil  lui  nl  pictures  was  bedej  ked, 
Ami  signs  above  the  dooi . 


phrase 


ami 


puny 


With    canny 
price, 

They  lured  the  yokels  in. 
\n\    Jack  could  take  Ins  Jane, 

For  one  dime,  however  thin. 


tlv  mUlM,  II  didn't 
look  a>  if  i  ho  leap- 
ing llutypea  wore  go- 
ing in  get  anywhere 
at  am.   ,11,1   It) 


At    first   I   smiled.     Some  called   them 
Art! 

Ye  Gods  on  high!     I  laughed! 
The  actor's  art  is  in  his  speech. 

Could  words  he  photographed? 


Dopetn    mil     a    una 

to    COP    huI     -■ 
Mir   may  picking* 


That    night    did     fond    hope    (ill    tn\ 

breast, 

This  reptile  I    would  won, 
And    pluck    the    jewel    from    its    head. 
I  dreamed  of  savory  stew. 


He  neglected   to  run 
the   card* 


But  as  time  flew  the  dumb  things  grew 

To  a  gargantuan  size. 
But  still  I  laughed  and  did  not  see 

The  writing  in  the  skies. 


TrLtli    to    crash    the 

'in, 11, i      nnti's,       but 

gets    the     gale    him 

self 


I  haunted  then  the  movie  lots. 

Ah,   what  a  blow   to   pride! 
To  cool  my  heels  in  anterooms. 

But  seldom  get  inside  ! 


Thr>     used    to    allow 

'cm    In     tenia,     too. 

Kt  member? 


The    Morles     always 

did    smnd     a    lotta 

Jack   on   juice 


'S  a  fad.  the  Monies 

hit  the  legitimate  an 

awful     wallop     "long 

about    that    time 


Old     20**     was    get- 
ting  his! 


The    Ham    helpeth 
the   four-a-day   peo- 
ple  put   the  pictures 
on   the   pan 


There  came  a  time,  however,  when 
Ahout,  about  on  every  hand, 

A  raucous  ballyhoo  disturbed 
Street,  Avenue  and  Strand. 

One  walked  abroad,  and  everywhere. 
There  flamed  ami  gleamed  at  night, 

The  symbols  of  the  Cinemas, 
In  red  and  green  and  white. 

The  mushroom  grew  and  grew  and  grew 

Till  temples  of  my  art, 
Went  dark  and  silent  as  the  tomb, 

Where  I  did  strut  my  part. 


Plscuvereth    that    he 
Is   no  Sheik 


And  that  a  tall  hold 

on   technique   gettcth 

him    nowhere: 


He  runneth  on  about 
bis   hard   luck 


I   sought  my  Agent's 
house  in  vain, 
He  spoke  in  accents 
sad: 
'There's    nothing    do- 
ing in  our  line, 
The    world's    gone 
movie  mad.' 


Were  others  too,  who 
felt  the  screw. 
Vaudeville,  once 
despised, 
Its    votaries    became 
my  brothers. 
And  as  we  fraternized, 
We  sent  a  paean  of   hate  aloft. 
We  damned  the  movies'  eyes ! 


CASTING  DEPI 


Concludeth    that 
Bill     said     a     wise 

mouthful 


Bethought  me  then  of  Shake- 
speare's line, 
Wherein    the    Great    Bard 
said, 
'The     toad,      tho     venomous, 
despised, 
Hath  a  jewel  in  his  head.' 


When  once  or  twice  they  looked  me 
o'er, 

Alas,  my  hair  was  thin  ; 
I  did  not  sport  a  bulldog  jaw, 

No  cleft  was  in  my  chin ! 

It  mattered  not  that  I  did  know 
My  book  of  drama  thru. 

They  wanted  Youth,  but  callow  Youth, 
And  naught  but  Youth  would  do! 

There  passed  a  weary  time.  My  throat 
Knew  only  water  as  a  drink. 

My  purse  was  empty  of  all  sound 
Where  once  fat  coins  did  clink. 


His    stomach 

'  h 1 1 1  k  e  t  h     his 

throat   Is  cut 


From  lack  of  food  I 
grew  so  gaunt, 
My    palsied    hands 
did  twitch. 
If  stomach  or  if  spine  com- 
plained, 
I  could  not  tell  the  which. 


He   taketh    an 

a  w  f  u  1   slam    a  t 

the    early    lens 

lice 


The  while  jo- 

millers. 

buffoons. 

clowns, 

Golden   guerdons   earned. 

{Continued  on  page  88) 


(Fifty-one) 


Blow 
Your 
Own 
Horn 


By 

DOROTHY 
DONNELL 


But  it  was  almost 
impossible  to  see 
Jack  ...  so  wholly 
was  he  surrounded 
by  fair  faces,  mar- 
celled heads,  and  an 
aroma  compounded 
of  the  most  expen- 
sive scents  of  Araby 


THE  decks  of  the  steamer,  warping  majestically  up 
the  harbor,  were  packed  with  olive-drab  heroes  who 
had  just  finished  their  job  of  making  the  world  safe 
for  democracy.  Sirens  and  whistles  blew  piercing  blasts 
of  welcome  from  either  shore ;  the  bronze  goddess  of 
Liberty  bestowed  a  metallic  smile  of  approval  upon  them 
as  they  sailed  past  her ;  and  all  over  the  broad  land  the 
mayors  of  a  hundred  cities  worked  feverishly  upon 
Addresses  of  Welcome. 

Somewhat  apart  from  his  fellows  stood  a  young  man 
with  a  square  chin  and  a  spunky  grin  that  tried  to  deny 
the  wistfulness  in  his  very  blue-blue  eyes.  Seven  million 
people  in  Manhattan — and  not  one  of  them  would  be  glad 
to  see  him  back !  He  wished  humorously  that  he  had 
elected  to  return  by  way  of  Boston  where  there  would 
have  been  only  two  million  and  a  half  people  who  wouldn't 
have  been  glad  to  see  him  !  The  sole  relative  Jack  Dunbar 
had  in  the  world  was  a  small  brother  whom  he  had 
parked  on  a  farm  in  the  Middle  West  when  a  gentleman 
by  the  name  of  Wilhelm  had  started  something  he  couldn't 
finish  several  years  before.  There  was  not  even  a  mayor 
to  shed  oratorical  tears  over  him,  for  he  was  a  rolling 
stone,  and  in  his  pockets  at  this  moment  jingled  not  a 
particle  of  moss. 

*'If  I'm  going  to  keep  up  the  habit  of  eating  I've  got 
into,"  Jack  reflected,  "I've  got  to  get  a  job,  and  I  have  a 


sneaking  notion  that  the  guys  that  heroically  gave  their 
voices  for  their  country  yelling  'hooray !'  when  we 
marched  away  are  going  to  get  writer's  cramp  when  it 
comes  to  putting  us  on  their  pay-rolls  now  !" 

'The  mountain  ranges  of  sky-scrapers  gave  way  to  docks 
and  huge  electric  signs  advertising  the  virtues  of  pills, 
tires  and  breakfast  foods,  the  tugs  grunted  and  panted 
as  they  nosed  their  charge  into  dock  and  one  thousand 
nine  hundred  and  ninety-nine  relatives  and  friends  surged 
forward  crying  :  "George  !"  "Peter  !"  and  "Bill !"  The 
two  thousandth  passenger  delayed  until  the  others  were 
all  disembarked,  then  sauntered  down  the  gang-plank, 
hands  jammed  into  pockets,  lips  puckered  into  a  gallant 
whistle  which  changed  to  a  yelp  of  surprise  as  a  small 
figure  catapulted  itself  from  the  crowd  upon  him. 

"Buddy!  Why  say — and  I  thought  you  were  in  Ohio 
growing  up  into  presidential  timber !" 

"I  was  but  I  ain't,"  Buddy  replied  succinctly,  gazing  at 
his  soldier  brother  with  worshipful  eyes,  "I  stowed  on 
a  freight  when  you  wrote  you  was  comin'.  Gee !  I  was 
scared  I  was  going  to  miss  meeting  you — the  brakeman 
called  a  cop  to  jug  me  when  the  freight  got  in  this 
mornin' !" 

"How  come  you're  down  here  then?"  Jack  demanded, 
trying  to  sound  gruff  and  elder  brotherly,  and  failing 
shamelessly. 


(Fifty-two) 


I  i  IS 


"(  )li,"  said  Budd 

l   jollied  the  cop  into 
bringing   me  down  on   his 
.  le !" 

1  ln-\     win-    afraid 
emotion,  and  veered  man 
wise    from    its    dangerous 
\  icinity.    Budd)  pro>  ing  to 
have  seven   dollars   in   his 
pocket  they  discussed  their 
joint  future  o\  er  .1  sumptu 
ous   banquet    of    pancakes 
and  doughnuts  in  a  near-b) 
quick  lunch.     Buddy  stated 
emphaticall)    that    he    was 
not  going  back  to  the  farm. 
"Mrs.  Smedley  made  bully 
pies,"  he  admitted,  "but  she 
was  always  after  me  to  wash,  ami  besides  when  a  feller 

i>  horn  an  orphan  like  me  he'd  better  stick  to  his  brother, 

When   Jack   glimpsed   the   bill    for   the   pancakes   he 

decided  that  the  city  was  no  place  for  them,  an  opinion 
that  a  day's  search  for  a  job  confirmed.  At  the  close 
of  the  afternoon  he  exchanged  his  soldier  uniform  for  a 
suit  of  hand-me-downs  at  the  Misfit  Clothing  Store  of 
one  Abraham  Levy.  '*I  guess  we  hit  for  the  tall  grass, 
kid.  1  cant  do  much  of  anything  but  I  cant  do  it  better 
in  the  country  than  in  the  city.     Let's  go!" 

The  following  afternoon  found  them  trudging  along  a 
road  in  upper  Westchester  where  fate  gave  them  the 
cue  to  turn  the  corner  immediately  after  Mr.  Small,  multi- 
millionaire, with  a  prejudice  against  chauffeurs  whirled 
the  crank  of  his  imported  car  for  the  fifteenth  fruitless 
time,  accompanying  the  operation  with  lurid  language 
which  even  to  one 
accustomed  to  the 
conversation  of 
drill  sergeants 
was   a   revelation. 

"I  sent  my 
daughter  out  of 
earshot,"  Mr. 
Small  explained 
as  Jack  and 
Buddy  paused  en- 
tranced to  harken, 
"this  is  the  fifth 
time  this  after- 
noon she  has  had  to 
take  a  walk  in  the 
fields  while  I  got 
this  contraption 
of  the  devil 
started.  When  I 
get  home  I  shall 
buy  a  push  cart 
and  do  my  travel- 
ing in  that  here- 
after  " 

"1  .et  me  look  at 
it."  Jack  suggest- 
ed. "I'm  a  bit  of 
a  tinkerer.  I  can 
make  most  any- 
thing go.  even  an 
army  mule." 

With  a  kind  of 
awe  the  million- 
aire watched 
while  he  tightened 
a  bolt  here, 
adjusted    a    plug 


Bl  I  »W  N  "i  R  Ht  >RN 
!  no.  ■!!:.-, .;    b)    I'll  mission    ii, .in    the    F      B 
release  <■'  thi    icreen  adaptation  bj    i<>  k    i.o  i- 
ia  v  i>  itorj      Directed  bj   Jamei  \\ 
Home      iiu- 

Dunbar Wai  n<  i    Baxtei 

Nicholas   Small     Ralph    Lewii 

\nn    Small .  .  \mi     Pel  du< 

Auguatus  Jplj  in  I  it  kei 

moi  e  Be\  an  William  1 1     ["urner 

Gillen  .Jolyon Ernest  C    Warde 

Idy"  Dunbar John   Fox,  Ji 

Julia  Yates  Mar)  Jane  Sanderaon 

Mis     [olyon Eugenie    Fordt 

Mrs    iiilro>    \.n<s        .  I  'ill    Hoone 

Percj    N  .it<  -  Bill)    I  Isborni 

Timothy  Cole Stanhope  Wlieatcroft 


the  engim 

and      Mr       Small 

In  ightened.     "All    I    i  ould 

make  her  do   W  'il(,'h 

like  a  damned  top] 
fretted,  "young  man 

saved   my   life       M 

tells  me    I    mustn't 

angry.     You're  a   won 
you're  — » 

"It    wasn't    any  t  hing," 

said  lack  modestly,  shaking 

his    head    at    the    proffi 

bill,    "anybody    could    have 
told  you  what  to  do." 

Mr.  Small  returned  the 
bill  to  his  pocket  reluctantly.  "Then,  if  you  wont  let 
me  repay  you  with  money,  young  man."  he  said,  "here 
million  dollars'  worth  of  advice.  Never  tell  people  some- 
one else  is  as  good  a>  you  are,  never  be  modest.  Brag! 
Bluff!    Blow  your  own  horn,  young  man!" 

Jack  laughed.  "It's  no  use  trying  to  make  people 
think  you're  something  you're  not,"  he  declared,  "you 
cant  get  away  with  it." 

Mr.  Small  had  been  watching  him  closely,  now  as  a 
man  overcome  by  his  own  humor  he  burst  into  immoder- 
ate laughter  from  which  words  trickled:  " — be  a  g 
joke — that  old  snob  Jolyon!  And  Mrs.  Yates  would  hurl 
Julia  at  your  head — and  Dinsmore  Bevan.  ha,  ha,  ha!" 
Gradually  he  became  more  coherent:  "Say.  I  like  to 
prove  my  theories  and  I  can  afford  to  do  as  I  like.  I'll 
give  you  one  hundred  dollars  to  impersonate  a  millionaire 
at  a  house-party  I'm  on  my   way  to  now." 


Here  is  a  part  of  the  amazing  house-party:     the  rich  Mr.  Small  and  his  daughter  Ann,  the 
finicky    financier,    Bevan.    the    ambitious    (unduly)  widow,  Mrs.  Yates 


m 


(Fifty-three) 


CLASSIC 


Rapidly  he  unfolded  his  scheme  which  included  a 
mythical  Rolls-Royce  supposedly  wrecked,  forcing  Jack 
and  Buddy  to  don  borrowed  clothes,  with  a  Texas  oil 
well  in  the  hackground — to  explain,  Jack  judged  cynically, 
any  solecisms  of  speech  or  ignorance  of  the  proper  fork 
for  the  fish  course. 

He  had  already  opened  his  mouth  to  disclaim  any 
interest  in  the  preposterous  plan,  but  no  words  came. 
Lips  still  ajar,  he  was  gazing  beyond  the  baldish  head  of 
the  whimsical  millionaire  at  a  vision  in  cool  summer 
colors  who  had  just  appeared  strolling  thru  the  grove. 
"Is  it  safe  to  come  now,  Papa?"  asked  the  Vision,  smil- 
ing cherry-lipped,  "a  few  little  damns  wont  matter." 

Jack  bowed,  gracefully  from  the  hips  as  he  had  seen 
the  Frenchmen  bow,  and  turned  to  Mr.  Small  whose  pursy 
figure  seemed  surrounded  with  a  glow  of  reflected  radi- 
ance. "I  agree  to  your  proposition — on  one  condition," 
he  said  suavely,  "'and  that  is  that  the  scheme  be  confi- 
dential for  one  week,  no  matter  what  occurs." 

"You  have  my  word  for  it !"  the  millionaire  chuckled. 

"Then,"  Jack  deftly  slipped  a  card  into  the  other's 
hand,  "wont  you  begin  by  introducing  me  to  your 
daughter?  And  explain  how  my  car  was  wrecked  so  that 
my  brother  and  I  are  forced  to  make  such  a  poor 
appearance." 

The  chuckle  exploded.  Mr.  Small's  expression  as  he 
complied  with  Jack's  request  was  dubious  like  that  of  a 
man  who  doesn't  quite  see  the  point  of  a  joke.  And 
when,  a  little  later,  he  stood  by  and  watched  the  members 
of  the  Jolyon's  house-party  vie  with  one  another  to  make 
the  handsome  young  Texas  oil  magnate  welcome,  his 
dubiousness  was  that  of  a  man  who  has  walked  confi- 
dently off  an  unsuspected  step  in  the  dark. 


P'1' 


"Isn't  Mr.  Dunbar  a  dear?"  gushed  Mrs.  Yates,  a 
stout  widow  with  a  cattish  tongue,  kittenish  ways,  and  a 
daughter  of  more  than  marriageable  age,  as  she  glanced 
across  the  table  at  dinner,  "wasn't  it  fortunate  Mr.  Bevan 
is  the  same  size  and  could  lend  him  clothes  and  my  little 
Percy's  things  just  fit  that  sweet  child  Buddy!  What  a 
romantic  chance  that  brought  him  to  us  here — it  is  almost 
enough  to  make  one  believe  in  Fate  isn't  it,  Mr.  Small?" 
Across  the  silver  centerpiece  her  neighbor  watched  the 
debonair  figure  of  his  creation -dividing  his  smiles  between 
unattractive  Julia  Yates  and  his  own  daughter,  Ann, 
while  on  the  other  side. of  Ann,  quite  isolated  by  an  inat- 
tentive, charming  bare  shoulder.  Augustus  Jolyon,  the 
son  of  the  host,  partook  dreamily  and  in  solitude  of  his 
alligator  pear  salad.  Augustus  had  neither  parlor  graces 
nor  shekels,  but  he  did  possess  ancestors.  His  blood 
was  blue,  which  no  doubt  accounted  for  the  bleak  pallor 
of  his  complexion,  and  his  features  were  all  inherited 
from  a  long  line  of  forebears  which  was  probably  the 
reason  for  their  being  so  curiously  assorted.  It  was  a 
matter  of  understanding  between  Ann's  father  and 
Augustus'  parents  that  their  children  should  marry,  and 
Ann  had  been  apparently  resigned  if  not  enthusiastic 
when  they  started  out  for  the  house-party. 

Mr.  Small  had  always  rather  fancied  himself  as  a 
practical  joker,  but  now  he  began  to  wonder  whether  he 
had  not  been  an  extremely  impractical  one.  If  only  he 
had  not  given  that  idiotic  promise  of  one  week's  silence ! 
He  would  see  that  young  upstart  after  dinner  and  put 
him  in  his  place. 

But  it  was  almost  impossible  to  see  Jack  after  dinner 
when  the  party  had  returned  to  the  drawing-room,  so 
wholly  was  he  surrounded  by  fair  faces,  marcelled  heads 

and  an  aroma 
compounded  of  the 
most  expensive 
scents  of  Araby. 
Fuming  inwardly. 
Mr.  Small  watched 
Mrs.  Yates  coo 
over  him,  watched 
the  slightly  shop- 
worn Julia  ply  him 
with  flattery, 
watched  his  own 
daughter.  Ann,  ac- 
tually blush  in  a 
Mid-  Victorian 
manner  at  some- 
thing the  shameless 
young  scoundrel 
whispered  to  her — 
Ann  who  read 
Shaw  and  Wells 
and  was  wont  to 
discuss  sex  inhibi- 
tions and  birth 
control  with 
her  young  me n 
friends ! 

Mr.  Small  cast  a 
glance  about  for 
Augustus  who,  as 
prospective  hus- 


Bcvan  shook  his 
head:  "Not  practi- 
cal, my  boy!  Sorry 
but  I  am  not  inter- 
ested in  portable 
Niagaras.  Why  dont 
you  try  our  friend 
from  Texas?" 


(Fifty-four) 


CLASSIC 


Percy   and    Buddy   doing    their    share    toward    making    the    house-party    even    more    interesting 


band,  should  by  right  be  a  prey  to  the  green-eyed  monster, 
but  that  pallid  youth  had  cornered  Dinsmore  Bevan  and 
was  explaining  his  invention  of  a  device  for  the  wireless 
transmission  of  power  to  the  skeptical  financier.  '  .  .  . 
millions  in  it !"  he  was  saying,  "think  of  it,  the  power  of 
a    Niagara   in   your  own   home   by   pressing   a   button I" 

Bevan  shook  his  head.     "Not  practical,  my  boy!''  his 
tone  patted  Augustus  indulgently  on  the  head, 
"sorry,  but  I'm  not  interested  in  portable 
Niagaras.  Why  dont  you  try  our  friend 
from    Texas?"      His    gesture    told 
Augustus  to  be  a  good  boy  and 
run    away    and    play,    but    the 
young   inventor   took   his   de- 
risive suggestion  seriously.  A 
gleam    of    hope   came    into 
the  pale,  near-sighted  eyes 
he    had    inherited    from 
some  maternal  uncle,  he 
set    his    great-grand- 
father's   rather    weak 
chin  determinedly  and 
a    moment    later    had 
Jack 
ner, 
tale. 

Mr.     Small     sought 
his  host.  "Jolyon.'' 
said  he,  "have  you 
spoken    to     your    boy 
about  the  matter  we 
discussed  the  other  day? 
What  did  he  say?" 

Mr.     Jolyon     shrugged 
his  shoulders.  "To  be  quite 
frank,"  he  admitted,  "Au- 
gustus  did   not   take   to   the 
idea  just  at  first.     His  remark 
was,  as  I  remember,  something 
to  the  effect  that  he  didn't  want 
any  wife  because  she  would  be  sure 
to   get   hair    pins   into    his    transmitter, 
and   powder  onto   his  batteries,   but   I   rt- 


111 


another   cor- 
istening    to    his 


minded  him  that  marriage  was  a  family  custom  of  our-. 
and  he  finally  yielded." 

"As  a  wooer,"  said  Mr.  Small  dryly,  "Augustus  is  not 
exactly  ardent.  However  I  cannot  say  that  Ann  is  pre- 
cisely sentimental  herself,  altho  she  has  agreed  to  my 
wishes.  I  think  under  the  circumstances,"  his  glance 
wandered  toward  Jack,  "we  would  be  wise  to  announce 
the  engagement  at  once." 

Ann    Small    smiled    a    trifle    grimly    intc 
Augustus'  downcast  face  as  they  took 
their  places  side  by  side.     "It  hurts 
me  as  badly  as  it  does  you.  Gus !" 
she  said,  "still,  dont  you  think  it 
would  be  the  sporty  thing  to 
register   pleasure   instead   of 
looking  as  if  the  body  was 
still    in    the    next    room?" 
Jack  Dunbar  was   in  the 
act  of  signing  his  name 
when  the  announcement 
of  the  engagement  was 
made.     The  result  wa- 
a    large,    heart-broken 
blot    but    he    pressed 
Augustus'  hand  warm- 
ly   in    congratulation. 
"May  I  be  the  fir 
he  said,   "to   Wish   my 
partner  happiru 
"Partner,"  cried   Small 
and   Jolyon    in   chorus 
while     Ann 
visibly. 
"Why,    yes,"    Jack   ex- 
plained,    "Augustus     has 
told    me    of    his    invention 
and  I  think  with  my  knowl- 
edge of  wireless  we  can  make 
a  big  thing  of  it.     He  has  of- 
fered me  a  half-interest,  and  Mr. 
Bevan  here   has  just   purchased   my 
interest  for  fifty  thousand  dollars,"  and 
(Continued  on  page  93) 


brightened 


(Fifty-five) 


Flashes  From  the 
Eastern  Stars 


Love,''  he  journeyed  down  Long  Island  and  shot  one 
;>f  the  biggest  mob  scenes  ever  filmed.  The  ''extra," 
were  a  flock  of  sixty  thousand  ducks! 


RODOLPH    VALENTINO    has 
signed     a     long-term     contract 
with    Ritz    Carlton    Pictures. 
After     his     return     from     Europe 
where  he  and  his  wife  are  vaca- 
tioning and   at  the   close   of  his 
Famous  Players  contract   (Feb- 
ruary,   1924)    he    will    start   to 
work.      He    is    thrice    welcome 
back.      The    screen    needs    this 
picturesque  personality.     He 
wants    Sabatini's    "The    Sea 
Hawk"  for  his  first  picture,  but 
Richard  Rowland  of  First  Na- 
tional   has    already    bought    the 
screen  rights.  ... 


The  Metro 
Picture  Cor- 
poration an- 
nounces that  af- 
ter  several 
months  of  nego- 
tiation it  has 
succeeded  in 
signing  Lau- 
rette  Taylor  to 
star  in  picturi- 
zations  of  two 
of  her  stage 
vehicles,  "Hap- 
piness," and 
"One  Night  in 
Rome,"  both 
written  by  J. 
Hartley  Man- 
ners. Miss 
Tavlor  passed  all  photographic  tests  in  "Peg 
Q''My  Heart." 


Photograph  by  P.   Aoers,  Paris 


Lionel  Barrymore  and  Irene  Fenwick  will 
appear  on  Broadway  this  fall,  it  is  understood, 
in  a  new  play  under  the  management  of  David 
Belasco.  Broadway  rumors  have  it  that  the 
piece  is  being  put  into  shape  bv  Achined 
Abdullah. 


Lew  Cody  will  be  seen  in  a  play  on  Broadwa)  soon 
to  be  called  "The  Panama  Kid."  At  present  he  is  on 
the  Goldwyn  lot  making  "Law  Against  Law." 


.*».»«*** 


Lynn  Fontanne,  known   for  In  r 
work  in  the  role  of  Dulcy,   is 
now  at  work  in  the  New  York 
studios    of    Distinctive    Pic- 
tures Corporation  in  a  film 
entitled  "Second  Youth." 
She    plays    opposite    her 
husband,    Alfred    Lunt. 
She  opened  on  the  stage 
in    "In    Love    With 
Love." 


Having      completed 
"The  .Fighting  Bla 
Richard    Barthelmess 
will  do  as  his  next  pic- 
ture the  celebrated  novel 
"Wild  Apples."    After 
:>ix  months'  research  work, 
1        Inspiration     Pictures     have 
decided    that    Mr.    Barthel- 
mess will  bring  to  the  screen 
Nathan  Hale,  portraying  the 
character  of  the  American  patriot 


Top  of  the  page:  Anna  Q.  Nilsson  sacrifices  her  beautiful 
hair  for  the  sake  of  "Ponjola,"  while  Donald  Crisp  looks  on. 
Above:  Otto  Krueger  and  Gustave  von  Seiffertitz,  noted 
character  actor  in  "Under  the  Red  Robe."  Left:  Raquel 
Meller,  a  Spanish  beauty  imported  by  the  Selwyns  to  head 
a  Continental  type  of  Revue.  Below:  The  newest  Follies 
deserter,  Mary  Eaton,  learning  about  the  movies  from  Sam 
Wood  who  will  direct  her  in  "His  Children's  Children" 

Photograph  from  Paramount   Pictui 


Elmer  Clifton  likes  to  do  things  on  a  large 
scale.      During    the    filming   of    "Six    Cylinder 


(Fifty-six) 


The  Editor  Offers  the  Latest  News 
of  Stage  and  Screen 


who  died  ni  the  cause  of  liberty.     This   was  decided   upon  aa  a 
alt  of  many  requests  to  set  this  favorite  star  in  the  role  of  the 
revolutionan  hero. 


Glenn  Hunter  has  started  work  on  his  rii>t  picture  for  Para- 
mount, "West  of  the  Water  Tower,"  an  adaptation  of  the  anony- 
mous novel  which  is  now  having  a  sensational  sale. 


fane  Harvey,   for  many  years  the  outstanding  player  of  mother 

roles  in  moving  pictures,  today  mothers  guests  at  the  Waldorf- 
Astoria,  Xew  York  City,  where  she  has  been  working  as  a  floor 
clerk  since  her  retirement  from  the  screen  three  years  ago.  L'ntih 
her    retirement    Mrs.    Harvey    was    a    familiar    figure    in    pictures, 


Photograph  by  White   Studios 


Above:  Regina  Wallace  who  is  to  play  opposite 
McKay  Morris  in  Mary  Roberts  Rinehart's  "The 
Breaking  Point"  early  this  fall.  Left:  Lillian 
Gish  and  Henry  King  and  the  oldest  actress  in 
Italy  on  location  before  Marion  Crawford's  villa 
overlooking  the  Bay  of  Naples.  Below:  A  study 
in  contrasts — the  first  and  smallest  steamboat, 
Clermont,  and  the  last  and  greatest,  Leviathan. 
The  replica  of  the  Clermont  was  used  in  "Little 
Old  New  York" 


Photograph  by   International  Newt   Kcti 


Photograph   by   Abbe 


having 'played  mother  parts  to  such  moving-picture  stars 
haplin,  Owen  Moore.  Shirley  Mason,  Petrova.   Xance 
O'Xeill  and  Pearl  White. 


The  first  of  J.  Stuart  Blackton  Productions  to  he  re- 
leased by  Yitagraph  is  "On  the  Banks  of  the  Wabash," 
a  story  inspired  by  the  famous  song  classic  written  by 
Paul  Dresser. 


Editing  of  "The  Midnight  Alarm,"  David  Smith's 
magnificent  fire  thriller,  is  being  finished  at  the  Yitagraph 
Studios  in  Brooklyn.  This  picture  has  a  special  cast 
headed  by  Percy  Marmont,  Alice  Calhoun  and  Cullen 
Landis. 

(Continued  on  page  89) 


(Fifty-seven) 


Above  is  the  Villa  Albani,  Rome, 
which  was  built  in  the  fourteenth 
century  by  Cardinal  Albani  (later 
elected  Pope).  It  is  now  owned  by 
Prince  Torlonia,  who  generously  per- 
mitted its  use  for  "The  White  Sister," 
the  Marion  Crawford  story  which 
Inspiration  Pictures  made  in  Italy 
with  Lillian  Gish.  It  is  considered 
one  of  the  greatest  beauty  spots  in 
Europe.  Right  is  a  convent  near 
Porto  San  Giovanni,  Rome,  where 
many  of  the  exciting  incidents  of 
"The  White  Sister"  were  shot 


On  The 

Seven  Hills 

of  Rome 

Authentic 
Backgrounds 

for  "The 
White  Sister" 


A  palazzo  near 
Rome,  above 
'  .  .  .  the  turgid 
Tiber's  crimson 
flow.    ..." 


(Fifty-eight) 


Vespers 


'The  Saints  will  aid  if  men  will  call: 

For  the  blue  sky  bends  over  all." — Coleridge. 


The  pictures  on  these  two  pages  are  the  beautiful  and  authentic  backgrounds  for  "The 
White  Sister."  The  entire  picture  was  shot  in  Italy;  in  Rome  and  Naples  for  the 
most  part,  which  means  that  this  film  will  be  heavy  laden  with  the  "fatal  beauty  of 
Italy."  "See  Naples — and  die"  is  the  immortal  phrase  of  that  dream  city.  We  cannot 
afford  to  miss  this  picture.     The  scene  above  is  Lillian  Gish   on  the  balcony   of  the 

Villa  d'Este,  Tivoli 


All    Photographs    by    Abbe 


(Fifty-nine) 


Classic  Considers 


Ink      Photograph  by   Pach   Brothers 


ROBERT     J.     FLAHERTY 
F.   R.   G.   S. 

Because  he  is  the  only  per- 
son who  ever  made  a  suc- 
cessful movie  without  hero, 
heroine,  villain,  or  plot.  With 
"Nanook  of  the  North"  he 
put  the  Esquimo  on  Broad- 
way and  familiarized  the  en- 
tire country  with  his  life  and 
habits.  Adventurer,  scholar, 
explorer,  he  had  no  idea  of 
expressing  himself  thru  the 
camera  until  he  was  ma- 
rooned for  a  year  and  a  half 
on  arctic  ice.  Because  Fa- 
mous Players  have  financed 
an  expedition  to  the  South 
Seas  so  that  he  may  do  for 
the  tropic  South  what  he  has 
done    for    the    frigid     North 


Photograph  by  Kendall  Evans 


OILDA  GREY 

Because  she  is  abso- 
lutely unique  in  her 
field  —  the  champion 
shimmier  of  the  world. 
Because  she  has  a 
tremendous  following 
both  in  "The  Follies" 
and  at  "The  Rendez- 
vous" where  she 
dances  —  that  is  — 
shakes  a  wicked  anat- 
omy to  the  gustatory 
delight  of  audience 
and  patron.  Because 
she  has  defied  anyone 
to  produce  a  more 
perfect  pair  of  legs 
than  her  own — and  to 
date,    nobody   has 


Photograph  ©  by  Luniiere 


HARRISON    FISHER 
(above) 

Because  there  is  not 
a  young  girl  the 
length  or  breadth  of 
the  United  States  who 
is  not  familiar  with  his 
drawings,  and  doesn't 
want  to  look  like 
them.  Because  he  is 
one.  of  our  most  promi- 
nent and  successful  il- 
lustrators. Because  he 
is  handsome,  clever, 
successful,  not  too 
young,  a  bachelor,  an 
artisr  and  a  rare  good 
fellow  besides 


(Sixty, 


d 


A  Camera  Study 


George  Walsh  has  forsaken  athletics  for 
aesthetics.  In  his  new  picture  for  Goldwyn, 
"The  Magic  Skin,"  he  is  cast  as  a  dreamer 
and  a  poet  starving  in  his  garret.  It  is 
said  that  George  actually  starved  himself 
for  weeks  before  this  picture  so  that  he 
might  acquire  that  yearning,  aesthetic  look. 
We  find  this  poetic  glamour  becoming  and 
we  marvel  anew  at  the  versatility  of  these 
movie  stars.  The  little  girl  on  the  stairs 
gazing  so  admiringly  upward,  is  Bessie 
Love,   another   many    faceted    star 


(Sixty-one) 


The  Hollywood 


Above,  Mary  and  Doug  and  Theda — 
Pickford,  Fairbanks  and  Bara.  Right  is 
Claire  Windsor  in  a  new  role,  getting 
ready  for  Hallowe'en.  Below  is  Netta 
Westcott  (center),  an  English  beauty, 
over  here  to  adorn  our  films.  Olga 
Printzlau  and  Eve  Unsell  of  Preferred 
Pictures  are  on   either   side 


Below  is  Buster 
Keaton  with  his 
staff  of  "gag 
men."  Buster 
must  be  hard  to 
please,  or  some- 
thing. They  dont 
seem  to  be  doing 
so  well  with  the 
tragic     comedian 


Transcribed  by 


BEFORE  I  ever  write  again  about  a  happy  Holly- 
wood bride,  I  am  going  to  make  her  bring  her 
husband  by  the  hand  and  file  him  for  reference. 
All  of  which  anguished  cry  arises  from  the  case  of 
Renee  Adoree.  It  appears  that  while  we  were  all 
dripping  fond  and  happy  tears  over  her  domestic  bliss, 
she  was  burning  midnight  oil  in  the  manufacture  of 
a  burning  suit  for  divorce.  And  the  suit  for  divorce 
was  filed  the  other  day.  In  it  she  accused  her  hubby, 
Tom  Moore,  of  cruelty.     She  said  he  accused  her  of 

having  a  "past" ; 
of  calling  her 
mean  names.  So 
there's  another 
young  illusion 
gone. 

The  lovely 
Renee  can  doubt- 
less find  some 
consolation  in  the 
fact  that  she  has 
made  the  greatest 
sensation  of  any 
girl  in  Hollywood 
this  year.  She  is 
regarded  as  the 
greatest  "find"  of 
many  seasons  as 
an  emotional 
actress. 


All     of     which 

Photograph  by  Clarence  S.  Bull  brings     US     to    the 

case  of  Mabel 
Normand.  I  attended  a  luncheon  one  day 
last  week  at  the  Writers'  Club,  at  which  the 
topic  was  brought  up  of  screen  genius. 
The  writers  and  directors  who  were  there 
all  agreed  that  the  greatest  single  genius 
that  has  ever  been  produced  by  the  screen 
is  Mabel  Normand  and  that  some  day  she 
is  likely  to  tear  loose  and  produce  some- 
thing that  will  be  immortal  in  screen 
history. 


For  the  first  time  in  her  life,  Mabel 
has  really  been  in  earnest  over  a  pic- 
ture. Until  this  one,  she  has  been  the 
despair  and  agony  of  her  directors' 
lives.  They  would  get  all  set  to 
"shoot"  and  perhaps  the  star  would 
appear ;  and  perhaps  the  star  would 
not.  Also  the  star  was  just  as  likely 
as  not  to  go  to  lunch  on  an  important 
day  and  not  appear  for  four  days. 

But,  while  the  "Extra  Girl"  was  in 
the  making  at  the  Sennett  Studio,  a 
new  Mabel  made  her  appearance — a 
grave,  reliable  and  punctual  Mabel. 
The  explanation  probably  is  that 
Mabel  is  very  hard  pressed  finan-. 
cially  and  realizes  she  has  to  get  busy 
and  saw  wood.  Some  of  her  invest- 
ments have  gone  wrong. 

(Sixty-two) 


Boulevardier  Chats 


HARRY  CARR 


Mack  Scnnett,  on  the  other  hand,  is  laid  to  h 
made  anothei  fortune  in  real  estate  piled  on  top  oi 
tin-  fortunes  he  alread)  had  1  understand  that 
Sennett's  realty  holdings  inside  the  city  limits  of  Los 
Angeles  exceed  one  hundred  -ami  thirty  acres,  mostly 
cit)  lots  and  tracts  being  held  for  subdivision. 


As  a  realty  king,  Sennett  lias  but  one  rival  in  the  mo- 
don  picture  colon)  ;  this  is  Ruth  Roland  who  is  said  to 
have  made  two  mil- 
lions in  Hollywood 
real  estate  during 
the  last  five  years. 
And  Miss  Roland 
says  with  the  most 
charming  candor, 
she  still  has  the  first 
nickel  she  ever 
made. 

*         *         * 

Conrad  Xagel  is 
another  realty  mil- 
lionaire. Conrad  has 
a  very  valuable 
ranch  near  Duarte 
in  the  foothills.  On 
it  he  raises  melons. 
Ever)-  week  he  says 
he  goes  out  with  the 
firm  determination 
to  give  orders  to  the 
realty  men  to  cut  it 
up     in     subdivision 

lots ;  but  the  melons  look  so  nice  and  green 
and  pleasant  that  he  cant  bear  to  do  it. 


Photograph  by  K.  O.  Rahmn 


Above,  Jack  Pickford  and  his  wife, 
Marilyn  Miller,  on  their  own  back  fence. 
Below  is  a  scene  from  Warner  Brothers' 
"Little  Johnnie  Jones,"  with  Johnnie 
Hines  in  the  center.  Bottom  of  the  page, 
Eleanor  Boardman  and  her  director,  Tod 
Browning,  snapped  during  the  making 
of  "The  Day  of  Faith" 


By  the  time  this  appears  in  print,  Mary 
Picktord's  keepsakes  will  be  distributed 
among  the  loving  families  of  Hollywood. 
Mary  presented  Rev.  Xeal  Dodd,  the 
"chaplain  of  Hollywood,"  with  a  whole  trunk 
filled  with  stuff  to  be  auctioned  off  for  the 
benefit  of  his  church.  Among  other 
treasures  was  the  little  velvet  suit  she 
wore  in  "Lord  Fauntleroy" ;  her  lace 
handkerchief  which  she  used  in  "The 
Street  Singer."  etc.  There  were 
slippers  and  scarfs  and  all  manner 
of  wearing  apparel. 


Speaking  of  Mary,  they  say  her 
studio  speaks  in  hushed  whispers  of 
the  awful  indignity  that  has  occurred. 
This  young  girl,  Lucile  Rickson,  who 
is  announced  by  Marshall  Neilan  as 
the  rising  genius  of  the  age,  is  to  be 
in  Jack  Pickford's  next  picture  and 
she  is  to  take  the  part  that  Mary  her- 
self had  in  a  previous  version  of  the 
story.  Instead  of  being  properly  im- 
pressed, Miss  Rickson  accepted  the 
situation  with  such  sang-froid  that 
she  began  to  call   Mary  "old  dear" 


Above:  Reading 
from  left  to  right 
and  upside  down, 
it  is  Malcolm  Mc- 
Gregor, keeping 
fit  for  film  fights 


(Sixty-three) 


CLASSIC 


This  is  the  age  of 
Youth,  certainly.  Here 
is  little  Bruce  Guerin 
stopping  the  traffic  in 
"The  Gold  Diggers," 
and  right  is  Miss  Cal- 
lista  Riddles,  a  featured 
player  in  "Mothers-In- 
Law."  Below  is. Wal- 
lace Beery  proving  a 
disputed  point  to  Kath- 
leen Clifford.  They  are 
Richard  the  Lion- 
Hearted  and  Queen 
Berengeria,  tho  we  al- 
ways thought  that  was 
an   ocean   liner 


and  requested  her  to  hand  her  a  make-up  box. 
Miss  Pick  ford  is  a  very  democratic  young  lady  ; 
but  "old  dear" — well.  The  fact  is  that  Miss 
Rickson  has  attained  the  venerable  age  of  four- 
teen and  that  explains  everything. 


And  as  to  Mary.  .  .  .  One  day  last  week, 
one  of  the  Los  Angeles  newspapers  published  a 
symposium  of  opinions  from  well-known  citi- 
zens, mostly  bank  presidents  and  such,  about 
what  policy  the  city  should  pursue  in  its  indus- 
trial future,  etc.  Among  those  quoted  was  Mary 
Pickford.  Mary  offered  a  plan  of  such  sane, 
sagacious  reasoning,  such  breadth  of  vision  and 
withal  of  such  practical  and  feasible  value,  that 
it  is  probable  it  will  be  preserved  in  permanent 
form. 


There  was  a  baseball  game  on  the  Fairbanks- 
Pickford  lot  the  other  day  in  which  Eddie 
Sutherland,  the  assistant  to  Charlie  Chaplin, 
broke  his  wrist.  To  save  question- 
ing, Eddie  had  a  card  printed 
which  he  had  the  head  waiter  hand 
around  to  the  guests  at  the  cafe 
where  everybody  eats  luncheon. 
The  card  said  :  "Believe  it  or  not. 
I  hurt  my  wrist  playing  baseball. 
It  is  not  a  permanent  injury.  It 
will  be  well  in  six  weeks.  Thank 
you." 


Whether  from  policy  or  because 
the  Hollywood  sunshine  has 
softened  her  heart,  the  lovely  Pola 
Negri  has  changed  her  methods. 
Gone  is  the  old  hauteur.  She  loves 
everybody  now.  She  says  "My 
Tony_"*as  she  calls  Senor  Moreno, 
is  the  finest  actor  she  has  seen  in 
America  and  that  Herbert  Bren- 
,_  on    is   the    best    director    she    has 

ever  worked  with.  But  she  says,  hereafter,  she  is  going 
to  do  her  acting  in  her  own  way  and  not  let  anybody 
bamboozle  her  into  the  idea  that  Americans  demand 
restraint  in  acting.  Not  to  be  outdone  by  Mary 
Pickford's  version  of  the  same  story,  Pola's  picture. 
"The  Spanish  Dancer,"  will  have  some  of  the  most 
gorgeous  sets  ever  seen  in  motion  pictures. 


That  other  brilliant  Polish  lady,  Nazimova,  is 
decorating  Hollywood  with  her  presence  again.  Nazi- 
mova looks  charmingly  young  and  beautiful  and  mys- 
terious. Whenever  you  met  anybody  in  Hollywood, 
they  used  to  say  "Howd'  do" ;  but  now  they  say 
"Hello-o-o-o-o."  When  Nazimova  does,  it  sounds  very 
spiffy  and  cultured  but  when  the  others  try  it,  it  sounds 
very  much  like  a  yodeler  practising  his  art. 


Norma  Talmadge  has  been  held  up  with  her  new 
picture.  "The  Dust  of  Desire,"  by  an  untoward  circum- 
stance. Her  director,  Miss  Frances  Marion,  has 
whooping-cough. 

*         *         * 


All  of  which  brings  us  to  another  point. 
^Continued  on  page  72) 


Pictures 


(Sixty-four) 


Spreads  smooth 
dries  quicker 

-Ihe  new  liquid  polish 


A  polish  that  will  not  form  lumps  and 
gummy  ridges  on  the  nails.  That  spreads 
smoothly  mi<1  evenlj  all  over  the  nail.  It 
is  tinted  |iist  the  shade  that  fashionable 
women  are  using  this  season. 

Every  requirement  tor  a  liquid  polish 
was  considered  when  Cutex  was  working 
out  this  formula.  The  new  Cutex  Liquid 
Polish  dries  almost  instantly.  Before  you 
hue  finished  the  second  nail  the  first  is  so 
drv  and  firm,  touching  will  not  mar  it.  It 
will  not  peel  off,  nor  crack.  Its  brilliant 
even  lustre  lasts  a  whole  week. 

And  finally,  it  needs  no  separate  polish 
remover.  When  you  are  ready  for  a  fresh 
manicure  you  just  put  on  a  fresh  coat  of 
Liquid  Polish,  one  nail  at  a  time,  wiping  it 
off  instantly  before  it  dries.  This  leaves 
your  nails  smooth  and  clean,  ready  for  the 
fresh  manicure. 

You  can  get  Cutex  Liquid  Polish  for  35c 
or  in  the  $1.00  and  #3.00  sets.  Sets  with 
other  polishes  are  60c  and  $1.50. 


Charming  Introductory  Set 

including  the  new  Liquid  Polish     now  only  12c 

Fill  out  this  coupon  and  mail  it  with  12c  in  coin  or  stamps  for  the 
Introductory-  Set  containing  trial  sizes  ot  Cutex  Cuticle  Remover, 
Powder  Polish.  Liquid  Polish.  Cuticle  Cream  ^ Comfort  i.  emery 
hoard  and  orange  stick.  Address  Northam  Warren.  114  West  17th 
Mew  York,  or  if  you  live  in  Canada,  Dept.  N10,  200  Mountain 
St  ,  Montreal,  Canada. 


MAIL    THIS    COUPON    WITH    12c    TODAY 


NORTHAM  WAR R  FN.  Dept  SI  .0 
1  14  West  i-th  St  ,  New  York 

I  enclose    lie  in  stamps  or  coin  for  new   Introductory  Set 
including  a  trial  bottle  of  the  new  Cutex  Liquid  Polish. 


Cutex 


Polish, 


(Sirtyfive) 


The  Happy  Hour 


Posed  by  Johnnie  Walker  and  Mildred  June  in  "The  Worm" 

MB. — This    charming    tho    innocuous    portrait    was    substituted    at    the    last    minute 
fora   page   of   burning  kisses   from   "Alimony,"   because,   forsooth,   it  caused   both   a 
managerial  and  an  art  department  blush! 


(SixtysixJ 


(^y{ow  do  they  accomplish  it  ? 

The  women  who  give  their  skin  the  hardest  wear 
manage  to  keep  their  races  young  long  after 
other  women  have  grown  old  and  unattractive. 

THE  actress  gives  lie r  complexion  harder  wear  and  demands 
more  of  it  in  return  than  any  other  woman.  She  must  keep 
her  skin  tine  and  clear  though  she  covers  it  with  cosmetics.  It 
must  he  fresh  in  spite  of  late,  weary  hours. 

How  does  she  accomplish  this?  By  careful  study  of  her  skin 
she  has  discovered  the  two  indispensable  things  it  needs  to  keep 
it  in  the  fresh,  heautifully  supple  condition  she  demands. 

First  the  perfect  kind  of  cleansing  at  night  that  leaves  the 
face  soft  and  clear — every  bit  of  dirt,  every  trace  of  cosmetic. 
every  shadow  of  weariness  taken  away.  Then  the  exquisite 
morning  freshening  that  keeps  the  skin  flower- like  through  th< 
dav  and  guards  it  completely  from  every  coarsening  thing. 

These  are  the  two  fundamentals  of  skin  loveliness.  For  these 
two  things  many  well-known  actresses  depend  on  the  two  en- 
tirely different  creams  that  Pond's  developed  especially  for  this 
method  of  keeping  a  woman's  skin  young  and  fresh — Pond's 
Cold  Cream  and  Pond's  Vanishing  Cream.  And  many  other 
women  write  enthusiastically  about  the  smoothness  these  creams 
give  their  skin. 

See  what  this  famous  method  will  do  for  you 

Do  this  every  night.  With  the  finger  tips  or  a  piece  of 
moistened  cotton,  apply  Pond's  Cold  Cream  freely.  The  very 
fine  oil  in  it  penetrates  every  pore  of  your  skin.  Then  wipe  it 
off  with  a  soft  cloth.  Dirt  and  excess  oil,  the  rouge  and  powder 
you  have  used  during  the  day  are  taken  off  your  skin  and  out 
of  the  pores.  Do  this  twice.  Your  skin  looks  fresh  and  is 
beautifully  supple. 

And  every  morning,  smooth  on  Pond's  Vanishing  Cream 
evenly.  If  you  wish,  rouge — powder.  How  smooth  and 
velvety  your  face  feels  to  your  hand  !  Nothing  can  roughen  it. 
And  it  will  stay  that  way  all  day. 

To  see  how  Pond's  two  creams  actually  improve  your  skin, 
use  this  method  regularly.  Buy  both  creams  today  in  jars  or 
tubes.     The  Pond's  Extract  Company. 


Mae  Murray,  one  of  the  most  allur- 
ing of  screen  itart,  says,  I  have 
found  that  Pond's  Two  Creams  give 
the  complexion  a  lovely  freshness  and 
smoothness . " 


Charming  Peggy  Wood  says, 
"Pond's  Cold  Cream  cleanses  easily 
and  leaves  my  skin  feeling  fresh. 
Then  the  I/anishtng  Cream  u  a  love- 
ly smooth  base  for  powder. 


I'hitto  hu  Edward  Thaifr  Monro* 


Every  skin  needs  these  Two  Creams — The 
Cold  Cream  for  cleansing.  The  Vanishing 
Cream  to  protect  and  to  hold  the  powder 


The  common  troubles  that  make  a  woman's  skin  look 
older — Pond's  two  creams  banish  them 

Accumulation  of  oil  and  dirt  in  the  pores.  For  this  condition 
cleanse  every  night  with  Pond's  Cold  Cream,  which  is  so  light 
it  penetrates  the  glands  and  takes  out  excess  oil  and  dirt  together. 
Then  every  morning  put  on  Pond's  Vanishing  Cream  to  keep 
your  face  fresh  through  the  day. 

Premature  wrinkles,  scaling,  dry  shine — are  especially  the 
troubles  of  a  dry  skin.  To  avoid  them,  keep  your  skin  soft  day 
and  night.  Cleanse  with  plenty  of  Pond's  Cold  Cream  nightly 
and  keep  some  on  over  night.  Feel  your  skin  relax.  Then  by 
day  Pond's  Vanishing  Cream  prevents  your  skin  from  drying 
out  again. 

Coarsening  Sun  and  Windhurn.  The  daily  repetition  of 
weather  damage  ages  your  skin.  For  everyday  exposure,  use 
faithfully  the  nightly  Pond's  Cold  Cream  cleansing  and  in  the 
day  the  delicate  yet  sure  protection  that  Pond's  Vanishing 
Cream  gives. 

GENEROUS  TUBES— MAIL  COUPON  WITH   10c  TODAY 

The  Pond's  Extract  Co  ,132' U  Hudson  St.,  New  York 

Ten  cents  doc>  is  enclosed  lor  your  special  introductory  tubes  of  the  two  creams 
every  normal  skin  needs     enough  ot  each  cream  for  two  weeks'  otdinary  toilet  uses. 

Name  ... 

Street 

City  State 


( Sixty  seven) 


No.  II 


Ups  and  Downs  in  the  Life  of  a  Star 


No.  I 


Douglas  MacLean  and  Marjorie 
Daw  in  all  too  realistic  scenes 
from  "Going  Up."  You  know 
what  happens  to  what  goes  up 
.  .  .  but  if  you  dont,  just  study 
the  picture  on  the  right.    .    .    . 


(Sixty-eight) 


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k                          i    1 

5t  o-  J| 

Eft  •'  irt' 

If  *M 

1  *U  t^F*?  •  $ 

*    ^ '      I  IF    : 

Br          ^fl     E 

Beauty  at  Your  Finger  Tips 


TODAY,  as  the  possibilities  of  intelli- 
gent care  of  the  skin  are  becoming 
more  generally  realized,  it  is  literally  true 
th.it  thousands  upon  thousands  of  women 
are  growing  younger  in  looks,  and  likewise 
in  spirits. 

The  secret  of  restoring  and  retaining  a 
youthful  complexion  lies  chiefly  in  the 
faithful  and  well-directed  use  of  the  proper 
sorts  of  face  creams.  The  constant  employ- 
ment of  creams  by  actresses  in  removing 
make-up  is  largely  responsible  for  the  clear- 
ness and  smoothness  of  their  skins. 

First,  the  beautiful  skin  must  be  clean, 
with  a  cleanliness  more  thorough  than  is 
a  t  tain  able  by  mere  soap-and-water  washing. 
The  pores  must  be  cleansed  to  the  same 
depth  that  they  absorb.  This  is  one  of  the 
functions  of  Pompeian  Night  Cream.  It 
penetrates  sufficiently  to  reach  the  em- 
bedded dust.  Its  consistency  causes  it  to 
mingle  with  the  natural  oil  of  the  pores, 
and  so  to  bring  out  all  foreign  matter 
easily  and  without  irritation  to  the  tissues. 

The  beautiful  skin  must  be  soft,  with 
plastic  muscles  and  good  blood-circulation 


beneath.  A  dry,  tight  skin  cannot  have  the 
coveted  peachblow  appearance;  set  muscles 
make  furrows;  poor  circulation  causes  pale- 
ness and  sallowness. 

Pompeian  Night  Cream  provides  the 
necessary  skin-softening  medium  to  skins 
that  lack  the  normal  degree  of  oil  satu- 
ration. Gentle  massaging  with  it  flexes  the 
facial  muscles,  stimulates  the  blood  circu- 
lation, and  tones  up  all  the  facial  tissues. 

Upon  retiring,  first  use  Pompeian  Night 
Cream  as  a  cleanser;  apply  with  the  fingers 
and  then  wipe  off  with  a  soft  cloth,  freeing 
the  pores  of  all  the  day's  accumulated  dust 
and  dirt.  Afterward  apply  the  cream  to 
nourish  the  skin,  leaving  it  on  over  night. 
The  faithful  following  of  this  simple 
treatment  works  wonders  in  the  skin- 
removing  roughness,  redness,  and  black- 
heads, and  warding  off  wrinkles,  flabbiness, 
and  sallowness.  It  is  the  most  approved 
treatment  for  restoring  and  retaining  a 
youthful  complexion. 
Pompeian  Night  Cream  (New  stvlc  j*r)  (yoc  per  jar 
Pompeian  Dav  Cream  (vanishing)       boc  per  jar 


Pompeian  Beauty  Powder 
Pompeian  Bloom  (the  rouge) 


6oc  per  box 
6oc  per  box 


New  1924  Pompeian  Art  Panel  and  Samples 

Sena1  coupon  with  ten  cents  for  beautiful  new  tg2  /  Pompeian  .1rt  Panel, 
"Honeymooning  in  the  Alps."  With  this  panel  we  send  samples 
of  Pompeian  Sight  Cream,  Day  Cream,  Beauty  Powder,  and  Bloom. 

POMPEIAN    LABORATORIES,    2128    Payne   Avenue,    Cleveland,   Ohio 

Also  Male  in  Canada 


t  — *  ~-rii^HMi. 


own 


Cleansing  and  Skin- Nourishing 


I  '■><-,  asting  )  out  Autumn 
Complexion 

H>    MMI     Ji  .  .si  1  1  ► 

A  little-  foresight  no  :i   will  la)  the  1 
dation  for  the-  health  ind  beaut)  of 

skin  (luring  thr  tr\  ing  da)     of  t!  1 
It     is    during  thrsc  1 ith     that 

woman  ihould  form  the  habit  ofrarrful 
il.iily    attention  in  her  •  kin     in-r  I 
neck,  ihouldera,  arms,  and  h  1 

/'  '/'/  1st   )'',ur  Skin   Get   1 >■ 
After  the  man)  hours  of   out-of-door 

life     that     always    romc    with    sun. 

e\t-r\  woman's  skin  tend* toward  an  un- 
healthy dryneu.  Pompeian  Night  Cream 
is  the  exact  cream  to  use  .tt  this  time  h 
hai  every  propertj  neccsaar)  t.i  coun- 
teract dryneu.  It  is  a  direct  agent  for 
unitary  cleansing,  and  it  smooths  and 

softens  the  drv  tissue  of  tlit-  ..kin  till  thr 

pom  again  have  a  chance  to  "breathe." 

I  would  advise  a  generous  application 

of  Pompeian  Night  Cream  u  unfailing!) 

as  you  go  to  ht-il  at   night. 

Rul)  the  cream  well  over  thr  surface, 
but  do  not  attempt  to  rub  hard;  it  is 
better  and  easier  genth  to  fiatthe  cream 

into  tlu-  skin.  Strike  the  surface  covered 
with    cream   by    using   the    flat    of   the 

fingers —  quick  little  blows,  anil  continue 
till  at  least  some  of  the  cream  ha-  dis- 
appeared. 

Use  M>ft  cloths  to  wipe  away  the  re- 
maining traces  of  the  cream,  and  what- 
ever may  remain  will  soften  the  skin 
during-  your  hours  of  sleep. 

.  1  torning  Loveliness 

The  first  thing  in  the  morning  the 
skin  may  be  asleep,"  anil  there  is 
nothing  more  helpful  to  arouse  circula- 
tion than  a  wholesome  splashing  of  cold 
water. 

Pat  the  face  dry  with  your  towel,  or 
your  bare  hands  if  you  prefer. 

When  you  apply  Pompeian  Da) 
Cream,  take  care  to  spread  it  on  all 
parts  of  the  skin,  and  to  blend  it 
smoothly  till  it  disappears. 

Powder  and  Rouge 
The  Pompeian  Beauty   Powder  should 
cover  the  neck  and  face  with  even  thick- 
ness so  you  will  not  have  a  face  of  one 
tone  and  a  neck  of  another. 

Pompeian  Bloom  (the  rouge  1  comes 
in  a  convenient  little  compact  that  rubs 
off  easily  for  use  and  stays  on  well  for 
the  user.  The  new  Orange  tint  is  sur- 
prisingly natural,  especial!)  when  used 
with  the  N'aturelle  or  Rachel  tint-  ol 
Beauty  Powder. 

Pompeian  Lip  Slick 
This  final   touch  is  essential  with  the 
rose-petal  checks — and  its  color  is  na- 
tural and  healthy-looking. 

■  ttliste  en  Beaute 
TEAR  OFF.  SIGN.  AM)  SEND 


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:i2S  Pa»nr  Avenue,  Cleveland,  I 

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Namr_ 


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Cm 


What  tha-l*-  fare  powdrl  WW  '• 


(Sirty-~ntnt> ) 


^ifcnoviefoc^clopdedi 


_, 


Elsie  Baby. — Great  things  often  result  from  little  words  of 
encouragement.  Here's  my  hand,  shake !  Yes,  Ramon  Navarro. 
Address  the  players  you  mention  at  Famous  Players-Lasky,  1520 
Vine  Street,  Los  Angeles,  Cal. 

Vera  W. — Yes,  those  were  real  tears ;  tears  the  silent  language 
of  grief.    Address  Rod  LaRocque  at  Famous  Players,  address  above. 

I.  C.  H.  Little  Rock. — Thanks  for  all  the  kind  things  you 
say  about  this  department.  You  say  love  is  a  bird  that  sings 
in  the  heart  of  a  woman.  Yes,  and  some  men  are  birds  too. 
Address  Dagmar  Godowsky,  care  of  Frank  Mayo,  Goldwyn, 
Culver  City,  Cal.     Write  me  again. 

Majorie,  Cal. — Well,  you  cant  expect  perfection  all  the  time. 

Yes,    and    there    will    always    remain    something    to    be    said    of 

.woman,  so  long  as  there  is  one  on  the  earth.     Barbara  La  Marr 

is  to  have  the  lead  in  "Damned."     Yes,  Joseph  Schildkraut  is  to 

play  opposite  Norma  Talmadge  in  "Dust  of  Desire." 

Edith  P. — Come  again  Edith. 

Sinclaire  III. — Sounds  like  the  name  of  a  boat  or  something. 
I  love  these  letters  starting  in  "Several  years  ago  I  saw"  and  then 
to  go  on  describing  the  picture.  I'm  sorry,  my  cljild,  but '  I 
cannot  tell  you  the  name  of  the  picture  you  describe.  I'm  more 
sorry  than  you  are.  Mrs.  Wallace  Reid  is  twenty-eight. 
Better  luck  next  time. 

Brown  Eyes. — You  cant  quarrel  with  me,  my  lady,  it  takes 
two  indiscreet  individuals  to  make  a  quarrel  and  I  shall  not  be 
one  of  them.  Yes,  Malcolm  McGregor  is  married,  and  his  last 
picture  was  "The  Social  Code"  with  Viola  Dana.  Rodolph  Val- 
entino expects  to  play  in  Ritz-Carlton  Pictures,  which  he  will 
start  when  his  contract  ends  with  Famous  Players.  No  I  dont 
mind  answering  questions.  I  wouldn't  be  able  to  draw  my 
salary  if  I  didn't  answer  questions. 

Box  2576. — You  neglected  your  John  Hancock.  I  should  say 
Dorothy  Dalton  is  still  living,  but  not  married.  Playing  in  "Leah 
Kreschna."  Well,  if  you  have  a  good  library  in  your  town  you 
have  a  university.  Why  Edith  Roberts  and  Taylor  Holmes  will 
play  with  George  Arliss  in  "The  Adopted  Father." 

Marie  S. — No  your  letter  didn't  give  me  a  headache,  thanks 
for  the  aspirin,  however.  That's  what  I  call  foresight.  Thanks 
for  your  generosity,  but  I  would  rather  you  wouldn't  send  the 
cow.  It  would  be  a  bit  inconvenient  in  my  hallroom.  I'm 
quite  able  to  get  buttermilk  at  the  dairy.  I  dont  think  Valentino 
has  a  brother,  and  I  dont  see  how  I  can  help  you  get  into  pictures. 
Come  in  again  some  time. 

Tex. — Dont  forget  that  it  is  awfully  easy  to  be  critical,  but 
awfully  hard  to  be  correct.  Madge  Bellamy  was  born  in  Waco, 
Texas.  Katherine  MacDonald  is  twenty-eight  and  Madge  Evans 
sixteen. 

Carol  F.  Detroit. — There  are  very  few  successful  gamblers 
in  the  world ;  and  they  are  failures  in  everything  else.  Most  com- 
panies are  buying  stage  plays  for  motion-picture  production.  I 
wouldn't  know  who  to  tell  you  to  write  to.  If  other's  purses 
be  more  fat,  why  should  we  groan  and  grieve  at  that.  I'm  happy 
with   my   $10.50   per. 

Miss  Proxide. — You  cannot  ex- 
pect everlasting  happiness  in  this 
world.  Happiness,  like  the  blue  of 
the  sky,  cannot  always  last,  for  as 
the  earth  needs  rain,  to  yield  its 
fruits,  so  man  needs  tears  to 
estimate  life  at  its  true  value.  Wil- 
liam Farnum  is  married  to  Oliva 
White.  So  you  would  like  to  meet 
Richard  Dix.  Address  Gloria 
Swanson  at  Famous  Players.  Mar- 
guerite Courtot  is  in  New  York. 
Her  last  picture  was  "The  Stead- 
fast Heart."  Well,  she  has  recently 
married    Raymond    McKee. 

Ruthie. — Of    course    I    sleep   on 


This  department  is  for  information  of  general  interest 
only.  Those  who  desire  answers  by  mail,  or  a  list  of 
film  manufacturers,  with  addresses,  must  enclose  a 
stamped,  self-addressed  envelope.  Address  all  in- 
quiries: The  Answer  Man,  Classic,  Brewster  Build- 
ings, Brooklyn,  N.  Y.  Use  separate  sheets  for  matters 
intended  for  other  departments  of  this  magazine.  Each 
inquiry  must  contain  the  correct  name  and  address 
of  the  inquirer  at  the  end  of  the  letter,  which  will  not 
be  printed.  At  the  top  of  the  letter  write  the  name 
you  wish  to  appear,  also  the  name  of  the  magazine  you 
wish  your  inquiry  to  appear  in.  Those  desiring  imme- 
diate replies  or  information  requiring  research,  should 
enclose  additional  stamp  or  other  small  fee;  otherwise 
all  inquiries  must  wait  their  turn.       Let  us  hear  from  you. 


a  bed,  did  you  think  I  slept  on  the  piano?  The  Ancients  slept 
on  skins.  Beds  were  afterwards  of  loose  rushes,  heather  or  straw. 
The  Romans  are  said  to  have  been  the  first  to  use  feathers. 
An  air  cushion  is  said  to  have  been  used  by  Heliogabalus,  218-222 
A.  D.,  and  air  beds  were  used  in  the  sixteenth  century.  Feather  beds 
were  used  in  England  in  the  reign  of  Henry  VIII.  The  bed- 
steads of  the  Egyptians  and  later  Greeks,  like  modern  couches, 
became  common  among  the  Roman  upper  classes.  Enough  of  that. 
No,  Richard  Dix  is  not  married.  Tom  Mix  is  married  to  Vic- 
toria Forde.  Yes,  she  used  to  play  in  Western  pictures  years  ago. 
Thanks   for  your  good  wishes. 

Martin. — It  is  like  playing  ping-pong  with  a  medicine-ball  to 
answer  questions  like  yours  in  this  department.  This  is  no 
place  for  essays.  To  answer  your  questions  the  way  I  want  to, 
would  take  two  or  three  pages.  Yes,  Glora  Swanson  is  playing 
in  "Zaza"  and  you  can  reach  her  at  Famous  Players.  Antonio 
Moreno  has  played  in  "My  American  Wife."  "The  Exciters" 
and  next  in  "The  Spanish  Dancer." 

Box  2576. — What  again  ?  I'm  afraid  you  will  ■  have  to  try 
that  job  yourself.  Madge  Kennedy  has  started  her  second  pic- 
ture, "Beyond  the  Salt  Frontier"  for  Kenma.  Neysa  McMein 
wrote  the  story,  and  Anita  Loos  and  John  Emerson  put  it  in 
scenario  form.     That's  it,  courage  counts. 

Miss  Dorothy. — Well,  if  you  love  life,  dont  squander  time, 
for  that  is  the  stuff  life  is  made  of.  Ivor  Novello  is  twenty- 
four  ;  Kenneth  Harlan  twenty-eight  and  Conrad  Nagel  twenty- 
seven.  Vivian  Martin  is  on  the  stage  and  Justine  Johnson  is  in 
Europe.  Constance  Binney  has  just  signed  a  contract  with  C.  C. 
Burr  and  she  will  play  in  "Clipped  Wings."  Katherine 
MacDonald's   last   was   "The   Scarlet   Lily." 

A  Navarro  Fan. — I  wish  I  could  help  you,  but  the  greatest 
pleasure  of  life  is  love.  You  will  have  to  take  your  own  choice, 
the  question  was — which  is  the  better  at  kissing,  Rodolph  Val- 
entino or  Ramon  Navarro.  Your  drawing  was  good,  but  it  bears 
not   the   slightest   resemblance. 

Wanda  R. — No,  I  dont  care  whether  you  write  on  your 
mother's  paper  or  not.  Norma  Talmadge's  "Ashes  of  Vengeance" 
is  to  be  shown  at  the  Carnavolet  Museum  in  the  Paris,  as  well 
as  at  the  Apollo  Theater  in  New  York,  for  an  indefinite  run. 
Yes,  Mary  Pickford's  last  is  "Rosita." 

Leona  W. — Insurance  is  an  effort  to  discount  death  and  des- 
tiny. Build  up  your  own  insurance  surplus  by  right  living,  simple 
eating  and  plenty  of  sleep  and  exercise.  You'll  find  too,  that  your 
enjoyment  of  things  takes  less  force  with  good  health  and  spirits 
back  of  you.  May  Murray  has  blue  eyes,  and  blonde  hair.  Yes, 
she  used  to  dance  in  New  York.  Yes,  Alice  Terry  wears  a  blonde 
wig  in  pictures. 

Betty  C.  Swampscott. — No,  I  have  no  record  of  the  present 
whereabouts  of  Betty  Carpenter.  William  Collier,  Jr.  was  the 
hero  in  "Cardigan." 

Aleen. — Well  if  you  fight,  fight  for  honor,  glory  or  money, 
whichever  you  are  most  in  need  of.     May  Murray  is  married  to 

Robert  Leonard,  her  director.  No, 
Eugene  O'Brien  has  never  been 
married. 

Lenore. — How  about  this  for 
speed?  You  refer  to  Robert  Frazer 
in  your  first  and  Eddie  Burns  as 
Buddy.  Frances  Ring  is  Mrs. 
Thomas  Meighan. 

Sarie. — Yes,  I  believe  there  will 
always  be  wars.  Tearing  down  the 
work  of  ages  and  building  up  anew 
cannot  be  accomplished  without 
tremendous  shock.  Robespierre, 
Danton,  and  Marat  tore  down  and 
Napoleon  built  up.  The  shock  that 
split  Europe  wide  open  and  shook 
(Continued  on  page  73) 


(Seventy) 


. 


COL.ATES 


\)f    fVlade  for  Candy  Jo  vers 


If  you  want  to  see  the 
sparkle  in  her  eyes,  take 
home  tonight  a  package 
of     Booth's      Chocolates 


NOT  just  candy,  this — but  sweets  made  to  order 
for  those   who   know   and   revel   in   the   best — 
"made  for  candy  lovers." 

Think  of  rich  cream  delivered  daily  from  our  own 
nearby  dairy  farms ;  creamery  butter  of  the  finest 
grade ;  thick  delicious  chocolate  coatings  which  have 
been  rolled  and  rolled  until  they  are  smooth  as  velvet ; 
fruits  grown  in  the  garden  spots  of  the  world  and  only 
picked  when  ripe ;  expensive  nuts  carefully  selected — 
and  all  this  deliciousness  and  wholesomeness  coupled 
with  twenty-eight  years  of  candy-making  experience 
gives  you  Booth's  Chocolates.  Is  there  any  wonder 
then   that  they  are  growing  more   popular  each   day? 


Tonight  on  your  way  to  the  "show"  drop  in  at  the 
candy  store  near  your  favorite  moving-picture  theatre 
and  purchase  a  package  of  Booth's  Chocolates — you'll 
enjoy  the  "pictures"  much  more. 

In  addition  to  Booth's  True  Blue  Chocolates  pictured 
above,  other  favorites  are — Booth's  Butter  Chocolates. 
1  lb.,  $1.50;  Booth's  Esther  Chocolates,  1  lb.,  $1.25; 
Boothls  Candy  Lovers,   1   lb.,  $1.00. 

If   not  conveniently  obtainable   in   your   locality, 
your  money  order  to  us  for  any  package  desired. 

BOOTH'S  CHOCOLATES 

Elmira,  New  York 


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The  Hollywood  Boulevardier  Chats 

(Continued  from  page  64) 


last  year  gave  you  the  impression 
they  had  been  named  by  some  one 
who  worked  in  a  match  factory. 
They  were  Eternal  Flames  and  Em- 
bers of  Remorse,  and  Fires  of  Pas- 
sion, and  Coals  of  Agony  and  Ashes 
of  Vengeance.  Now  they  have  re- 
turned to  dust.  There  is  Norma's 
"Dust  of  Desire,"  and  Frank  Borsage 
has  one  called  "Dust  on  the  Door- 
step," and  there's  "Children  of  the 
Dust."  And  I  suppose  Buster  Keaton 
will  be  getting  out  one  like  "The 
Duster." 

Bennie  Zeidman  is  on  a  still  hunt 
for  another  boy  genius  to  appear  in  a 


Peck's  Bad  Boy  series  that  he  is  about 
to  make  for  Sol  Lesser.  He  wants  to 
find  another  Jackie  Coogan.  "I  sup- 
pose," he  said  .to  one  anxious  mothe-' 
"that  this  remarkable  child  of  yours 
is  more  talented  than  Jackie  Coogan." 
The  woman  nodded.  And  when 
Bennie  added,  "Every  woman  that 
comes  in  here  tells  me  her  child  is 
more  remarkable  than  Jackie 
Coogan."  "Yes,"  the  woman  said 
eagerly.  "But  my  dear  man ;  you  dont 
understand.  My  child  is  not  like 
the  others :  he  really  is  more  remark- 
able than  Jackie  Coogan."  But  the 
fact  still  remains  that  every  producer 
Peck's  Bad  Boy  series  that  he  is  about 


Baer  Bros.  Co. 


6>     MAIDEN 


-     N  E  \V   V  O  R  K 


Lucien  Lit- 
tlefield  with 
a  strange 
c  ir  c  ular 
hirsute 
adorn  ment, 
w  h  i  cl 
causes  him 
-c  o  nsider- 
able  dis- 
tress 


He  goes  out 
only  after 
dark  now. 
He  had  to 
grow  'em 
that  way 
for  his  part 
as  the  Jest- 
er in  "The 
Palace  of 
the   King" 


(Seventy-two) 


I 


The  Movie  Encyclopaedia 

mtmued  frotn  PaQ*  70) 

the  world   w;is   the  greater   became   thai 

a. i-   accomplished   in   |WO  or   three   dee. ides 

which  would   ordinarily   require   centuries 

Progress  is  always  preceded  bj    calamity. 

That  which  appears  to  be  calamity  is  often 

a   blessing    in    disguise.      Here,    here,    when 

I   get   Started,    I    never   know    when   to   stop 

Niles    Welch    in    "Reckless    Youth."       Dell 

his  wife. 

\rn.\    B. — So   you    think    I    look    like 

that.     Irene  Castle  is  rive  toot  eight  inches, 

and    she    is    free    from    Robert     rremain 

(maybe).    Yes,  Elsie  Ferguson  is  also  free 

■    her    husband,    Thomas    Clark.      I'm 

also    free — from    women. 

Little  Westerner. — Anna  Q.  Xilsson 
has  been  married  twice  so  far  as  I  know. 
Now  she  is  Mrs.  John  Gunncrson.  Mary 
Pick  ford  was  Mrs  Owen  Moore.  Jane 
Novak  has  a  daughter  Virginia,  aged  six, 
hut  I  dont  think  she  ever  was  a  dancer. 

Moi.i.ik  and  MovtA.—  All  the  way  from 
Australia.  James  Kirkwood  has  just  mar- 
ried Lila  Lee.  She  is  twenty-one  and  he 
is  forty.  I  wish  them  luck.  Yes  indeed 
Bebe  Daniels  is  full  of  pep  in  real  life. 
Bryant  Washburn  and  his  wife  are  play- 
ing in  "Mine  to  Keep."  A  proper  and 
fitting  title  for  man  and  wife.  And  let 
it  ever  be  thus.  Stop  in  again  some  time, 
girls. 

The  Nightingale's  Eyebrows. — Now, 
I  ask  you!  I  know  of  no  cure  for  grey 
hair.  There  are  various  remedies  that  will 
restore  color  so  long  as  you  keep  using 
the  preparation,  but  nothing  will  turn  it 
permanently.  .  When  you  get  up  in  the 
morning  and  discover  that  grey  hair  No. 
20  has  made  its  appearance,  dont  get  the 
ijlooms,  but  smile  sweetly  and  say  "Ah, 
wisdom  and  good  sense  are  coming.  For, 
every  hair  that  fades  or  fades  away, 
figure  that  you  are  the  gainer  by  about  one 
ounce  of  brains."  Do  you  want  to  hear 
any  more?  Pauline  Garon  is  twenty. 
Betty  Compson  is  to  make  four  pictures 
abroad.  The  Gish  girls  are  with  Inspira- 
tion. Gloria  Swanson's  daughter  Gloria 
is   two  years  old.     Right  at  this   address. 

Shirley  K. — So  you  want  more  of 
Pauline  Garon.  I'll  see  what  can  be  done 
with    the    editor-lady. 

Yankee  Girl. — Yes,  I  must  admit  that 
my  beard  is  growing  day  by  day.  Harri- 
son Ford  in  "Little  Old  New  Y'ork."  You 
write  a  very  interesting  letter.  Stop  in 
again. 

Betty  and  Bessie. — The  two  bees. 
Glad  you  like  music.  Even  a  hand-organ 
sounds  good  to  a  person  in  love.  There's 
one  stops  in  front  of  our  building  about 
three  times  a  week.  Yes,  Viola  Dana, 
Shirley  Mason  and  Edna  Flugrath  are 
sisters.  Leatrice  Joy  about  twenty-five. 
Marguerite  •  de  la  Motte  was  Constance 
in  "The  Three  Musketeers."  Yes, 
Marion  Davies  bobbed  her  hair.  Priscilla 
Dean  is  Mrs.  Wheeler  Oakman.  Miriam 
Cooper  is  twenty-seven.  Mae  Murray 
also  twenty-seven.  Marion  Davies  twenty- 
six.  Johnny  Hines  and  Mollie  Malone 
with   Warner   Brothers. 

Retiia  F. — But  the  nervous  fluid  in  man 
is  consumed  by  the  brain,  in  woman  by 
the  heart;  it  is  there  that  they  are  most 
sensitive.  So  you  are  fond  .  of  Jobyna 
Ralston.     So  am  I. 

Helene  C.  Mc— But  the  heart  of  a 
woman  never  grows  old ;  when  it  has 
ceased  to  love  it  has  ceased  to  live.  Ad- 
dress Baby  Peggy  at  Century  Comedies, 
Jackie  Coogan  at  Metro  and  Alice  Brady, 
Famous  Players.  Mary  Philbin  is  twenty. 
John    Gilbert    twenty -eight. 

{Continued  on  page  85) 


In  manicuring, 
u  sottens  the 
Cut  icle,  pre- 
vents soreness 
and  adds  to  lus- 
tre of  nails. 


Hinds  Cream  cleanses 
the  pores,  heals  sore, 
eruptive  conditions, 
ind  refreshes  sallow, 
withered  complex 


Q/rotcctina 


wipe 


ion 


A  perfect  base  for  face  pow- 
der.    Apply  a  little  cream. 
When  nearly  dry  dust  on  the 
powder. 


Hinds  Honey  and  Almond  Cream  is  a  sooth- 
ing, refining  cream  that  by  daily  use  prevents 
any  tendency  to  roughness  or  irritation.  An 
invigorating  cream  that  tones  and  freshens 
and  protects  the  complexion  from  injury  by 
dusty  winds  or  chilly  atmosphere.  A  cream 
that  softens  the  skin  to  -a  velvety  texture. 
This  cream  is  so  simple  to  apply,  so  sure  in 
its  improving  results  that  it  readily  becomes 
the  favored  complexion  cream  of  all  who  try 
it.  Its  economy  is  due  to  the  small  amount 
required— only  enough  to  moisten  the  skin. 
Let  the  use  of  Hinds  Honey  and  Almond 
Cream  become  a  part  of  your  daily  program. 


Alkalii 

ern  states  dries  and  irritates 

"he  skin     Use  Hinds  Cream. 


To  keep  the  hands  smooth 
and  attractive  all  day.  To 
relieve  catchy  fingers 
while  at  work. 


Hinds  Cre-mis  Face  Pow- 
der, surpassing  in  quality 
and  refinement;  distinctive 
In  fragrance  and  effect. 
White,  flesh,  pink,  bru- 
nette. Boxes  60c,  15c. 
Samples  2c. 


All  dealers  sell  Hinds  Honey  and 
Almond  Cream.  50c,  $1.00.  We 
will  ma  il  a  s.imple  for  2c. trial  bottle 
6c.  travel  r  size  10c.  Tiy-out  Box 
of  5 samples, assorted,  10c.  Booklet 
Free.  A.  S.  Hinds  Co.,  Dept.  22, 
Portland,  Maine. 


Use   after  shaving  to  / 
make  the  skin  com-  / 
fortable  and  relieve     ' 
irritation  from  soap^ 
or  close  shave 


' Seventy-three) 


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Name . . . 
Address. 


(Stat*  musical  intlr-u m*nt  in  which  you  art  intcr»»Ud. ) 


George  Hackathorne  and  Claire 
McDowell,  who  has  been  his  screen 
mother  in  four  successive  pictures 


The   Hollywood    Boulevardier 
Chats 

(Continued  from  page  72) 

in  the  world  is  searching  the  world 
for  another  Jackie  Coogan — and  not 
finding  one. 

*  *         * 

The  most  promising  lad  now  in  pic- 
tures is  little  Ben  Alexander  who 
made  his  first  appearance  as  a  tiny  tot 
in  Griffith's  "Hearts  of  the  World" 
but  who  is  now  half  grown — enough 
so  to  make  a  hit  in  "Penrod  and 
Sam."  He  has  been  signed  for  a  long- 
term  contract  "by  Maurice  Tourneur. 

*  *         * 

Bill  Hart's  return  to  the  screen  is 
being  received  with  great  acclaim. 
The  other  night  he  appeared  with  a 
number  of  stars  at  the  Motion  Pic- 
ture Exposition.  He  received  the 
greatest  ovation  of  them  all,  althp  the 
aggregation  included  such  celebrities 
as  Mary  Pick  ford  and  Pola  Negri. 

*  #         * 

"Lilies  of  the  Field,"  the  New 
York  stage  play  which  ran  for  seven 
months  at  the  Klaw  Theater,  is  to  be 
filmed  by  First  National. 


Donald  Crisp  has  gathered  together 
a  collection  of  extras  for  the  soldier 
scenes  of  "Ponjola"  which  looks  like 
an  officers'  club.  Nearly  every  one 
in  it  is  a  former  British  officer  and 
many  are  titled.  Just  by  way  of  con- 
trast he  has  one  full-blooded  Zulu. 


For  years  Carmel  Myers  and 
Bessie  Love  have  been  pals.  They 
went  to  school  together  and 
have  been  the  closest  friends  ever 
since.  During  all  these  years  they 
looked  forward  to  playing  in  a  pic- 
(Continued  on  page  87) 

(Seventy-four) 


How  the  One  Natural  Color  for  Cheeks  Was  Found 


Day  and  Night  Tests  That  Told  Why  gouge's 

Familiar  Shade  Was  Wrong — and  Eventually 

Duplicated  c^aturc*s  Own  Color 


MOST  WOMEN 
now  know  and 
use  the  new  natural 
tint  which  is  fast  re- 
placing the  unscien- 
tilicand  unsatisfactory 
purplish-red  rouges. 
But  how  many  are 
awareof  the  peculiarly 
interesting  story  of  its 
discovery? 


We  are  apt  to  take 
the  most  marvelous 
discoveries  of  this  age 
as  a  matter  of  fact — 
even  one  of  such  im- 
portance to  the  realm 
of  beauty  as  a  tint  that 
is  a  perfect  match  for 
Nature's  own  artistry ! 
Suddenly  science 
gives  the  world  of 
women  a  tint  which 
tinges  the  cheeks  in  such  a  true 
tone  as  the  very  strongest  sun's 
rays,  or  the  weirdest  effects  of 
night  lighting  cannot  separate 
from  the  underlying  flesh  tone, 
and  we  accept  it  without  thought 
of  how  it  came  to  be. 
Yet  behind  the  simple, 
single  tint  which  gives 
any  and  all  complex- 
ions a  divine  and  per- 
fectly natural  mantle 
of  color  is  the  story  of 
man's  indomitable 
perseverance  —  two 
years'  ceaseless  ex- 
periment —  over  two 
hundred  failures,  and 
eventual  success. 

The  search  for  the 
perfect  tint  led  a  digni- 
fied Scientist  tO  a  Cel-    "'Beneath  Trying 

lar's  depths  —  and  to 
the  roof  of  a  city's  tall  skyscraper. 
Tint  after  tint— tone  upon  tone — 
were  tried  .in  every  conceivable 
light.  In  noon's  glare,  atop  a  high 
roof.  In  the  streets  below,  where 
the  sun's  rays  filtered  through 


In  "typon's  Glare,  Atop  a  High  Roof" 

fog  and  smoke.  And  in  the  arti- 
ficial lights  of  night— trying  lights 
in  which  old-fashioned  rouges  all 
became  the  same  ghastly,  or  un- 
lovely purplish  red. 

On  a  patient  assistant's  cheeks 
shade  after  shade  was 
tried.  Some  of  the 
shades  required  in- 
gredients from  far 
countries- many  were 
days  in  the  blending. 
Then,  suddenly  it 
happened. 

The    Tint  That    Was 
Tried  In  'Desperation 

One  morning  the  sci- 
entist used  in  his  mor- 
tar one  of  the  rarest 
ingredients  in  the  lab- 
oratory. It  was  of  pe- 
Artificiai Light"  culiar  orange  hue. 
Scarcely  a  color  to  try 
on  the  cheeks!  But  he  idly  applied 
it  on  his  assistant's  cheeks — and  a 
startling  change  took  place.  The 
peculiar  orange  tint  altered  in- 
stantly to  the  true  tone  of  the  skin 
beneath!    Still  doubtful  that  he 


had  found  (he  one  key  tint  for 
any  complexion    under  all 
conditions— in  every  light — 
they  hurried  to  the  rod  and 
put  the  new  tint  to  the  severe 
b   i  of  direct  sunlight    '1  he 
same  beautifully  din  used,  nat- 
ural color!  I  )own  to  adarkencd 
room,  where  neither  glaring 
incandescent  lamps  nor  var- 
iously shaded  rays  of 
electric  light  revealed 
anything  but  a  color- 
ing that  appeared  Na- 
ture's own!  The  same 
day,   preparations 
were  started  to  supply 
the  demand  that  such 
a  discovery  was  cer- 
tain to  create.     Now, 
this  new  Princess  Pat 
Tint  is  an  article  of 
standard  use. 

It  enhances  the  color  of 
countless  women  who  had 
steadfastly  declined  to  use 
any  of  the  old-fashioned 
rouges  which  are  so  obvious 
in  even  the    ki.idwSt  light. 

Trincess  Tat  Tint  is  Waterproof! 

Where  the  new  natural  tint  is  made,  fur- 
ther improvements  have  transpired;  a  less 
costly  use  of  the  chief  ingredient  has 
brought  its  price  within  reach  of  all;  an 
entirely  new  process  has  rendered  it  ab- 
solutely waterproof!  Even  a  morning  in 
the  surf  will  not  streak  it!  Princess  Pat 
Tint  is  not  affected  by  perspiration,  so  it 
is  worn  without  concern  the  day  long,  or 
evening  through!  Yet  it  vanishes  instantly 
with  a  touch  of  cream,  or  use  of  soap. 
On  any  complexion,  remember  there  is 
need  for  only  one  shade.  There  is  no  un- 
certainty of  matching;  for  the  one  tint 
is  instantaneously 
transformed  to 
blend  with  any  type 
—  blonde,  medium 
or  brunette;  and  this 
tint  may  be  applied 
as  lightly  or  as  full 
and  deep  as  you 
choose  —  with  the 
same  perfection  of 
result. 


m 


The  ^(ew,  eNatural  Tint  Al-ways  Ask  for  It  by  Name 

PRINCESS  PAT,  LTD.,  CHICAGO,  U.  S.  A. 

Princess  Pat  Tint         Ice  Astringent  Creams  Almond  Base  Powder  Princess  Pat  Perfume 


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Until  the  shops  have  been  sufficiently 
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natural  tint. 


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postpaid,  a  complimentary  supply  of  the 
new  Princess  Pat  Tint. 


Name  (Print). 

Street 

City 


(Seventy-five) 


I   i 


These  groups  of  stockholders  illustrate  the  rapid  growth  in  ownership  of  the  Bell  System. 

A  Community  of  Owners  Nation-wide 


"Who  owns  the  company?" 
"What  is  behind  it?"  These 
questions  are  asked  in  apprais- 
ing the  soundness  of  a  business 
and  in  determining  its  aims. 

The  American  Telephone 
and  Telegraph  Company  is 
owned  by  more  than  270,000 
people  living  in  every  state  in 
the  Union.  Could  the  stock- 
holders of  the  Bell  System  be 
gathered  to  one  place,  they 
would  equal  the  population  of 
a  city  about  the  size  of  Provi- 
dence or  Denver. 

They  constitute  a  representa- 
tive cross-section  of  American 
citizenship.  Among  them,  of 
course,  are  bankers  and  men  of 
large   affairs;    for  the  idea   of 


ownership  in  the  Bell  System 
appeals  to  sound  business  judg- 
ment and  a  trained  sense  of 
values. 

In  this  community  of  owners 
are  the  average  man  and  woman, 
the  storekeeper,  the  clerk,  the 
salesman,  the  professional  man, 
the  farmer  and  the  housewife — 
users  of  the  telephone  who  with 
their  savings  have  purchased  a 
share  in  its  ownership.  The 
average  individual  holding  is 
but  twenty-six  shares. 

No  institution  is  more  popu- 
larly owned  than  the  Bell 
System,  none  has  its  shares  dis- 
tributed more  widely.  In  the 
truest  sense  it  is  owned  by  those 
it  serves. 


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That      scentless 


"  fraerance — how  to  achieve  it 

■  almost  imperceptible  fragrance  winch   adds   so  much   to   personal  charm   is   just    one 
the  jovs  of  bathing  In   water  thai  lias  been  perfumed  and  softened  with  Bathaswect. 
cleanses   more   quick!]    and   complete]]    than    tin-    ordinary    bath,      it    does    m>i 
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Ashes  of  Vengeance 

{Continued  from  page  31) 

Then  my  noble  lister  went  straight 
way  to  our  brother  Charles  and  be- 
spoke Rupert's  freedom.  So  elo- 
quently did  she  plead  his  cause  that 
Charles  was  moved  to  absolve  him 
from  his  oath  of  service  and  said  so, 
right  magnanimously. 

Rupert  was  surprised  and  gratified, 
yet  hurt.  He  was  sure  now  that 
Yoeland  did  not  care  for  him,  since 
they  were  allowing  him  to  go  away. 
Incredible  to  say,  he  did  not  now  want 
his  freedom.  I  was  heart-broken  and 
wept  grievously  for  hours.  Yoeland. 
the  haughty,  cried  too  and  when  I 
saw  her  tears  I  marveled   at  them. 

I  am  sure  I  do  not  know  how  it 
would  have  ended  if  she  had  not 
broken  down  when  Rupert  came  to 
bid  her  farewell.  Slowly  the  realiza- 
tion dawned  on  him  and  such  amazed 
delight  blazed  in  his  eyes  that  had  I 
been  looking  into  them  instead  of 
Yoeland,  I  should  have  been  blinded. 

"Yoeland,"  he  murmured,  "Yoe- 
land, my  beautiful,"  and  took  her  in 
his  arms  and  kissed  her  on  the  lips. 

I  turned  my  head  away.  It  \va> 
too  great  ecstasy  for  me  to  see. 

They  are  to  be  married  within  a 
fortnight  and  so  that  ends  the  feud. 
For  neither  Charles  nor  Rupert  dare 
fall  under  the  displeasure  of  My 
Lady  Yoeland.  That  would  be  too 
grave  a  risk,  as  both  of  them  love 
her  too  well. 

And  now  the  story  is  ended — or 
rather  just  begun.  The  two  lights 
of  night  and  day  shine  soft  across 
the  castle  walls,  making  long  shadows 
on  the  grass,  and  I  am  very  tired, 
but  oh,  so  happy. 


Divine  Discontent 

{Continued  from  page  22) 

Alma:  I'd  leave  the  screen  and 
take  to  the  pen. 

Myself  {incredulously) :  You 
cant  mean  that  you  would  rather 
scribble  than  star?  Personally,  I 
cant  imagine  what  has  brought  you 
to  such  a  pass. 

Alma:  But  what  does  it  all 
amount  to,  after  all?  What  does  it 
get  you  ?  Where  does  it  get  you  ? 
A  little  money,  easily  spent.  A  little 
fame,  easily  forgotten.  A  little  tem- 
porary glory.  An  illusion.  While 
your  youth  lasts,  or  your  good  looks 
.   .   .  then  .   .   .  poof! 

Myself:  But  there  are  those  who 
survive   indefinitely.     After  all,   life 
itself  is  indefinite.     Nothing  goes  on 
forever.   The  true  artist   .    .   . 
{Continued  on  page  84) 


(Scvcnty-six) 


Reduces  53  Lbs*  in  Nine  Weeks! 


Society  Leader  Takes  Off  Every  Pound  of 

Excess  Weight— From  191  Lbs.  to  138  Lbs. 

Mrs.  Bayliss  Tells  the  Way  She  Did  It 


NKVER  dreamed 
you  could  do  it 
Mr.  Wallace," 
wrote  this  well 
known  young 
matron  of  Phila- 
delphia's social 
elect  Her  letter 
is  dated  in  Febru- 
ary, and  refers  to 
reducing  records 
WALLACE  purchased  late  in 

November.  A  reduction  of  more  than 
fifty  pounds  in  three  months!  But  read 
her  own  story: 

"Here  I  am,  back  to  138  lbs.  after 
my  avoirdupois  had  hovered  around  the 
impossible  two-hundred  mark!  Your 
perfectly  wonderful  music  movements — 
nothing  else — did  it.  You  have  reduced 
my  weight  from  191  to  138,  and  light- 
ened my  heart  as  no  one  can  know  who 
has  not  had  activities  and  enjoymentscur- 
tailed  for  years — and  suddenly  restored. 
"Thanks  to  Wallace  I  am  dancing, 
golfing  and  'goms'  as  oi  yore.  Best  of 
all,  I  am  back  in 
the  saddle.  Because 
I  once  laughed  at 
the  idea  of  getting 
thin  to  music'  1 
offer  in  humble 
apology  this  letter, 
my  photograph  and 
permission  to  pub- 
lish them  should 
you  desire. 

Very  sincerely  yours, 

Jessica  Penrose  Bayliss." 

How  It  Was  Done 

Most  women  of  bulky  figure  would 
make  almost  any  sacrifice  to  attain  the 
symmetry  Mrs.  Bayliss'  photo  reveals. 
But  you  need  not  sacrifice  your  health, 
comfort,  or  even  convenience.  The 
process  is  enjoyable.  You  use  Wallace's 
records  but  ten  minutes  a  day!  Yet  the 
reduction  is  felt  within  five  days  of 
starting;  the  second  week  will  bring  a 
noticeable  improvement;  the  third  or 
fourth  week  will  find  you  lighter  by 
many  pounds. 

The  beauty  of  Wallace's  method  is 
its  absolutely  natural  reduction,  and 
redistribution  of  weight.  Unlike  the  drastic 
dieting  and  drugging  methods,  there  is 
no  loss  of  flesh  where  you  cannot  afford 
to  lose  it. 

Observe  the  photograph  ;  do  you  see 
any  suggestion  of  gauntness  in  face  or 


What  You  Should  Weigh  For 

Your  Height  and  Age 

Height 

Age              Age              Age               Age 
20  to  29  yrs  30  to  39  yra  40  to  49  yre  50  end  Over 

in 

Inches 

Lbe.             Lbs.              Lbs.              Lbs. 

60 

HI                116                188                125 

61 

118               118                 124                127 

115               120                127                180 

63 

Hi                188                130                133 

64 

188               127                133                136 

65 

125                 131                  137                 140 

66 

129                135                  141                  145 

67 

133                139                 145                150 

68 

137                143                149                155 

69 

141                147                 153                159 

70 

115                145                 156                163 

neck — or  flabbiness  of  armsr*  The 
Wallace  reducing  records  play  away 
only  excess  flesh. 

There  Is  No  Need  of  Starving  or 
Otherwise  Punishing  Yourself 

Scores  of  society  women  have  re- 
duced by  this  now  famous  course  in 
reducing,  Many  of  them  wouH  never 
have  done  so  had  it  required  thv  stren- 
uous and  tedious  effort  and  self-denial 
once  thought  to  be  the  only  means  of 
defeating  superfluous  flesh.  '  It  is  down- 
right fun"  is  what  most  folks  say,  from 
the  first  day  they  take  up  this  exhilara- 
ting form  of  reducing. 

It  is  easy  to  get  thin  to  music — and 
extremely  easy  to  prove  that  you  can. 
The  first  reducing  record  awaits  only 
your  word  that  you  want  it.  Try  it  only 
five  days — and  note  the  result  in  even 
this  short  time. 

Almost  a  Pound  a  Day 

In  the  case  here  recorded,  the  reduc- 
tion averaged  almost  a  pound  a  day. 
Much  depends  on 
the  individual  con- 
stitution; for  reduc- 
ing in  this  natural 
manner  takes  place 
only  as  fast  as  the 
system  is  prepared 
for  thechange.  Some 
lose  seven  or  eight 
pounds  in  the  first 
five-days  test  period; 
others  but  two  or  three.  But  you  can 
and  will  reduce  to  normalcy  if  you  want 
to;  whether  you  are  only  five  pounds 
too  heavy,  or  fifty. 

Consult  the  table  of  weights  printed 
above ;  see  just  how  much  you  are  over 
the  weight  that  is  best  for  your  health 
and  appearance.  Then  make  up  your 
mind  that  you  will  weigh  what  you 
should;  you  can,  very  easily — and  very 
quickly,  if  you  send  for  the  first  reduc- 
ing record  and  make  the  start. 

Free  Proof —  Send  No  Money   _ 

Just  try  Wallace's  way  for  one  week. 
That's  all  he  asks.  Don't  send  any 
money;  don't  promise  to  pay  anything 
now  or  later.  The  trial  is  free.  If  you 
don't  see  surprising  results  in  even  these 
few  days— simply  mail  back  the  record 
and  you  will  not  owe  Wallace  a  penny. 
Let  the  scales  decide.  Here  is  the  cou- 
pon that  brings  everything;  can  anyone 
suffering  from  overweight  decline  such 
an  invitation? 


Mrs.  Jessica  Penrose  Bayliss  of  Bryn 
Mawr,  Pennsylvania.  Lost overfifty pounds 
with WaJIacereducingrecords.   Ftmttj Dnn- 


WALLACE.  630 S.  Wabash  Ave.  Chicago 

Please  send  me  FREE  and  POSTPAID  for  5  days' 
free  trial  the  original  Wallace  Reducing  Record  for 
my  tirst  reducing  lesson.  If  I  am  not  perfectly  satis- 
fied with  the  results,  I  will  return  your  record  and 
will  neither  owe  you  one  cent  nor  be  obligated  in 
any  way.  (219) 


Xan:c. 


Address. 


(Seventy-seven) 


jhc  Greatest Jtfessqge 

ever  written  into 
^)ti(nisictureffistoiy 


-£)auid  Mdascos 
QArHstlc  influence 

QAIotion    Ttclures/ 


w 


-^                    "'v.  7  fS 

"  Mr          _ 

- 

Y"'Yfrii"i~'"MI 

•;V~:Hj..v«=^- 

^aew^fS^i 


DAVID  BELASCO — the  man  who  for  a  generation  has  capti- 
vated patrons  of  the  Spoken  Drama — has  yielded  to  the  insistent 
appeal  that  his  dramatic  genius  should  be  perpetuated  in  Motion 
Pictures  for  the  entertainment  and  inspiration  of  all  people  for 
all  time. 

And  BELASCO  has  chosen  to  express  his  matchless  art  exclu- 
sively through 


<( 


y> 


Warner  Bros.  Classics  of  The  Screen 

Now  you  will  see  pictures  so  beyond-the-ordinary  that  you  will 
forget  the  canvas  before  you  and  feel  the  heart-grip  of  the 
master  producer. 

DAVID  BELASCO'S  association  with  WARNER  BROS,  is 
the  long-sought  triumph  of  the  Silent  Drama — the  final  proof 
of  Warner  leadership. 

Watch  for  the  first  three  Belasco  productions — "Tiger  Rose" — 
"The  Qold  Diggers"— "Daddies". 

We  have  a  limited  number  of  autographed  photographs 
of  DAVID  BELASCO  which  we  will  send  without 
cost  on  request  of  readers  of  this  publication 


1600  Broadway 


\ 


IIRNERIHK 

f  Classics  of  the  Screen** 


New    York    City 


Elinor  Glyn  on  the  Technique 
of  the  Scenario 

(Continued  from  page  34) 

before  it  is  accepted.  First,  it  is  read, 
then  passed  on  to  the  considering 
office,  where  it  is  criticized  before 
reaching  the  scenario  department. 
There  the  actual  changes  are  made, 
and  it  is  sent  to  the  continuity  writer ; 
after  this,  it  is  placed  in  the  director's 
hands.  His  point  of  view  is  often 
biased  by  the  subject,  which  may  be 
about  a  nation  or  a  class  whose  man- 
ners and  customs  he  knows  nothing 
about !  The  director  changes  things 
pretty  much  as  he  wishes,  as  does  the 
advisory  committee.  Then  of  course 
there  is  the  star  of  the  production, 
who  must  have  his  or  her  little  altera- 
tions. When  all  this  is  done,  the  cen- 
sorship committee  awaits  what  is  left 
of  a  once  original  story.  And  there 
you  are !  Or  rather,  there  your  once 
beautiful  story  isn't! 

"The  actual  meaning  of  your  idea? 
Alas,  it  no  longer  exists  !  Supposing 
your  story  is  of  a  man  who  stumbled 
out  of  a  window.  Have  it  by  acci- 
dent or  otherwise,  as  you  will.  You. 
as  the  author,  had  a  definite  reason 
for  this  to  happen.  And,  having 
your  reason,  had  doubtless,  a  logical 
result,  as  it  affected  the  man  who 
tumbled,  and  also  as  it  modified  the 
lives  of  those  with  whom  he  was  con- 
nected. You  worked  out  the  psy- 
chology, the  consequences  of  every- 
thing in  your  story ;  these,  and  other 
parts  were  the  very  life  of  it.   Life? 

"When  the  average  motion  picture 
scenario  department  finishes  with 
your  creation,  it  has  been  robbed  of 
all  which  could  make  it  convincing. 
All  the  well-planned  logic  and  true 
psychology  is  gone,  deleted.  Your 
man  and  his  tragic  tumble  have  be- 
come perhaps  even  the  comic  adven- 
ture of  a  person  who  now  evidently 
bears  no  plausible  relation  to  any- 
thing in  your  story. 

"And  you  ?  You  have  been  made  a 
fool  of,  because  the  picture  play  that 
cannot  but  insult  the  intelligence  of 
the  public,  is  brought  out  under  your 
name !  I  believe,  from  what  I  have 
observed,  that  the  American  public  is 
quite  the  most  understanding  in  the 
world.  It  is  therefore  no  small 
prejudice  that  you  have  aroused 
against  you,  as  the  author.  You  are 
guilty  of  offering  'bunk,'  something 
that  all  the  checks  in  the  world  would 
not  have  enticed  from  your  pen,  in 
the  beginning. 

"As  I  have  been  away  from 
America  for  nearly  a  year  I  have  not 
seen  the  most  recent  pictures.  But 
I  have  been  studying  motion  pictures 
in  England,  Germany,  Sweden,  and 
France.     And  truly,  from  the  techni- 

( Seventy-eight) 


cal  end  of  tiling,  the   \m<  i  ican  pro 
duccrs  ha\ i  no  rivals !    In  the  techni- 
cal side  ft  picture  making  the)  are 
perfection. 

"Most  of  the  scenarios  oi  the 
Swedish  and  German  productions  arc 
vague;  yet  they  are  stories  of  quality. 
They  give  forth  something  tangible  tti 
the  educated  mind.  This  is  where  the 
American  producer  falls  down. 

"Imagine  the  gross  insult  of  a  pic 
ture  that  depicts  American  social  life, 
ociety  drama  wherein  the  people 
acl  as  no  man  or  woman  in  any  conn 
try,  in  this  particular  stratum  of  life 
would  act.  That's  what  we  have  to 
look  at  all  the  time.  And  the  public 
will  never  be  given  dramas  of  real 
life  as  long  as  ignorant  people  are 
permitted  to  have  power  to  produce 
and  direet  pictures.  We  must  have 
people  in  authority  in  the  scenario 
departments  who  know  from  the  in- 
side the  phases  of  life  which  they  are 
trying  to  interpret.  We  must  have 
people  who  keep  to  the  things  they 
know ! 

"The  success  of  my  novels  has 
been  based  upon  the  fact  that  I  never 
write  about  things  that  T  do  not 
knn7i\  Recently  someone  asked  me 
why  T  did  not  write  about  a  certain 
part  of  England  and  the  natives  there. 
'Why-'  T  asked,  somewhat  amazed. 
'Recause  T  only  know  about  them 
thru  hearsav.  T  dont  know  the  reality 
of  their  existence,  and  could  not  write 
until  T  do.' 

"The  scenario  departments  receive 
many  terrible  scenarios  that  have  to 
he  changed.  Naturally,  it  is  hard  for 
them  to  realize  when  they  get  a  good 
one.  which  it  would  be  wise  for  them 
to  leave  untouched.  The  diligence 
of  the  author  in  mastering  movie 
technique  will  mean  everything  in  the 
final  O.  K.  which  he  alone  should  be 
allowed  to  place  on  the  continuity  of 
his  picture.  TTis  knowledge  of  tech- 
nique will  influence  producers  to 
gather  about  them  intelligent  people 
who  are  not  groping  in  the  dark,  but 
who,  in  knowing  what  they  are  at- 
tempting to  do,  will  not  be  satisfied 
until  they  do  it  correctly." 


An  Old  Storv 


I  (  ontinucd  from  page  42) 

very  closely.  For  if  you  did  look 
very  closely  and  very  discerningly, 
you  would  find  in  her  eyes  that  thing 
which  made  her  what  she  was  and 
gave  us  what  she  gave  us  in  "TTu- 
moresque";  the  thing  Fannie  Hurst 
saw  when  she  wanted  her  to  play 
the  mother-part:  the  thing  Frank 
Rorzage  recognized  when  he  cast 
her  for  the  part — the  first  of  a  long 
line  of  directors  who  have  perceived 
her. 
The   sympathetic,   world-enduring, 


Prettier  Teeth 

If  you  fight  the  film 


While  you  leave  teeth  coated  with  a 
dingy  film,  their  luster  cannot  show. 

Look  about  you.  Note  how  many 
teeth  now  glisten.  And  mark  what 
they  add  to  good  looks. 

The  reason  lies  largely  in  a  new 
method  of  teeth  cleaning.  Millions  now 
use  it  daily.  Accept  this  ten-day  test  we 
offer,  and  learn  what  it  does  for  you. 

Why  teeth  lose  beauty 

A  viscous  film  clings  to  the  teeth, 
enters  crevices  and  stays.  The  tooth 
brush  alone  does  not  end  it.  No  ordi- 
nary tooth  paste  effectively  combats  it. 

So  much  film  remains.  Food  stains, 
etc.,  discolor  it,  then 
it  forms  dingy  coats. 
Tartar  is  based  on 
film.  Those  cloudy 
coats  hide  the  teeth's 
luster. 

Film  also  holds 
food  substance 
which  ferments  and 
forms  acid.  It  holds 
the  acid  in  contact  with  the  teeth  to 
cause  decay.  That's  why  so  few  es- 
caped tooth  troubles. 

Germs  breed  by  millions  in  film. 
They,  with  tartar,  are  the  chief  cause 
of  pyorrhea.  And  that  became  alarm- 
ingly common. 

Better  methods  now 

Dental  science  studied  long  to  cor- 
rect this  situation.     It  found  two  film 


Protect  the  Enamel 

Pepsodcnt  disintegrates  the  film, 
then  removes  it  with  an  agent  far 
softer  than  enamel.  Never  use  a 
film  combatant  which  contains 
harsh    grit. 


combatants.  One  of  them  acts  to 
curdle  film,  one  to  remove  it,  and 
without  any  harmful  scouring. 

Able  authorities  proved  these  meth- 
ods by  many  careful  tests.  Then  a 
new-type  tooth  paste  was  created, 
based  on  modern  research.  In  that 
were  embodied  these  two  film  com- 
batants  for   daily   application. 

That  tooth  paste  is  called  Pepsodent. 
Leading  dentists  the  world  over  now 
advise  it.  Careful  people  of  some  50 
nations  are  employing  it  today. 

Multiplies  two  agents 

Pepsodent  does  two  other  things  which  re- 
search proved  essential. 
It  multiplies  the  alka- 
linity of  the  saliva.  That 
is  there  to  neutralize 
mouth  acids,  the  cause  ol 
tooth  decay.  It  multi- 
plies the  starch  digestam 
in  the  saliva.  That  is 
there  to  digest  starch  de- 
posits which  may  other- 
wise ferment  and  form 
acids. 

Thus    every    use    gives 
manifold    power    to    these 
J.'eat    natural    tooth-protecting    agents. 

This  test  amazes 

This  10-day  test  of  Pepsodent  amazes  and  de- 
lights.    The  results  are  quick  and  conspicuous. 

Send  the  coupon  for"  it.  Note  how  clean  the 
teeth  feel  after  using.  Mark  the  absence  of 
the  viscous  film.  See  how  teeth  whiten  as  the 
film-coats  disappear.  Watch  the  other  good 
effects. 

In  one  week  you  will  realize  what  this  new 
method  means.  You  will  see  results  which  old 
ways    never   bring.      Cut    out    the    coupon    now. 


Kspsaciem 

10-Day  Tube  Free  " 

THE  PEPSODENT  COMPANY, 

Dept.  303.  1104  S.  Wabash  Ave..  Chicago.  I1L 
Mail  10-Day  Tube  of  Pepsodent  to 

The  New-Day  Dentifrice 

A  scientific  film  combatant,  which 
whitens,     cleans    and    protects    the 

teeth    without    the    use    of    harmful 
grit.     Now  advised  by  leading  den- 

tists the  world  over. 

Only  one  tube  to  a  family. 

( Seventy-nine) 


PREFERRED 
PICTURES 


Bringing  Great  Books 
and  Plays  to  Life 

IN  the  back  of  your  mind  linger  the 
memories   of  mighty  deeds   and 
throbbing  loves — the  things  that 
make  up  great  books  and  great  plays. 

Upon  such  stories  are  Preferred  Pic- 
tures built. 

The  men  who  founded  Preferred  Pic- 
tures believe  that  no  photoplay  can 
give  the  maximum  of  entertainment; 
no  star,  no  cast,  can  put  forth  the 
best  that  is  in  them,  unless  the  story 
is  right. 

You  received  the  first  Preferred  Pic- 
tures and  proclaimed  them  a  success. 

Now  comes  "THE  VIRGINIAN," 

a  Tom  Forman  Production,  made  from 
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Under  the  spell  of  color,  action  and  setting 
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Preferred  Pictures  are  shown  in  your  city.  Call 
up  your  favorite  theatre  and  ask  "When?" 

Distributed  b\ 


PREFERRED 
PICTURES 

'Produced  by 

B.  P.  SCHULBERG 

Coming 
"The  Virginian" 

from  the  play  and  novel  by 
OwenWister  and  Kirke  La  Shelle 

April  Showers" 

by  Hope  Loring  and  Louis  D. 
Lighton. 

*  "Maytime" 

from  the  play  by 
Rida  Johnson  Young. 

"The  Boomerang" 

from  the  play  by 
WinchellSmithandVictorMapes 

"White  Man" 

from  the  novel  by 

George  Agnew  Chamberlain. 

"Poisoned  Paradise" 

from  the  novel  by 
Robert  W.,  Service. 

"When  a  Woman 

Reaches  Forty" 

by  Royal  A.  Baker. 

"The  Mansion  of 

Aching  Hearts" 

by  Harry  Von  Tiber  and  Arthur 
J.  Lamb. 

"The  Breath  of  Scandal" 

from  the  novel  by 
Edwin  Balraer. 

"The  First  Year" 

from  the  play  by 
Frank  Craven. 

"TheTriflers" 

from  the  novel  by 
Frederick  Orin  Bartlett. 

"Faint  Perfume" 

from  the  novel  by 
Zona  Gale. 

"My  Lady's  Lips" 

by  Olga  Printilau. 

aHpjV  SHOWING 

"The  Broken  Wing" 
"Mothers-  in-Law" 
"Daughters  of  the  Rich" 
"The  Girl  Who  Came  Back" 
"Are  You  a  Failure?" 
"Poor  Men's  Wives" 
"The  Hero" 
"Thorns  and 

Orange  Blossoms" 
'Shadows" 

Rich  Men's  Wives" 


PREFERRED 

AL  LICHTMAN,  ^President 


PICTURES    CORP. 

1650  Broadway,  New  York 


passionate    and    patient    artist-soul. 

But  in  the  movies  one  does  not 
look  for  the  passionate  and  patient 
artist-soul  in  a  stout  Jewish  lady  of 
forty  summers. 

It  is  preposterous.  Out  of  no  slim 
Adonis  came  the  full  notes  of  Ca- 
ruso .  .  .  but  in  the  movies  .  .  . 
p's's't !  Anyone  knows  that  in  the 
movies  art,  Art,  mesdames  and  sires, 
is  accompanied  by  slim,  desirous 
bodies,  pickfordian  curls  and  nita- 
naldian  thighs,  come-hither  eyes,  and 
sixteen  fruitful  summers.  And 
where,  in  Vera  Gordon,  were  the 
vanished  sixteen  summers?  Where, 
even,  were  the  come-hither  eyes?" 
Ah,  no,  ah,  no,  to  the  directors,  ever 
searching,  ever  seeking  for  the  Great 
in  Art,  Vera  Gordon  was  what  she 
might  still  be  to  any  casual  passerby, 
a  stoutish  Jewish  lady  asking  for  a 
part  in  pictures,  pictures,  if  you 
please !  And  so  Mrs.  Gordon  had 
all  she  could  do  to  get  by  the  keeper 
of  the  gate,  let  alone  into  the  rare- 
fied atmosphere  of  the  Casting  Di- 
rector's official  sanctum. 

And  thus,  bearing  her  gift  within 
her,  guarding  it,  preserving  it  with 
the  frankincense  and  myrrh  of  do- 
mesticity and  child-bearing  and 
anxiety.  Vera  Gordon  watched  the 
long,  lean  years  go  by. 

In  Russia,  when  she  was  thirteen, 
she  had  played  a  great  mother-role, 
in  the  Hebrew  tongue.  Played  it  so' 
realistically,  with  such  force  and 
veracity,  that  the  governor  of  the 
town  or  province,  or  whatever  you 
call  'em.  issued  an  order  that  she 
should  be  allowed  to  play  in  the 
theaters  when  she  chose,  an  excep- 
tional honor  to  befall  a  woman  in 
Russia.  Later,  she  married  and 
came  to  Canada,  and  then  followed 
the  record  of  the  years  between  the 
then  and  now. 

They  haven't  embittered  Vera 
Gordon.  If  she  has  a  slight  con- 
tempt for  "the  men  higher  up."  who 
mostly  dont  belong  up,  it  is  lost  and 
absorbed  by  her  passionate  pity  and 
love  for  the  great  mass  of  the  peo- 
ple, the  poor  people,  whose  every  day 
is  struggle  and  whose  every  night  a 
new  and  sad  defeat. 

"I  know  their  needs  so  well,  so 
very  well."  spoke  Vera  Gordon  softly 
and  with  inescapable  understanding. 


This 


is 


beinsr    what    a    novelist 


called  his  novel.  "The  Mother  of  All 
Living."  This  is  the  spirit  that  has 
shone  forth  and  given  Vera  Gordon 
at  long  last  her  "place  in  the  sun." 


(Highly) 


rhe  Powers  Behind  the  Screen 

nued  from  page  39  » 

\  small  man,  with  slender,  expi 
sive  hands  that  is  the  first  imp 
sion.  N  "ii  .iu  conscious  next  of  the 
thin,  colorless  lips,  drawn  taut  as  it' 
some  eternal  problem  kept  them 
forever  so,  but  soon  you  are  aware, 
most  of  all,  of  the  broad  forehead, 
the  calm  and  stead)  eyes.  Seeing 
these,  you  know  you  are  facing  no 
ordinary  immigrant  washed  in  by  the 
endless  stream  from  Europe,  ["his 
man's  ancestors  were  princes  of 
Jerusalem,  bankers,  poets,  visions 
ries.  Grim  necessity,  the  clutching 
fingers  of  European  conditions 
these  later  may  haw-  dragged  his 
family'^  members  down  till  they 
came  to  this  country  as  piecework 
tailors,  but  before  this,  in  the  dim, 
far  days  of  time,  his  personality,  his 
imagination  must  have  been  nurtured 
tenderly  and  under  favoring  condi- 
tions. 

Within  speaking  distance  of  him 
only  once,  this  writer  came  to  that 
conversation  last  year  prejudiced 
against  him.  Such,  frequently,  is  the 
effect  achieved  by  press  agents  hired 
to  boom  a  man !  But  facts  speak- 
louder  than  press  agents,  and  the 
tacts  concerning-  Adolph  Zukor  came 
first  to  a  stirring,  dramatic  climax 
in  the  anteroom  of  the  General  Film 
Company  over  a  decade  ago. 

Like  Disraeli  who  foresaw  the 
British  Empire  cemented  byr  a  Suez 
Canal  clinching  India,  years  after  the 
House  of  Commons  had  laughed  him 
down  —  like  Disraeli,  Zukor  waited 
patiently.  Three  hours  passed.  He 
was  shown  in,  but  he  plead  in  vain. 

The  little  he  had  picked  up  as  a 
furrier  he  had  sunk  in  these  nickel- 
odeons of  his,  hut  imposed  condi- 
tions were  cutting  his  profit.  He  had 
vision.  He  needed  money.  But  what 
he  saw,  they  could  not  see,  what  he 
asked  they  did  not  grant.  They  only 
laughed,  and  suddenly  he  was  on  his 
feet,  his  finger  leveled  at  them,  a 
curious  hitter  smile  parting  those 
drawn  lips  of  his. 

"Some  day,"  he  said,  like  Disraeli. 
"some  day  you  will  hear  me.  Some 
day  you  will  listen." 

It  is  convenient  to  tell  the  history 
of  the  motion  picture  industry  in  the 
terms  of  Adolph  Zukor,  but  an  in- 
quiry  into  all  the  circumstances  that 
have  entered  into  that  history  from 
the  day  of  that  interview  till  now — 
such  an  inquiry  makes  telling  the 
>tory  in  just  those  terms  inevitable. 

While  he  has  not  created  circum- 
stances. Zukor  has  set  the  pace. 
\\  hile  he  has  not  sown  the  seed,  fre- 
quently at  harvest  he  has  found  him- 
self boss  of  the  threshing  machine. 
While  conditions  beyond  his  control 


/  'uinl  by  Dori.i  Kenyan  in 
"Sure  Fire  Flint,  a 
Mastodon  Films,  Inc., 
motion  picture.  Miss 
Kenyon  Is  one  of  many 
charming  women  of  the 
screen  n>/io  use  and  endorse 
Ingram  s  Milkweed  Cream 
for  promoting  beauty  of 
complexion 


Face  to  face  with  your  mirror 

can  you  rejoice  in  your  complexion  ? 


CAN  you  be  proud  of  your  fair, 
wholesome  skin?  Can  you  con- 
scientiously say  "my  complexion  is 
fresh  and  clear"? 

You  can  if  you  adopt  the  regular 
use  of  Ingram's  Milkweed  Cream — 
you  can  take  genuine  pride  in  the 
glory  of  a  fair  and  radiant  complex- 
ion, just  as  thousands  of  attractive 
women  have  for  more  than  30  years. 
Ingram's  Milkweed  Cream,  you  will 
find,  is  more  than  a  cleanser,  more 
than  a  powder  base,  more  than  a  pro- 
tection for  the  skin.  It  has  an  ex- 
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serves  to  "tone-up" — revitalize — the 
sluggish  tissues  of  the  skin.  It  soothes 
away  redness  and  roughness,  ban- 
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nourishes  the  skin  cells.  No  other 
cream  is  fust  like  it. 

Go  to  your  drug- 
gist today  and  pur- 
chase a  jar  of  In- 
gram's Milkweed 
Cream  in  either  the 


50-cent  or  $1.00  size.  (The  dollar  jar 
contains  three  times  the  quantity.) 
Use  it  faithfully,  according  to  direc- 
tions in  the  Health  Hint  booklet  en- 
closed in  the  carton — gain  and  retain 
a  complexion  of  which  you  can  hon- 
estly be  proud. 

Ingram's  Rouge — "Just  to  show  the 
proper  glow"  use  a  touch  of  In- 
gram's Rouge  on  the  cheeks.  A  safe 
preparation  for  delicately  emphasiz- 
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artistic  metal  vanity-box,  with  large 
mirror  and  pad — does  not  bulge  the 
purse.  Five  perfect  shades,  subtly 
perfumed  —  Light,  Rose,  Medium, 
Dark  or  the  newest  popular  tint, 
American  Blush — 50  cents. 

Frederick  F.  Ingram  Co. 

Established 
si  Tenth  Strket  Dl  oton.  Mi<  n 

Canadian  residents  address  F.  F.  Ingram  Companj. 
Windsor,  Ontario.  British  residents  address  Bangers, 
l:'A  liampstead  Rd..  London,  N.  W.  1.  Australian 
residents  address  Law.  Blnni  a  Co..  coinmere.-  . 
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Pennington,  Ltd.,  33  Qbuznee  St..  Wellington.  CuLae. 
address  Espino  A  Co  .  Znlueta 


Inartim's 

Milkweed 

Cteatn 

Send  ten  cents  today  for  Ingram's  New  Beauty  Purse 


Frederick  F.  Ingram  Co.,  83  Tenth  Street,  Detroit,  Mich. 

GenUemen:    Enclosed   please   And    ten    cents.     Klndh    send    me    Ingram 

I'.rauiv   Purse,  I'linraininc  «  liberal  sample  of  Ingram's  .Milkweed  Cream,   two  purse 
imps,   one   generousl)    tilled   with    Ingrain's   Pace   Powder,    the-  other  with    Ingram's 
Rouge,  and.  for  the  gentleman  of  the  house,  a  sample  of  Ingram's  Therapeu- 
big  Cream. 


Name 

Street 

State. 


(flighty-one) 


flrftf^S 


SPIRIN 


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W       ^_  CAPITAL    *  I.OOO.OOO.  —    ^m 

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1650-1660  BROADWAY,  NEW  YORK. 


have  constantly  developed  about  him, 
he  has  been  quick  to  maneuver  him- 
self into  positions  of  advantage,  and 
his  last,  his  ablest  move,  brought  him 
that  saving  grace  which  —  for  sim- 
plicity's sake — is  known  as  Will  H. 
Mays. 

This  was  a  Machiavellian  stroke, 
but  its  true  inwardness  seems  to  be 
understood  only  in  Wall  Street  finan- 
cial circles  where  they  have  followed 
the  growth  of  the  picture  business  to 
its  present  apex,  where  they  remem- 
ber best  the  exact  manner  in  which 
the  foundations  of  this  pyramid  were 
laid  down  in  1913,  '14  and  '15. 

Thereabouts  the  General  Film 
Company's  hold  on  the  basic  patents 
was  loosened.  Distributing  and  pro- 
ducing companies  sprang  up  :  Mutual. 
Universal,  Film  Exchanges  of 
America,  Triangle,  Metro,  and  finally 
Paramount.  Able  men  took  charge 
of  them  :  Carl  Laemmle,  P.  A.  Pow- 
ers, R.  H.  Cochrane,  H.  E.  Aitken, 
R.  A.  Rowland,  and  finally  the  com- 
bination that  included  under  the 
Paramount  banner  such  men  as 
Zukor,  W.  W.  Hodkinson,  Jesse  L. 
Lasky,  J.  D.  Williams,  Arthur' 
Friend,  B.  P.  Schulberg,  and  Al 
Lichtman.  But  what,  you  will  ask, 
was  this  all  about. 

Some  flooded  pipe-line  must  have 
poured  rich,  streaming  gold  into  so 
great  a  body  of  activity. 

It  did.  The  stream  grew  to  a  river 
when  shows  were  provided  worth  a 
quarter,  half  a  dollar,  a  dollar,  even 
two  dollars.  Nickels  and  dimes  were 
all  that  was  asked  before.  Shows 
had  been  short  then.  Half  an  hour 
of  time,  two  thousand  feet  of  film.  It 
was  argued  that  the  public  would  not 
stand  for  anything  longer,  that  eyes 
couldn't  stand  the  strain. 

One-reelers  and  two-reelers  had 
been  supplied  by  the  General  Film 
Company  at  the  rate  of  sixty  reels 
a  week.  Universal  broke  in  with  a 
thirty-two-reel  program,  Mutual  with 
twenty-eight,  Film  Exchanges  with 
an  inconsiderable  eight  to  twelve.  All 
these  were  short  subjects,  but  before 
the  war  change  was  in  sight. 

George  Kleine,  the  Republican 
politician  from  Chicago,  was  to  im- 
port from  Italy  a  picture  called  "Ju- 
lius Caesar"  and  pack  those  anxious 
to  see  it  into  a  Broadway  theater. 

"Quo  Vadis,"  "Cabiria,"  other? 
followed,  but,  even  before  this,  ex- 
hibitors clamoring  for  something  to 
keep  the  crowds  coming  had  seized 
on  such  few  five-reel  features  as  were 
offered  and  promptly  raised  their 
prices  for  "feature  days." 

Soon  it  was  evident  that  the  public- 
waited  for  "feature  days,"  and  will- 
ingly paid  a  quarter  for  the  better 
show. 

The  five-cent  days  were  over.  .  . 


(Eighty-two) 


PLAY  PIANO  BY  EAR 

Be  a  Jazz  Miisic  Master 


Remember 
American 


New    Niagara    Method    Makes    Piano    Playing    Wonderfully    Simple. 

No  matter  how  little  you  know  about  music — even  though  you  "have  never  touched  a  piano" — if  you  can 
just  remember  a  tune,  you  can  quickly  learn  to  play  by  ear.  I  have  perfected  an  entirely  new  and  simple 
system.  It  shows  you  so  many  little  tricks  that  it  just  comes  natural  to  pick  out  on  the  piano  any  piece  you 
can  hum.  Beginners  and  even  those  who  could  not  learn  by  the  old  fashioned  method,  grasp  the  Niagara  idea 
readily,  and  follow  through  the  entire  course  of  twenty  lessons  quickly.  Self-instruction — no  teacher  required. 
You  learn  many  new  styles  of  bass,  syncopation,  blues,  fill-ins,  breaks  and  trick  endings.  It's  all  so  easy — so 
interesting   that   you'll   be    amazed. 

Be  Popular  in  Every  Crowd 

One  who  can  sit  down  at  any  time  without 
notes  or  music,  reel  off  the  latest  jazz  and 
popular  song-hits  that  entertain  folks, 
is  always  the  center  of  attraction,  the 
life  of  the  party,  sought  after  and  in- 
vited everywhere.    Make  yourself   the 
center  of  attraction — master  the  piano 
by    spending   an    hour   a    day    studying 
the  fascinating  Niagara  Method. 
As   easily    as    thousands    of    others     have 
learned,  so  you.  too.   can   learn  and  profit — 
not    only     through     the     pleasure     it     provides, 
but    also    by     playing    at    dances,     motion     pic- 
ture houses  and  other  entertainments. 

Decide  to  Begin  Now! 

Just  spend  a  part  of  your  spare  time  with  a  few  easy, 
fascinating  lessons  and  see  how  quickly  you  "catch  on" 
and  learn   to  play.     You  will  be   amazed,  whether   you 


A  Simple   Secret  to   Success 

No  need    to  devote  years  in  study  to  learn    //>, 
piano  nowadays.    Special  talent  unneces- 
sary.    Every  lesson  is  so  easy,  so  fas- 
cinating   that    you     just   "can't    keep 
your    hands   off    the   piano."     Give    it 
part  of  your   spare    time    for    90   days 
and  you  will  be  playing  and  entertaining 
almost  before  you  realize  it.     No  tiresome  \\i 
scales,  no    arpeggios  to  learn — no  do-re-mi 
— no   difficult   lessons  or   meaningless   exer- 
cises.    You  learn  a  bass  accompaniment  that 
applies  to  the  songs  you    play.     Once    learned, 
you  have    the  secret    for    all   time — your    difhcul 
ties  are  over  and 

You  Become  Master  of  the  Piano 

Even  talented  musicians  are  amazed  at  the  rapid  prog- 
ress of  Niagara  School  students  and  can't  understand 
why  this  method  was  not  thought  of  years  ago.  Natu- 
rally, the  Niagara  Method  is  fully  protected  by  copy- 
rights and  cannot  be  offered  by  any  other  school.  A 
special  service  department  gives  each  pupil  individual 
attention. 


Learn  at 


me  in 


are  a  beginner  or  an  advanced  student. 

Write  for  interesting,  illustrated  booklet,  "The  Niagara 
Secret" — it  describes  this  wonderful  new  method  of  play- 
ing piano  by  ear.     This   booklet   sent    FREE. 


Ronald  G.  Wright,  Director,  NIAGARA  SCHOOL  OF  MUSIC,  Niagara  Falls,  N.Y. 


(Eighty-three) 


Do  You  Want 
A  Better  Job? 


THE  only  difference  between  success  and  failure 
is  a  matter  of  training.     The  big  men  in  busi- 
ness today  did  not  reach  their  present  success 
through  luck  or  chance. 

They  got  into  the  work  for  which  they  were 
best  fitted — and  then  trained  themselves  to 
know  more  about  their  jobs  than  anyone  else. 
When  opportunity  came — as  it  always  comes — 
these  men  were  ready  to  grasp  it  and  turn  it 
into  fame  and  dollars. 

You  have  just  as  good  a  chance  to  succeed  as  these 
men  had — perhaps  better  I  Good  positions  are  always 
waiting  for  trained  men — positions  that  you  can  get 
if  you  train  yourself  to  deserve  them. 

You  can  secure  this  training  easily  and  quickly 
at  home  through  spare-time  study  with  the 
International  Correspondence  Schools,  just  as 
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way  is  the  practical  way — the  fascinating  way 
— the  profitable  way. 

All  that  we  ask  is  this: — Fill  out  the  coupon  printed 
below  and  mail  it  to  Scranton.  This  doesn't  obligate 
you  in  the  least — but  it  will  bring  you  the  full  story 
of  what  the  I.  C.  S.  can  do  for  you.  Today  is  the 
day  to  send  in  that  coupon.  "Tomorrow  never  comes." 

INTERNATIONAL  CORRESPONDENCE  SCHOOLS 

Box  6757-C,  Scranton,  Penna. 

Without  cost  or  obligation  on  my  part,  please  tell  me 
how  I  can  qualify  for  the  position  or  in  the  subject  before 
which  I  have  marked  an  X: 

BUSINESS  TRAINING  COURSES 
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n  Advertising 


□  Better  Letters 

□  Foreign  Trade 

□  Stenography  and  Typing 
D  Business  English 


DBusiness  Management 
D  Industrial  Management 
QPersonnel  Organization 

□  Traffic  Management 

□  Business  Law 

□  Banking  and  Banking  Law 
□Accountancy! including C. P. A.)  □Civil  Service 

□  Nicholson  Cost  Accounting  □Railway  Mall  Clerk 

□  Bookkeeping  □  Common  School  Subjects 

□  Private  Secretary  □  High  School  Subjects 
□Business  Spanish     □  French     □Illustrating 

TECHNICAL   AND    INDUSTRIAL   COURSES 


□  Electrical  Engineering 

□  Electric  Lighting 

□  Mechanical  Engineer 

□  Mechanical  Draftsman 

□  Machine  Shop  Practice 

□  Railroad  Positions 

□  Gas  Engine  Operating 

□  Civil  Engineer 

□  Surveying  and  Mapping 

□  Metallurgy         □  Mining 

(J Steam  Engineering  □  Radio 


□  Architect 

□  Blue  Print  Reading 

□  Contractor  and  Builder 

□  Architectural  Draftsman 

□  Concrete  Builder 

3  Structural  Engineer 
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3  Automobile  Work 
"2  Airplane  Engines 
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j  Mathematics 


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Divine  Discontent 

(Continued  from  page  76) 

Alma:  P.ut  where  are  there  any 
true  artists  ...  on  the  screen  ? 
Who  is  to  say  whether  they  are  true 
or  not?  Where  is  the  celluloid 
Bernhardt  ? 

Myself  :  Non-existent. 

Alma  :  Exactly.  Oh,  there  are 
touches  of  genius,  I  know.  I  could 
name  several.  .  .  .  But  even  so.  On 
the  other  hand,  if  one  can  write  one 
can  defy  time,  all  the  time  there  is. 
Youth  can  pass  and  beauty  can  fade 
and  still  the  gift  can  remain,  one's 
own,  independently. 

Myself:  What  type  of  writing 
are  you  doing? 

Alma:  Fiction.  Short  stories. 
Friends  of  mine,  critics,  shall  I  say, 
tell  me  that  my  ideas  are  good,  but 
my  treatment  can  be  improved  upon. 
That's  enough  encouragement  to  be- 
gin with.  I'm  going  to  keep  on  try- 
ing. The  fact  is,  that  I  admire  most 
those  people,  men  or  women,  who 
are  able  to  sacrifice  everything, 
fame,  comfort,  glory,  for  the  sake  of 
the  thing  they  want  most  to  do  and 
can  do  the  best.  I  could  bow  down 
and  worship  a  man  or  a  woman  who 
can  live  in  a  garret  on  twenty-five 
cents  a  day  in  order  to  do  the  thing 
they  believe  in.  That's  what  dis- 
satisfies me  with  myself.  I  have  con- 
stantly the  feeling  that  what  I  am 
doing  is  impermanent,  unimportant 
and  soon  forgotten. 

Myself  :  You  are  probably  alone 
in  that  opinion.  -Perhaps  the  con- 
tinued appreciation  of  "Enemies  of 
Women"  will  help  you  to  see  that. 

Alma:  If  I  could  do  something 
greater  than  a  mere  picture.  "Driv- 
en," for  instance.  Did  you  see  that  ? 
There  was  something  tremendous 
and  epochal.  That  was  more  than  a 
mere  picture.  And  yet  the  man  who 
made  that  has  turned  to  the  making 
of  "Six  Days."  Just  another  movie. 
The  pity  of  that  sort  of  thing  is  what 
hurts  me ;  is  what  gives  me  this 
poignant  dissatisfaction  with  myself. 

=1=  %  % 

The  conversation  went  from  there 
to  other  things.  Lighter,  lesser 
things,  and  it  wasn't  until  after  I 
had  left  Alma  that  I  thought  of  what 
I  should  have  said  to  her  .  .  .  which 
was,  that  this  very  dissatisfaction  and 
restiveness  of  hers  is  the  tormenting 
fire  of  genius,  the  lack  of  which  she 
was  lamenting.  Hers  are  the  grow- 
ing pains  of  Art.  And  when  one  is 
suffering  from  growing  pains  one  is 
passing  from  the  adolescence  of 
artistry  into  the  maturity  that 
endures. 

\ve.  Alma. 


**  :*V. 


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She  used  Marmola  Prescription 
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per,  postpaid. 

MARMOLA  COMPANY 

239  Garfield  Bldg..  Detroit.  Mich. 


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Will  YouTake  C*sh 

ForYour  SpareTime? 

What  is  your  spare  time  /w 
worth?  Will  you  take  $15  fjM 
to  $35  a  week  for  one  hour,    f,*5 

tx.r.i        Unnvc         r\w        tkvQc         hnm'C  ^*        *. 


two    hours    or    three    hours 
day?      Read   my   offer: 


I  must  have  at  once  a  limited  number  of  refined, 
cultured  women  in  every  community  who  will 
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scientific  discovery  has  been  made,  which  as- 
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inlo  velvety  fine  texture  complexions:  normal 
skins  suffering  from  the  use  of  improper  cos- 
metics arc  immediately  restored  to  natural,  rose 
petal  softness  and  beauty.  A  big  profit  is  ready 
and  waiting  for  just  tolling  other  women  where 
they  can  get  this  wonderful  new  discovery,  .lust 
your  spare  time  will  pay  you  well. 

$40  The  First  Week 

Mrs.  J.  M.  Kelley  of  Iowa,  who  only  wanted  pin 

money,    earned   $40   the   first,  week.  Mrs.    10.    .1. 

Itlnk  made  $50.40  In  one  week.  others  are 
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If  you  want,  to  turn  your  spare  time  into  money, 
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MARIE    FRANZAN, 

Dept.  1410,  2707  Cottage  Grove  Av.,  Chicago,  111. 


(Eighty-four) 


You  Can  Learn 
In  Ten  Minutes 

b)  mj  method  what  would  ordinarily  take 
three  hours  any  other  way.  And  to  prove 
n  I  will  send  you  absolutely  free  the  iir>t 
two  lessons  of  my  course.  Tins  is  posi- 
tively the  surest  and  safest  waj   to 

LEARN  PIANO  OR  ORGAN 

utel)    iiD   previous   training    necessary    to   be 

ecomplished    musician   b)    mj    scientific 

method.       Ml    lessons    are    so    clearl)     written    a 

.  t- 1 1 1 1 •  t  can  master  them.     Yet  the  course  is 

■ousli  it  qualities  you  for  professional  work, 

i-uhrr   as   .in    instructoi    ol    music   or  as  a   pi 

nist   m   pianist.      Your  progress  will   be 
>o  rapid   you   will   be  al 

PLAY    MUSIC    FROM   NOTES 
IN  SIX  LESSONS 

Write  immediately   for  full  particulars  ami 
S*mf 

PROF.  JOHN  A.  OSHEA,  Musical  Director 
Room   4  Boston    Academy    of    Music 

120    Sutherland    Road  Boston,    Mass. 


MAKAfe^ANKLES 


SLIM 


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The  process   is  simple 
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bind    and    cause    discomfort. 
<  ■    Before — After       ) 
using  the 
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In  the  morning  your  ankles  are 
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year  round.  Slip  on  and  off  as  a  glove. 
Used  by  society  women  and  actresses  every- 
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silk    stockings    without    detection. 

SEND  NO  MONEY 

Simply  send  us  size  of  ankle  and  fullest  part  of 
calf,  ami  we  ulll  send  vou  In  plain  wrapper  a  pair  of 
DELRAY  ANKLE  REDUCERS  designed  to  shape 
your  ankles  to  fain  sUmneSS.  On  arrival  pay  post- 
man $3.15  (we  pay  all  postage),  and  start  reducing 
at  once  arid  painlessly.  You  will  notice  remits  Im- 
mediately. Retain  and  support  your  shapely  ankles 
when  dancing.  l>y  wearing  them.  ACT  NOW  before 
the  price  Is  raised. 

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925   Broadway.  Dept.    13.  New    York  City 


solitaire  rin*  UK 
nnhl'T  "~   KoldS.,  guaranteed! 

UUH    I  SEND  A  PENNY!  Send  only  name 
address  and  paper  strip  which  fits  end 
to  end  axoand  finger.    When  ring 
come*  deposit  only  12.98  witi' 

ewtman.    We  pay  postage] 
one;  hack  if  not  delighted. 


white  Lujrite  Diamond 

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Svnd  Uficuk? 


CARAT  RINGS  $2.98.  Not  one  diamond 
'a  a  thousand  has  the  blue,  dazzling  bril- 
lianey  of  "Loxite  Diamonds."  They're 
PERFECT:  few  diamonds  are!  Stand 
acid  and  all  other  tests.  Only  experts 
can  tell  you  haven't  paid  $150. 00^ 
Band  engraved 


with  Luxite  Diamonds, 
platinoid  fi-iab.  fre«  with  ring. 


GARFIELD  IMPORTING^.," '•iVicSSR'^IcS0 


I  he  M"\  ie  Encyclopaedia 

ntinued  from  pagt  7.1) 

\l     M    .'I      So  you   want  mon 

<>i  t  sul  Ring,  who  played  in  "Back  Hon* 
ami  Broki  All  right.  Cyril,  wnd  along 
some  phoi 

I!  vron  salute,  my  kinj  '    I  will 

ouote    your     letter     "Anal     Mj     erudite 
friend  I     Permit  me  t>>  <i""(t'  you — 'Things 
are  never  masterpieces  when  they  first  ap 
pear;    they    become    masterpieces    after 
wards.'    would  it  not  be  more  correct  t" 
say   that   thej    are   recognized  as  master- 
pieces .  .  .  afterwards?      Howevi 
mil  me,  also  to  observe  thai  I  enjoy  your 
question   box    not    for   the   questions   and 
answers— but    for   your    delightful    j»liil< >- 
sophic    injections.      I    do   hope    thai    thej 
are  received   with   due  consideration."     I 
thank  you  with  all  my  heart  for  your  very 
kind   words.     Write  me  again — do. 

Dorothy  I.. — Vou  know  what  Robert 
Louis  Stevenson  says  "To  marry  is  to 
domesticate   the   recording  angel.''     Glenn 

Hunter  in  "The  Scarecrow"  and  l"West  of 

the  Water  Tower.'"  Mary  Miles  M  inter 
is  not  playing  now*.  Francis  Bushman  is 
thirty-eight,  and  Justine  Johnston  is  in 
Rngland. 

Gloria,  New  Orleans.  —  The  truest 
mark  of  being  horn  with  great  qualities  is 
being  horn  without  envy.  Gloria  Swanson 
i;  twenty-six,  five  feet  three  and  weighs 
112.  My  error,  Conway  Tearle  is  forty- 
three  instead  of  twenty-three.  Norma 
Talmadge  married  to  Joseph  Schenck. 
Thomas  Meighan  in  "Homeward  Bound" 
and  Conrad  Nagel  is  twenty-seven. 

Alice  G.  Belmar. — Well,  eat-well  is 
drink-well's  brother.  Wallace  Reid  and 
Gloria  Swanson  in  "The  Affairs  of 
Anatol."  Viola  Dana  and  Malcolm  Mc- 
Gregor in  "The  Xoise  in  Newboro,"  and 
"The  Social  Code."  Write  to  Warner 
Brothers  for  Marie  Prevost's  picture. 
Claire  Windsor  is  not  married  now  and 
she  has  a  son  Billie.  Address  Marguerite 
de  la  Motte,  Mayer  Studios,  3800  Mission 
Road,  Los  Angeles,  Cal.  You're  very 
welcome. 

Ethel  W. — What  beautiful  stationery. 
Barbara  La  Marr  at  Universal,  Universal 
City,  Cal.  Ramon  Navarro  is  twenty- 
four,  not  married,  born  in  Mexico — a 
dancer  and  playing  in  "Scaramouche." 
Savee ! 

Thelma  O. ;  Carolyn  R. ;  Margaret 
I. ;  Glbnna  P.;  De  Roche  Craze;  Betty 
axd  Jack;  Peggy;  Gerene;  Frannie  P.: 
Sweet  Sixteen;  Sis  Hopkins;  May  H.; 
and  Rex  D. ;  Sorry  to  have  to  put  you  in 
the  alsorans,  but  your  questions  have  all 
been  answered  up  above.     Come  again. 

Ansell  W. — Quien  sabe?  Some  say 
Xita  Naldi  is  Italian  descent.  Norma  Tal- 
madge is  Mrs.  Joseph  Schenck  and  she  has 
lovely  brown  eyes.    So  long  for  tonight. 

Pat. — That  sure  was  a  clever  letter  of 
yours.  Norma  Talmadge  has  been  mar- 
ried  about   six  years  now.     No  children. 

Jean  Acker  Admirer. — I  am  glad  you 
do  not  think  this  department  is  dry.  It 
would  be  if  I  allowed  cobwebs  to  collect 
in  my  brain  works.  Why  Jean  Acker  is 
twenty-five,  five  feet  three,  weighs  one 
hundred  and  fifteen  pounds,  has  blue  eyes 
and  brown  hair.  She  hasn't  been  playing 
in  pictures  recently.  You  might  try 
Loew's  Circuit,  1540  Broadway,  New  Vork 
City.     Thanks  a  lot. 

Zelda  F. — Yes,  Gloria  Swanson  is  her 
right  name.  Cant  tell  you  why  she  wears 
a  sad  look  all  the  time.  Didn't  know  she 
did.  She  has  auburn  hair.  Yes.  and  some 
drink  healths  till  they  drink  away  their 
own  health. 


16 


Latest  Ibxliots 
owfWaltzes 


FOX  TROTS 


.  M,, 


mo 


.in'  Down  tin-  I  .-.I 
v..    II.V.-N,.  I'.aoi 
4.  Hamballna 

6.  Mil.l  I 

fi.  Hari,i>  (i.  .ml.- 

7.  rarolli  a  in  thp   Momlfi 
a.  Wbo'a  S-.ny  Now 

''nllaa-hrr     and 


10.  I  L. 


Sha 


■  Me 


II.  l'arail.-      of     thr     Wood* 


14.  Love  S<-nd»  a  l.itiW-  Gift  of 


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Name 

Address 

City SUte. 


(Eighty-fire) 


Saxophone  Players 
in  Big  Demand 

For  Bands  and  Orchestras,  for  church,  lodge  and 
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Every  town  should  have  a  Saxophone  quartette  or 
orchestra. 

1BvjFSC//££^  Saxophone 

Easiest  of  all  wind  instruments  to  play  and  one  of  the  moBt 
beautiful.  With  the  aid  of  the  first  three  lessons,  which 
are  sent  free  (upon  request)  with  each  new  Saxophone,  the 
scale  can  be  mastered  in  an  hour;  in  a  few  weeks  you  can 
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You  may  have  six  days'  free  trial  of  any  Buescher  Grand 
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'Mention  any  other  instrument  interested  in) 


Street  Address 

Town State., 


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Handsomest  watches  you've  seen.     Designs 
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First  is  Ladies'  Watch  of  14K  White  Gold  filled  (now  nil  I 
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Foreign  Films 

(Continued  from  page  25) 

film  called  "The  Poor  Mother"  (La 
Madre  Folle)  in  which  his  wife, 
Soava  Gallone,  one  of  the  finest  ac- 
tresses in  Italy,  plays  a  double  role. 
In  this  picture  she  confirms  her  repu- 
tation as  a  wonderful  comedian  as 
"the  poor  mother,"  and  a  beautiful 
actress  as  the  daughter. 

RUSSIA 

Russian  film  fans  are  always  very 
busy.  After  the  success  reported  by 
the  film  "Polikuchka,"  two  other 
photoplays  have  been  completed. 

One  of  them  is  called  "Jola"  and 
deals,  according  to  an  old  Russian 
legend,  with  the  story  of  a  woman 
somnambulist. 

The  other  is  "The  Defeat  of  Sa- 
tan" and  is  another  legend  of  the 
time  before  Jesus  Christ. 

Both  are  very  characteristic,  as 
they  are  full  of  real  Russian  atmos- 
phere (many  scenes  were  shot  in  the 
Russian  mountains  or  near  the  river 
Volga)  and  depict,  of  course,  Russian 
customs  and   habits. 

GERMANY 

It  is  a  pity  that  the  cinema  was  not 
yet  discovered  when  Christopher  Co- 
lumbus discovered  America,  if  it  had 
been,  many  cameramen  would  have 
certainly  accompanied  him  in  his  long 
journey.  But  producers  of  different 
countries  now  wish  to  immortalize 
on  the  screen  the  name  of  the  fa- 
mous discoverer,  and  different  pic- 
tures haA'e  been  made  which  depict 
his  life. 

A  few  years  ago — that  is,  near  the 
end  of  the  war— France  sent  Georges 
Wague  to  discover  America  in  a  pic- 
ture entitled  "The  Adventure  of 
Christopher  Columbus."  Altho  this 
was  very  well  acted,  the  photography 
and  the  continuity  were  not  very 
satisfactory.  And  now  Germany  has 
just  sent  one  of  her  actors,  Albert 
Bassermann.  to  discover  in  his  turn, 
the  New  World. 

A  very  characteristic  German  pic- 
ture is  "Chaos."  It  is  an  astron- 
omical and  comic  picture,  quite  orig- 
inal and  attractive.  It  represents  the 
type  in  which  the  Germans  seem  to 
excel. 

AUSTRIA 

I  had  the  opportunity  of  seeing 
lately  "Samson  and  Delilah,"  the  new 
picture  produced  at  the  studios  of 
the  Vita-Film  in  Vienna.  Of  course 
it  tells  us  the  Biblical  story,  but  an- 
other story  is  in  it  of  the  strongest 
man  and  the  girl  who  won  him.  This 
picture  is  one  of  the  best  Austria  has 
so  far  produced  and  the  acting  of 
Maria  Corda,  the  Austrian  star,  is 
perfect. 


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I  he  Hollywood  Boulevardiei 
Ch 

ontinucd  from  /• 

i  (i n-  together,  At  last  it  came  no1 
long  ago  iii  "The  Magic  Skin."  L> 
produced  by  the  Achievement  F  ilm 
at  Goldwyns.  And  when  it  came, 
Carmel  found  thai  her  pari  required 
her  t«>  push  B<  ie  over  a  cliff  to  her 
doom  and  such.  Discouraging  for 
sisterly  love,     1  luh  ? 

*  *        * 

Erich  von  Stroheim  is  going  to 
take  his  company  to  Death  Valley  for 
the  final  scenes  of  "Greed."  At  the 
height  of  the  August  heat  which  they 
will  be  in  the  midst  of,  Death  Valley 
is  a  grand  little  summer  resort.  The 
last  prospector  who  got  out  this  sum- 
mer reported  the  thermometer  as 
standing  at  172. 

;:■•  *  * 

The     most    interesting     project     I 
know  of  in  films  is  the  announced  in- 
tention of  King  Vidor  to  make  a  pic 
ture    from   Gulliver's   Travels.      lie 

says  he  has  had  it  in  mind  for  year- 
hut  never  before  has  had  the  oppor- 
tunity. Just  at  present.  Mr.  Vidor 
is  filming  "Wild  Oranges." 

*  *         * 

Lloyd  Hughes  is  one  leading  man 
who  comes  straight  out  with  the 
truth.  As  a  relief  from  the  imagined 
aristocratic  origins  of  most  of  them. 
Lloyd  announces  to  the  world  that 
his  father  was  a  locomotive  engineer 
in  Arizona  and  before  becoming  a 
screen  actor  he  was  a  butcher  hoy. 

*  *         * 

Lois  Weber  has  thrown  up  her 
hands  in  disgust.  She  says,  what  with 
censors  who  murder  the  stories  and 
producers  who  insist  upon  casting  the 
pictures  and  directing  the  directors, 
she  is  thru.  She  is  going  to  take  a 
vacation    until    they    come    to    their 

senses. 

*  *   ■      * 

It's  all  off  again  with  Pola  and 
Charlie.  Pola  says  she  will  never  be 
Mrs.  Chaplin,  so  that's  the  end  of 
that.  This  shocking  truth  was  borne 
in  upon  the  public  of  Hollywood  last 
week  when  both  Charlie  and  Pola  at- 
tended a  big  hotel  opening.  But 
Charlie  was  with  Leonore  Ulric  while- 
Lola  was  with  "Big  Bill"  Tilden  and 
Manuel  Alonzo,  the  tennis  players. 
"I  realized  rive  weeks  ago  that  it  was 
an  impossibility."  said  Pola.  "Charlie 
is  lacking  in  all  matrimonial  require- 
ments, he  is  too  temperamental.  I'm 
glad  it's  over  now.  I  can  think  of  my 
work  again." 

Leonore  Ulric  laughed  when  she 
was  asked  if  she  had  matrimonial 
designs  upon  Charlie.  "Not  for  me." 
she  said  briefly. 


Earle  E.  Liederman 
as   he   Is  to-day 

Pills  Never  Made 
Muscles 

Wishing  Never  Brought 
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«ith  a  keen  appetite  ami  ■  longing  t,i  enter  the  da\'s 
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The  Rime  of  the  Ancient  Ham 

(Continued  from  page  51) 

Committing    crimes   in 
pantomime 
While  Art  with  scorn 
was  spurned. 


And     rulihelh     it 
In 


And     zanies,     nit-wits, 
dumbbells,  mimes, 
Who    ne'er    had 
played  a  part, 
Were  crowned  with 
laurel  wreath  and 
gold 
By   this    Caliban   of 
Art. 


"inlTMovi'e      As  happened  it,  I  once 
Queen  bespoke 

A    sceptered    Movie 
Queen. 
She  earned  a  fabulous 
sum  each  week, 
This    Miss    of 
seventeen. 


A  11  d  tntreateth 
her  to  wise  hiiu 
up  ahout  how 
she   puts  it  over 


The  dana-  givetli 
him  an  earful 
of   apple  sauce 


Daisy  Dumbell 
was  starred  in 
a  piece  but  it 
was  never  re- 
leased. The  cen- 
sors objected  to 
Ibe  word  "pa- 
jamas" 


The  Ham  con- 
cludcth  that 
Art  has  been 
vamped  by  a 
Flapper 


Ain'titthe 

truth* 


'Oh,   child,'   I   said, 
'please  spell  for  me 
me 
Your  secret  of 
success. 
What  is  the  chicanery 
that  holds 
The  public  in  duress  ?' 

'Well,  sir,'  she  said,  'it's 
this  a-way, 
So  far  as  1  can  tell. 
When  my  first  picture 
hit  the  screen, 
The     Public     simply 
fell! 

Of  course,  you  see,  I'm 
kinda  cute, 
In  weepy,  heart-sick 
dramas. 
You'd  ought  to  see  my 
latest  hit, 
It's  called,  "The  Cat's 
Pajamas." ' 

Alas !      I    saw    things 
clearly  then. 
Old  Art,  the  doting 
fool, 
Had  been  beguiled  by 
simpering  youth, 
And  was  youth's  easy 
tool. 

Was   like   a  vain   and 
foolish  man, 
Who.  when  the  years 
betide, 
Puts    off   his   old   and 
faithful  spouse, 
And  takes  a  younger 
bride." 


<J7- 


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Why  Good  Dancers 
Are  Popular 


EVERYONE    admires    and    want3 
to    dance   with    the   person    who 
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ijuirKly  ami  easily 
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Jilaln  cofer, 
it  Fox  Trot.  8 
Leading,  Hou  to  Gain 
Oonfldeiice,  II  o  «  t  n 
follow  ami  How  to 
A  t  ol  .1  Kmbarra.ssing 
Mistakes.  To  help  pay 
of  liaiulliiiK. 
nialll Hi.-,  i 

l-oani  hi  private — sur- 
prise your  friends.  Act 
Ma  ami  I  hi  a  good 
dancer  toon ! 


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ARTHUR  MURRAY 

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Footsteps 


Become    a     Dancing 
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uul   .'f  III 

.lilt]      »H  '■ 
III..        Illll 


A  ii  il    ■•  an  tii    lo 

know  wbj  th< 
Hum   picket!]   on 

hi  in    nlth    his 
(air    Of    WW 


Tin-  Ham  I  \ 
lila  I  iii-IIi  Dial 
he's  gotta  tell 
tils  troubles  to 
sutuobo.l  \  .  Off 
baal 


And  liow  be  un 
loaik'th  on  any- 
body    that's    got 

a    lo.- 


The  Fan  beats 
it  and  goto  in 
the  a  h  o  w  In 
Hum  f,»  sec  the 
Boat  races  and 
the   Ski    junipers 


I  lu     Mm  il     l*;m      | 
ii|»  at    this. 

"I've  sa«   thai  little 

till  II. 

Iii   lots  o'   urns  k-   plays. 

\lld     Ml)    ! 

She   sure   can   strut 
her  stuff! 

But  lissen,  Bo!  v.. us e 
liit  tin-  rocks, 
\      i    one  eyed   guj 
could    ' 
Bui  why  your  mourn- 
ful song  and  dance 
Unload   on    Little 
Me?" 

"Ah,  Sir!  At  tm it-  im 
soul  is  torn 
With  dire  and   woe 
ful  agony. 
And  till  my  doleful  tale 
is  told, 
It    will    not    set    UK- 
free. 

I  go  from  cinema  door 
to  door. 
With    my    strange 
power   of   speech, 
And  when  I  can  a  lis- 
tener find, 
My    tale    to    him     I 
teach." 

"All    right.    Old    Coot, 
I've  heard  your 
spiel. 
It's  a  sad  tale,  too, 
at  that. 
But    I    gotta    see    the 
show  inside. 
Here's  where  I  leave 
you  fiat." 


Flashes  from  the  Eastern  Stars 

(Continued  from  page  57) 

Vivienne  Segal,  prima  donna  of 
"Adrienne,"  and  Robert  Ames,  who 
is  appearing  in  "We've  Got  to  Have 
Money,"  were  married  recently  in 
Maryland. 


Mae  Marsh  has  signed  a  contract 
to  star  in  the  Warner  Brothers'  pic- 
turization  of  David  Belasco's  play, 
"Daddies."  She  has  left  for  the 
Coast. 


Ralph  Graves  is  to  play  opposite 
Marion  Davies  in  her  new  Cosmo- 
politan picture.  "Yolanda,"  which 
has  started  at  the  Forty- fourth  Street 
studio.  He  will  have  the  romantic 
role  of  Prince  Maximilian.  Lynn 
Harding,  who  is  to  play  Charles  the 
Rash  of  Burgundy,  has  arrived 
from  London  to  begin  work.     "Yo- 


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WHAT  cared  he  what  rec- 
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I   Name - 

I   Address 

I  Town State. 

{*riut  name  and  addreaa  clearly. 


landa"  is  an  elaborate  costume  pic- 
ture of  the  fifteenth  century  when 
Louis  XI  reigned  over  France  and 
Edward  IV  over  England.  Robert 
( i.  Vignola  is  directing. 


Seena  Owen,  who  returned  re- 
cently from  Banff  in  the  Canadian 
Rockies,  has  signed  to  star  in  Whit- 
man Bennett's  screen  adaptation  of 
"The  Leavenworth  Case,"  by  Anna 
Katherine  Green.'  Mr.  Lionel  Bar- 
rymore  co-starred  with  her  in  "Un- 
seeing Eyes,"  and  among  other 
functions  they  performed,  while  on 
location,  was  acting  as  judges  in  a 
baby  show  in  which  the  contestants 
were  swarthy  little  Indians. 


Lloyd  Hamilton,  the  motion-pic- 
ture comedian,  has  left  Los  Angeles 
for  New  York  where  he  will  imme- 
diately begin  production  at  the  D.  \Y. 
Griffith  Studios  in  Mamaroneck,  on 
his  first  five-reel  comedy.  The  story 
in  which  he  will  appear  is  called 
"Black  and  White"  and  is  the  same 
production  in  which  Al  Jolson  was 
rehearsing  when  he  fled  without 
notice  to  Europe. 

Griffith  is  contemplating  a  film  epic 
of  the  American  Revolution.  He  has 
a  scenario  prepared  and  one  star 
selected,  Carol  Dempster.  It  has  been 
proposed  that  the  Daughters  of  the 
American  Revolution  sponsor  it. 


George  Pembroke,  well-known  ju- 
venile lead  on  stage  and  screen,  ha.s 
signed  up  with  George  Beban  for  his 
current  production  to  be  made  here 
in  the  East.  Mr.  Pembroke  will  be 
remembered  for  his  work  in  support 
of  William  Faversham  in  "The 
Prince  and  the  Pauper." 


David  Belasco  has  completed  the 
installation  of  a  new  lighting  equip- 
ment at  the  Belasco  Theater.  The 
outcome  of  scientific  research  and  the 
result  of  years  of  experimental  work, 
it  will  revolutionize  stage  lighting. 
He  believes  the  most  interesting,  im- 
portant and  potential  department  of 
play  production — aside  from  acting 
— -  is  lighting.  Heretofore,  color 
lighting  on  the  stage  has  been  accom- 
plished by  the  use  of  gelatin  mediums. 
This  process  was  and  is  unsatisfac- 
tory. Mr.  Belasco's  innovation  will 
make  it  as  extinct  as  the  dodo. 


Greenwich  Village,  New  York's 
so-called  Bohemia,  with  all  its  hokum, 
sophistication,  and  free  thought,  has 
been  transferred  this  week  to  the 
Paramount  studio  in  Long  Island 
where  Sam  Wood  is  producing  "His 
Children's  Children."  The  scene 
shows  a  cafe  in  the  village,  a  com- 
posite of  the  Pirates'  Den,  The  Black 
(Continued  on  page  92) 


(Ninety) 


Special  Announcement 

of  Interest  to  Every  Reader  of 


LASSIC  is  to  have  an  addition.  Effective 
with  the  November  number,  SHADOW- 
LAND,  the  Brewster  Publication  expressing 
the  arts,  will  be  combined  with  Classic, 
the  Picture  Book  de  Luxe.  The  new  title 
will  be  Classic  and  Shadowland. 


October  will  be  the  last  number  of  SHADOWLAND  to  be 
issued  as  an  individual  magazine,  and  will  be  on  sale  at 
all  news-stands  on  the  23rd  of  September,  at  50c  per  copy. 
Whether  you  have  bought  this  magazine  before  or  not, 
you  should  get  the  October  Shadow  land.  John  H. 
Anderson,  Sheldon  Cheney,  William  McFee,  Mary  Fan- 
ton  Roberts,  Allan  Ross  Macdougall,  Lydia  Steptoe,  Per- 
ceval Gibbon,  Ernest  A  Grunsfeld,  Jr.,  and  a  host  of 
others  have  contributed  to  make  this,  the  last  to  be  issued 
under  the  exclusive  title  of  SHADOWLAND,  the  most  beau- 
tiful and  interesting  number  ever  put  out.  By  all  means 
tell  your  news-dealer  to  save  a  copy  for  you. 

Subscribers  for  both  the  CLASSIC  and  SHADOWLAND  will 
have  their  time  on  Classic  extended  to  make  up  for  copies 
still  due  on  SHADOWLAND.  SHADOWLAND  subscribers 
whose  names  do  not  also  appear  on  our  Classic  mailing 
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Please  remember  the  date  for  the  new  Classic  and  if  you 
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save  the  November  CLASSIC  AND  SHADOWLAND  for  you, 
out  October  12th — price  25c  per  copy. 

BREWSTER  PUBLICATIONS,  Inc. 

175  Duffield  Street  Brooklyn,  N.  Y. 


{Ninety-one) 


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Flashes  from  the  Eastern  Stars 

(Continued  from   page  90) 

Cat  and  other  familiar  resorts  in 
New  York's  artistic  center.  Tiny 
Tim,  the  candy  man,  who  sells  the 
soul  candy,  which  "stirs  the  emotions 
and  charms  the  heart,"  is  one  of  the 
interesting  figures  of  the  Village  who 
is  shown  in  the  scene.  He  peddles 
his  candy  to  the  extras  on  the  set 
just  as  he  does  nightly  in  the  cafes 
downtown. 

News  has  just  come  from  abroad 
that  Pedro  de  Cordoba,  well-known 

artist,  is  to  be  starred  in  "I  Will 
Repay,"  the  Henry  Kolker  produc- 
tion being  made  in  Great  Britain 
now.  Prior  to  this  Mr.  de  Cordoba 
played  the  lead  in  "The  Fires  of 
Fate,"  a  picture  made  in  Egypt.  At 
present  he  may  be  seen  with  Madge 
Kennedy  in  "The  Purple  Highway." 


A  punster  has  had  the  nerve  to 
submit  this :  "Ever  since  an  ambi- 
tious publicity  man  put  a  whale  on 
top  of  Pike's  Peak  to  advertise 
Elmer  Clifton's  'Down  to  the  Sea  in 
Ships'  we  have  been  expecting  to 
hear  that  someone  has  hitched  'The 
Covered  Wagon'  to  a  star." 


Daniel  Carson  Goodman  is  cutting 
and  editing  his  third  production  for 
Equity,  titled  "The  Daring  Years." 
The  cast  includes  Mildred  Harris, 
Charles  Emmet  Mack,  Mary  Carr, 
Tyrone  Powers  and  Clara  Bow. 


"New  York  is  the  logical  place  to 
make  pictures,"  says  Richard  Row- 
land, general  manager  of  First 
National,  who  confidently  expects  to 
be  producing  the  major  portion  of 
First  National's  releases  in  the  East. 
"The  scenery  in  California,"  he  goes 
on,  "has  been  overworked  and  pro- 
duction on  the  Coast  is  so  far  away 
from  the  home  office  that  it  is  impos- 
sible to  watch  proceedings.  Until 
business  can  be  regulated  so  that  the 
heads  of  the  company  are  at  the  scene 
of  activity,  we  are  going  to  continue 
to  hear  these  complaints  registered 
against  the  ridiculous  cost  of  produc- 
tion. The  man  who  furnishes  the 
bank-roll  and  who  is  personally  in- 
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picture  should  be  able  to  consult  with 
his  director  by  word  of  mouth.  Tele- 
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proved  eminently  unsatisfactory  in 
many  cases.  There  is  no  prettier 
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(Ninety-two) 


Hlow  Youi  Own  Horn 

1 1  on  tinned  f\  out  page 

lie  smiled  brightly  on  Mr.  Small,  who 
was  fizzing  like  a  buttle  of  soda 
water.  "<  *ne  \\  eek  from  tonight 
ont  week,"  he  repeated  significantly, 
holding  the  millionaire's  eye,  "we 
will  show  you  all  the  first  demonstra 
t HMi  of  wireless  power  ever  made!" 

The  sputtering  Small  met  the  tri 
Umphant  smirk  of  Dinsmore  Bcvan, 
ami  remembered  a  long  li-t  of  old 
scores  tn  be  evened  up.  \\  hat  a  storj 
it  would  make  at  the  club-  the  Wise 
Boy  of  W  all  Street  gypped  l>y  a 
tramp,  h  was  too  good  to  spoil,  and 
anyway  he  luul  given  his  promise 
that  tlii-  audacious  rascal  should 
have  a  week  in  which  to  blow  his 
own  horn.  1  le  burst  into  a  roar  of 
laughter,  prodding  a  knowing  elbow 
into  Jack's  ribs.  "A  week,  eh?  Nol 
much  time,  my  boy  !" 

lack's  blue  gaze  sought  Ann  grave- 
ly, "<  )li.  I  dont  know."  lie  -aid.  "after 
all.  the  world  was  made  in  seven  days, 
you  know.  Perhaps  it  can  be  made 
over  in  a  week,  who  knows?" 

And  Ann.  the  modern,  saw  fit  to 
blush  again,  as  tho  his  remark  could 
by  any  possibility  have  had  anything 
to  do  with  her ! 

To  quote  Buddy,  the  week  that 
followed  was  "the  snake's  hips."  lie 
was  not  quite  clear  just  how  the 
miracle  had  been  wrought  hut  Life 
had  taught  him  to  ask  no  questions, 
and  so  he  took  what  was  ottered — 
two  helpings,  and  made  no  comments 
until  he  and  his  brother  were  safely 
in  bed  in  the  luxurious  room  that 
looked  to  his  awed  gaze  like  one  of 
those  movie  palaces  the  -well  skirt 
that  marries  the  he-man  hero  lives  in. 

"Say,  I  -aw  you  and  Ann  in  the 
garden  this  afternoon."  he  confided 
at  such  a  time,  "now  dont  get  sore, 
only  do  you  think  it's  straight  to  kiss 
another  guy's  girl  ?" 

"Ann  isn't  another  guy'-  girl," 
Jack's  voice  came  from  the  darkness 
a  trirle  tremulously,  "-he'-  my  girl. 
Buddy!  She  and  Augustus  dont 
want  to  get  married,  and  this  after- 
noon she  promised  to  marry  me,  only 
we  are  going  to  keep  it  a  secret  till 
the  evening  we  test  out  the  inven- 
tion." 

Buddy  extended  a  small,  hard  hand 
in  congratulation.  "That's  the  ant's 
Adam's  apple!"  he  avowed.  "Say, 
I  bet  that  Yates  dame  with  the  de- 
mountable complexion  is  going  to  be 
sore!  She  has  you  picked  to  do  a 
Mendelssohn  with  that  Julia  of  hers. 
Say  —  dont  squeeze  too  hard.  I 
bumped  my  finger  today — yeah,  on 
Percy's  eye !  He  said  your  wireless 
was  no  good,  and   /  said  he   was   a 


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America's  Foremost  School  df  Commercial  cjrt 


(Xinety-three) 


Woman's  Charm 


NATURALLY  A 

Beautiful 
Bust 


THE  secret  of  woman's  charm  is  that 
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THE  OLIVE  COMPANY 


Dept.  210 


Clarinda,  Iowa 


The  R.eal  Norma  Talmadge 

So  much  has  been  written  about  the  work  of  this  famous 
screen  star  that  when  Harry  Carr  lifts  the  curtain  and 
reveals  the  happy  home  life  of  Norma  Talmadge  as  Mrs. 
Joseph  Schenck,  wife  of  the  producer,  it  comes  as  a 
pleasant  surprise  to  her  admiring  public. 

The  Editor  Crossifis 

Intimate,  personal  glimpses  into  the  lives  of  motion-pic- 
ture stars  that  differ  from  most  of  the  news  you  hear 
about  them  are  given  by  the  editor  whose  opportunity  for 
meeting  screen  celebrities  "off  duty"  affords  material  for 
interesting  reading. 

1  he  (cartoonist  dontnoutes 

A  double-page  spread  of  pen  pictures  by  Kliz  that  show 
many  of  the  screen  favorites  from  a  humorous  angle. 


November 

Motion  Picture  Magazine 

On  the  stands  October  first 


liar!      It's   going   to   work   all    right, 
isn't  it?" 

"Sure  it  is!"  Jack  said  cheerfully. 
Horn-blowing  was  getting  a  habit 
with  him  nowadays,  but  in  his 
heart  he  was  not  so  sure,  and  as  he 
sat  a  few  nights  later  at  the  trans- 
mitter which  had  been  placed  in  the 
Jolyon  drawing-room  waiting  for  the 
first  faint  ticking  which  would  prove 
success,  his  confident  smile  covered 
a  sick  fear.  If  the  thing  should  fail, 
he  must  in  common  honesty  give 
Bevan  back  his  check,  and  start 
out  again  on  the  road  that  led  away 
from  Love  and  Happiness — and  Ann. 

He  started  from  his  thoughts  at 
the  sound  of  her  name,  spoken  acidly 
on  Mrs.  Yates'  tongue,  "Ann  is  at 
the  cabin  with  Augustus  tonight,  is 
she,  Mr.  Small?  I  thought  that  she 
would  probably  prefer  to  await  the 
result — at  this  end." 

There  was  no  mistaking  the  in- 
sinuation of  the  emphasis,  especially 
as  it  was  accompanied  by  a  spiteful 
glance  toward  the  man  who  had  not 
chosen  to  become  her  son-in-law. 
Small  whirled  with  a  snarl  upon 
Jack.  "What?  D'you  mean  to  say 
that  you've  dared " 

Jack  interrupted  sternly.  Hand 
on  the  transmitter,  every  nerve  tense 
with  listening  for  the  first  tick,  he 
faced  the  millionaire's  purple  rage 
steadily,  "I  have  dared  to  love  your 
daughter,  yes !  But  I  would  never 
have  spoken  of  it  to  her  if  Augustus 
had  not  confessed  that  they  did  not 
care  for  each  other." 

"But — that's  carrying  the  joke  too 
far !      A   common    soldier — a    tramp 

"     Small  turned  to  the  others, 

sputtering  out  the  story  of  the  im- 
posture, waving  a  pudgy  diamonded 
forefinger  at  Jack  who  stood  very 
straight  as  tho  at  attention  under 
their  curious,  hostile  eyes,  "and  now 
this — this  impostor  dares  to  tell  me. 
he  hopes  to  marry  my  daughter — 
ha !  ha !  That  would  be  a  joke — a 
fellow  without  a  penny " 

"How  about  the  check  I  gave 
you  ?"  Bevan's  voice  was  ugly.  For 
reply  Jack  silently  took  the  slip  of 
paper  from  his  pocket,  tore  it  across 
and  handed  it  to  him.  At  almost  the 
same  moment  the  instrument  beside 
him  began  to  tick !  Jack  laughed 
exultantly,  facing  them,  head  high. 
"A  common  soldier!"  he  said  with  a 
great  breath,  "that's  the  finest  com- 
pliment you  could  pay  me!  And  as 
for  the  rest — yes,  I  am  penniless — 
except  for  a  half  share  in  Augustus' 
invention !" 

Dinsmore  Bevan  smiled  a  sickly 
smile.  "I  was  hasty,"  he  began  pro- 
pitiatingly,  "suppose  I  write  you  an- 
other check " 

The  jangle  of  the  telephone  inter- 
(Conlinucd  on  page  96) 


(Ninety-four) 


Manufacturers,   Distributor! 

and  Studios  of  Motion  Pictures 
Outside  New  York  Gt\ 


American     Film     «  "     Broadway, 

t  hicago,   111 

Beat    State    Film   Co.,    Hollywood,    Calif 

Bennett,  Chest*  r,  Prod  .  3800  Mis-ion  Kd  , 
I  os  Angeh  5,  1  alif. 

Carson  Studios,  Inc.,  I84S  Messandro  St  . 
I  os  Angt  l<  s,   Calii 

Century  Comedies,  6100  Sunset  Blvd.. 
Hollywood,  Calif. 

Charles  Chaplin  Studios.  1420  La  Brea 
Vve  .   Los    Vngi  li  .   Calif. 

Christie  Film  Corp.,  6101  Sunset  Blvd., 
Hollywood,  Calif. 

imonwealth    Pictures    Corp.,    220    So. 
State  St.,  Chicago,  111. 

tan,  Jackie,  Prod.,  5.5-11  Melrose  Ave., 
Los  Angeles,  Calif. 

Dwan,  Mian,  Prod  .  6642  Santa  Monica 
Blvd.,  Hollywood,  Calif. 

Famous  Players-Lasky  Studios,  1520  Vine 
St..  Hollywood,  Calif. 

Ford.  Francis,  Prod..  6642  Santa  Monica 
Blvd.,  Hollywood,  Calif. 

Fox  Studios.  1401  Western  Ave.,  Holly- 
wood. Calif. 

GoWwyn    Studios,  Culver   City,   Calif. 

Hart.  William  S.,  Studios.  5544' '•  Holly- 
wood Blvd.,  Hollywood,  Calif. 

Ince   Studios.   Culver   City,   Calif. 

Leah    Baird   Prod.,   Culver   City,  Calif. 

Lloyd,  Harold.  Prod.,  Hal   Roach   Studios, 

Culver  City,  Calif. 
MaeDonald,  (Catherine,   Prod.,  945  Girard 

St.,  Los  Angeles,  Calif. 

Mayer.  Louis  B.  Studios,  3800  Mission 
Rd.,    l.os    Angeles,   Calif. 

Metro  Studios.  1025  Lillian  Way.  Los  An- 
geles.  Calif. 

Morosco.  Oliver.  Prod.,  756  So.  Broadway, 
Los  Angeles,  Calif. 

Pacific  Studios,   San  Mateo,  Calif. 

Pat  lie  Fun  s,  1  Congress  St.,  Jersev  City, 
X.  .1.  "         ' 

Ray,  Charles.  Studios,  1425  Fleming  St., 
Los  Angeles,  Calif. 

Roach,  Hal  E.,  Studios,  Culver  City,  Calif. 

Rohertson-Cole  Studios.  780  Gower  St.. 
Los  Angeles.  Calif 

Roland,  Ruth,  Prod.,  Culver  City,  Calif. 

Sennctt,     Macjc,     Studio..     1712    Glendale 

Blvd.,    Los    Angeles,    Calif. 
Stahl.  John   M.,   Prod..  3S00   Mission   Rd., 

Los   Angeles.   Calif. 
Stewart.   Anita.   Prod.,   .vSOO    Mission    Rd., 

Los    Angeles,  Calif. 

Talmadgc  Prod.,  5341  Melrose  Ave.,  Los 
Angeles,   Calif. 

Toumeur,    Maurice.    Prod.,    Ince    Studios, 

Culver   City,   Calif. 
United    Studios,    Inc.,   Los    Angeles,    Calif. 
Universal    Studios,   Universal   City,   Calif. 
Vidor.   King,   Studio,  7200   Santa   Monica 

Blvd.,   Los   Angeles,   Calif. 
Vitagraph     Studios,     170S    Talmadge    St., 

Hollywood,  Calif. 
Warner    Bros..    Bronson    Ave.   and    Sunset 

Blvd..  Hollywood,  Calif. 
Weber,  Lois.  Prod..  6411  Hollywood  Blvd.. 

Hollywood,  Calif. 
Wharton,    Inc.,   Ithaca.   Xew   York. 

(Ninety-fire) 


OPPORTUNITY     MARKET 


AGKNTS  WANT1.D 

PHOTOPLAYS 

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stories.  Poems,  PInya,  Etc,  are  wanted  for  puii- 
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VAUDEVILLE 

PERSONAL 

GET    ON    THE    STAGE.      I    tell    you    bow!      P.  r 
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ARE     YOTJ     BASHFCI-.     SELF-CONSCIOUS, 

easily     embarrassed?      These     troubles    overcome. 
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to  collect  renewals  and  solicit  new  subscrip- 
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175  DuffieldSt.  Brooklyn,  N.  Y. 


ii 


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\mxmm 


Plots  accepted  any  form ;  revised,  criti- 
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Blow  Your  Own  Horn 

(Continued  from  page  94) 

rupted.  Jack  picked  up  the  receiver 
and  his  face  went  white  as  he 
listened.  "You  say  the  cabin  is 
electrified  and  you  cant  get  out?  Au- 
gustus is  unconscious?  For  God's 
sake  keep  away  from  anything  metal, 

and  I'll  be  there "  he  turned  upon 

them,  "one  of  the  high  tension  wires 
must  have  fallen  against  the  ridge- 
pole flashing !  They'll  be  roasted 
alive " 

Mr.  Small  had  sunk  down  into  a 
chair.  He  seemed  to  have  shrunken 
all  in  a  moment  until  his  clothes  hung 
loosely  on  him.     "I  thought- — I  cut 

the   arterial   lead "  he  muttered. 

"I  wanted  the  experiment  to  fail  so 

I  could  buy  Bevan's  share "  he 

began  to  whimper,  "save  her,  young 
man,  and  I'll  give  you  ten  thousand 
dollars- — twenty " 

But  Jack  was  gone.  A  small 
pajamaed  figure  met  him  in  the  hall, 
and  for  one  instant  he  paused,  grip- 
ping Buddy's  shoulder  with  fingers 
that  left  a  mark  for  days.  "Do  you 
know  any  prayers,  kid?"  Jack  asked 
him  tensely,  "if  you  do,  get  down  on 
your  knees  and  say  them  till  I  get 
back — with  her!" 

Obediently  Buddy  slid  down  and 
prayed  the  only  prayer  he  knew. 
"Now  I  lay  me  down  to  sleep" — he 
was  still  repeating  it  in  a  voice  hoarse 
from  fatigue,  an  hour  later  when 
they  all  returned,  with  Jack  in  the 
midst  of  a  worshipping  throng.  From 
the  clamor  of  many  voices,  disjointed 
facts  floated  thru  Buddy's  sleep- 
dazed  brain,  Jack  had  climbed  the 
steel  tower  of  the  power  line  and 
jumped  down  on  the  broken  wire- 
swinging  it  free  from  the  cabin.    .    .    . 

The  figures  of  his  brother  and  Ann 
seemed  to  recede  in  his  head,  and 
then  grow  to  enormous  size — he  had 
never  seen  such  a  large  kiss  even  in 
the  final  close-up  of  a  movie !  " — it's 
the  red-blooded — he-men  that  gets — 
'em  every  time,"  Buddy  muttered 
sagely  from  the  depths  of  a  long  and 
varied  cinema  experience  as  the 
waves  of  sleep  rolled  finally  over 
him,  "just  the  same  —  that  guy, 
Shakespeare,  was  right — you  gotter 
— blow — your  own — horn " 


Iris  In 

(Continued  from  page  46) 

Furthermore,  we  cant  see  that  Pola 
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both  of  them. 

Tilden  may  be  the  champion,  but 
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tually foot- faultless. 


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DOWN 


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Du 


[Tie  Celluloid  Critic 

i  (  ontinued  from  pan.    ,9 

SVMPATHETK  treatment 
made  the  screen  version  ol 
Mam  hi  'a  i  lassii  oi  thi  '  }uartici 
Latin,  "  I  rilby"  <  First  National » . 
something  which  belongs  in  an  exclu 
sive  gallei  j  ol  appealing  <  an\ 
\\\  the  refreshing  sentiment  and  the 
vital  pathos  arc  admirably  caughl  l>\ 
the  director  who  makes  ol  "Trilby" 
a  work  comparable  t<>  the  best  of  the 
stage  productions  of  the  play.  In  its 
favor  is  a  dramatic  story  possessing 
fine  screen  possibilities  -  a  story 
which  lends  itself  to  every  form  of 
t  repression  which  lias  been  realized 
upon  the  silversheet,  Ik  vivid  char- 
acters stalk  across  the  screen  giving 
substance  and  life  to  the  tragic  story 
of  Trilby's  romance  with  Little 
Billie — and  the  unhappy  fate  which 
snuffs  out  her  life  as  she  is  deter 
mined  to  rid  herself  of  the  malign 
influence  of  the  dread  Svengali. 

Trilby  is  enacted  by  Andree  Lafay- 
ette who  was  brought  over  from 
France  to  create  the  role.  She  gives 
a  performance  marked  with  poignant 
charm — and  singing  with  divine 
romance.  The  Svengali  of  Arthur 
Carewe  is  a  capital  study — a  study 
sinister  and  uncanny — quite  as  Du 
Maurier  sketched  it.  And  the  other 
immortal  characters  are  excellently 
limned  by  competent  players — who 
seemingly  caught  the  spark  of  the 
playwright. 

The  picture  offers  no  variation 
trom  the  original.  It  is  executed 
with  fine  understanding  and  feeling. 
The  types,  atmosphere  and  back- 
ground are  thorolv  convincing.  We 
enjoyed  the  unhappy  ending  the  best 
— since  it  is  faithful  with  the  play. 
There  is  a  happy  finish  for  those  who 
do  not  enjoy  stark  tragedy  in  their 
screen  fare.  Even  this  conclusion 
does  not  mar  the  vital  fabric  of  the 
story.  "Trilby" — anyway  you  look 
at  it.  richly  deserves  a  place  in  the 
sun. 

H\0  Maurice  Tourneur  treated 
"The  Brass  Bottle"  (First 
National)  in  the  spirit  with 
which  it  was  written,  he  would  have 
carried  the  spectator  along  on  a  fan- 
ciful journey.  Instead,  he  has  failed 
utterly  to  realize  its  delicate  whimsy. 
The  author  of  the  tale  was  evidently 
influenced  by  the  tales  of  the  Arabian 
Nights  —  particularly.  "Aladdin  and 
His  Wonderful  Lamp."  and  'fash- 
ioned an  imaginative  story  saturated 
with  whimsical  humor.  An  illogical 
piece  if  taken  seriously,  but  because 
it  was  tempered  with  delicate  satire, 
it  made  most  enjoyable  reading.  But 
Tourneur  has  not  caughl  the  spirit  of 
(Continued  on  page  99) 


Introductory  <r 
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(Ninety-seven) 


YOU 


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A    NEW    SCIENTIFIC,   PAINLESS    METHOD    OF 


A  perfect  lookii 
nose  can  easily 
be  yours  •  •  • 


CORRECTING  ILL-SHAPED  NOSES  AT  HOME 


TIME  ADVANCES — as  does  science  succeed  in 
perfecting  each  invention.  My  15  years  of  ex- 
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ha vi'  proven  to  me  that  I  can  now  offer  to  the 
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patents)  has  so  many  superior  qualities  that  it 
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Adjusters  by  a  large  margin. 

In  the  first  place,  my  newest  appliance  is  better 
fitting;  the  adjustments  are  such  that  it  will  fit 
every  nose  without  exception — my  apparatus  is 
constructed  of  light  weight  metal,  and  is  afforded 
very  accurate  regulation  by  means  of  six  hexag- 
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the  screws  are  then  locked  in  the  desired  position, 
'these  screws  will  bring  about  the  exact  pressure 
for  correcting  the  various  tiusal  deformities — such 
as :     Long — pointed  nose — pug — hook  or  shrew  nose 


— and  turned  up  nose — and  will  give  marked  suc- 
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There  are  no  straps  to  be  pulled  in  order  to  exert 
pressure  on  the  nasal  organ. 

Model  No.  25  is  upholstered  inside  with  a  very 
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which  protects  the  nose  from  direct  contact  with 
the  apparatus;  this  lining  of  metal  causes  an 
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rected, thus  avoiding  a  harsh,  violent  pressure 
in  any   one   place. 

Model  No.  25  is  guaranteed,  and  eorrcets  now 
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write  today  for  my  free  booklet  which  tells  you 
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M.  TRILETY,  Face  Specialist     1935  Ackerman  BIdg.,  Binghamton,  N.  Y. 


Here's  a  Good  Way  to  Earn  Your  Xmas  Money 

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120  West  70th  Street 


Dept.  6 


New  York  City 


Current  Stage  Plays 

(Continued  from  page  6) 

Province  town. — "Sun  Up."  A  passion- 
ate tragedy  of  the  North  Carolina 
mountain  folk.  The  Widow  Cagle  is  su- 
perbly played  by  Lucile  La  Verne. 

Republic.  —  "Abie's  Irish  Rose."  An 
amusing  study  in  temperaments  of  the 
Irish  and  Jew  in  which  the  irreconcilable 
is  reconciled  thru  emotion. 

Rite. — -"In  Love  With  Love,"  the  story 
of  a  flirt  caught  in  her  own  love  net. 
Lynn  Fontanne  holds  you  in  suspense  with 
a   reality   that   makes   your   hca.rt   beat. 

Selwyn. — "Helen  of  Troy."  A  musi- 
cal comedy,  the  book  by  Kaufman  and 
Connolly  and  the  lyrics  by  Kalmar  and 
Ruby.  It  has  a  coherent  plot  and  deals 
with  adventures  in  a  collar  factory. 

Shubert.  —  "Artists  and  Models,"  a 
revue ;  the  professional  version  of  the 
Illustrators'  Show.  It  includes  sketches  by 
James  Montgomery  Flagg,  Henry  Wag- 
staff  Cribble  and  Clarence  Buddington 
Kelland.  Adele  Klaer,  who  acts,  paints, 
and  writes  poetry,  has  the  lead. 

Vanderbilt. — "Two  Fellows  and  a  Girl," 
typical  Cohan  comedy-drama,  panned  by 
all  the  critics  and  nocked  to  by  the  public. 

Winter  Garden. — "The  Passing  Show" 
with  Jobyna  Howland,  Joan  Hay,  Walter 
Woolf  and  George  Hassell  surrounded  by 
a  chorus  of  one  hundred  beauties. 

ON   TOUR 

"Blossom  Time."  A  musical  comedy 
based  on  the  life  of  Franz  Schubert. 

"Bombo,"   black-face   extravaganza. 

"Cameo  Girl,"  and  "Listen  to  Me," 
musical  comedies  of  one-night  stands. 

"Caroline,"  a  musical  gem. 

"Dew  Drop  Inn."     Second  company. 

"Irene,"  with  an  all-star  cast  composed 
of  the  original  principals  of  the  company. 
A  musical  comedy. 

"Irene  Castle's  Fashion  Show/'  includ- 
ing dancing  and  musical  numbers. 

"Kempy,"  an  English  comedy. 

"Lady  in  Ermine,"  a  musical  comedy 
concerning  a  romantic  legend  about  an 
ancient  castle. 

"Lightnin'."  A  comedy  that  crosses 
your  heart — the  one  that  Frank  Bacon 
made   famous. 

"Loyalities,"  a  Galsworthy  play  with  an 
English  cast — the  story  of  semetic  conflict. 

"Partners  Again,"  a  Potash  and  Perl- 
mutter  comedy. 

"Sally,  Irene  and  Mary."  One  of  the 
best  musical  shows  that  have  ever  blessed 
the  comedy    stage. 

"So  This  Is  London."  George  Cohan 
poking  fun  at  American  and  British 
temperaments.     Not   original   cast. 

"The  Crash,"  a  melodrama  by  Lincoln 
J.  Carter  and  Ralph  Kittering,  produced 
exclusively    for   the   road. 

"The  Dancing  Girl."     Song  and  dance. 

"The  First  Year,"  a  comedy  about 
"breakers   ahead"   on   the   honeymoon. 

"The  Fool,"  a  drama,  about  a  minister 
who  tries  to  follow  the  life  of  Christ  in 
modern    locale. 

"The  Heart  of  Paddy  Wack,"  with  the 
old  favorite  Chauncey  Olcott. 

"The  Old  Soak,"  a  play  on  the  order  of 
"Lightnin',"  with  Raymond  Hitchcock,  the 
lovable  inebriate. 

"The  Passing  Show,"  as  usual  a  gor- 
geous  revue. 

"You  and  I,"  a  society  comedy,  wherein 
a  career  is  sacrificed  to  matrimony  and  re- 
found  in  the  next  generation. 

"Wang,"  with  the  arch  comedian,  De 
Wolf   Hopper,  a  charming   revival. 

"Whispering  Wires,"  a  mystery  play 
that  makes  the  flesh  creep. 

"Wildflower,"  which  has  a  delightful 
musical  score.     Second  company. 


(Ninety-eight) 


The  Celluloid  Critic 

1 1  ontinued  from  pogt  97) 

Vnstey's    original.      He    resorts    tn 
heav)  touches  of  slapstick  which  rob 
it  ol  .1  fanciful  flavor,  1 1  n >  he  doc9 
succeed  in  making  it  mirthful  occa 
sionally. 

"The  Brass  Bottle"  features  the 
struggles  of  a  young  architecl  who 
comes  into  possession  <>t  an  ancient 
antique  from  which  emerges  a  grate 
t'ul  genie  after  an  imprisonment  of 
»i\  thousand  years.  Every  wish  of 
the  architect  is  gratified  as  a  result. 
But  the  illusions  the  black  magic  of 
the  story  are  unfortunately  missing. 
What  is  revealed  is  an  array  of 
hackneyed  gags  with  Ernest  Torrence 
as  the  genie,  Tully  Marshall  as  a 
musty,  old  professor,  and  Harry 
Myers  as  the  architect  executing  the 
high  jinks.  The  fanciful  note  is  very 
faint.  As  a  result  the  picture  is  often 
stupid.  And  it  could  have  been  such 
an  effective  fantasy. 

AS  long  as  Mae  Murray  continues 
to  maintain  her  penchant  for 
L  worshiping  at  the  shrine  of 
Terpsichore — just  so  long  will  she 
fail  to  develop  any  hidden  talent 
which  may  reveal  her  as  an  actress  of 
parts.  This  star  hecause  of  an  in- 
dulgent director — who  happens  to  be 
her  husband — is  allowed  to  pout  and 
pirouette  to  her  heart's  content.  The 
result  is  Mae  has  lost  all  sense  of 
poise. 

"The  French  Doll"  which  created 
a  mild  flurry  upon  the  stage  is  hardly 
substantia]  enough  to  carry  one  along 
with  unbounded  interest.  Its  theme 
is  hackneyed,  treating  as  it  does  upon 
the  pursuit  of  riches  by  a  grasping 
French  papa  and  his  irrepressible 
daughter — who  have  come  to  America 
to  chase  an  eligible  young  man  from 
Xew  York  to  Miami.  There  is  no 
vital  spark  discernible.  Tt  follows  an 
even  course  straight  to  an  orthodox 
movie  climax — in  which  the  young 
eligible  is  captured  after  the  girl  be- 
comes wounded  in  a  shooting  affair. 
The  picture  is  neatly  staged  and 
photographed.  But  the  star  needs 
repression. 

WE  cannot  mention  any  direc- 
tor in  James  Young's  class 
who  can  be  so  dependably 
erratic.  He  balances  such  a  fine 
achievement  as  "Trilby."  with  an  im- 
possible piece  of  claptrap  such  as 
"Wandering  Daughters"  (First  Na- 
tional). The  fault  here  is  not  entirely 
Mr.  Young's.  In  the  first  place,  the 
story  which  is  bared  to  the  mercies 
of  the  screen  is  an  inconsequential, 
stupid  affair  concerning  the  morals  of 
young  girls — an  idea  which  has  long 
outlived  its  usefulness  in  film  circles, 

(Ninety-nine) 


Doesn't  hurt  the 
skin  a  particle 


Womanly  Beauty  Marred 
By  Superfluous  Hair 


WOMAN'S   crownlni   dory    is  bat   hair,   bul    lbs   nniat 
i.l  I  '      H"l     tO  '■     In     i  liilillli  .i 

(o  rid  milady  of  superfluous  hair  result  iii  stronger 
iiiilv   tin'   surface   hair   i  the  follicle 

nurlant  gmrtb  Just  where  l<  isn't  wanted. 

A  Safe  Treatment 

It  ha<*   been    absolutely   demonatrated    thai    do    strictly   external 
application   can    eztermlm  sir   follicle    (which   is   another 

name  tor  the  hair  root)  without  injury  in  the  tender  skin  where 
the  •  imlr  growth   exists.     When   the   imir   follicle   is 

.mil  healthy,  no  amount  of  purely  externa]   application  can 
ii   Increasing  ami  coarser  hair  growth.     All  hair  Is  dependent 
for  life  upon  the  secretions  of  the  endocrine  elands,     a  deficiency 
ii    this   glai  n   '■auscs  baldness.      Kllrute    Sail    Destroyer 

baa  proven  perfectly  efficacious  in  caaea  of  superfluous  hair  growth 
not  onty  iiy  removing  the  hair  hut  hy  its  power  to  penetrate  ami 
dry  uii  these  gland  secretions.  The  natural  anil  Inevitable  result 
i-  starvation  and  death  to  the  follicle  which  produces  and  nourishes 

the    Imir. 

Kllrute  consists  of  a  powder  and  liquid,   both   applied  directly 

to    'In'    skin    with    the    hands        It    can    M    applied  lOTeal 

skin    and   may   safely    he    left    on    over    night      In    fact   It   has   tho 
added   features  of  a  skin   softener   and    beautlfler. 
(At  effective  lor  men  a»  lor  \comni) 

You  Owe  It  to  Yourself  and  to  Society 

There  i-  no  longer  air.    need   to  sutler  the  aim 

aiue    and    humiliation    caused    by    superfluous    l 

growth.      No  extravagant  claims  arc  made  for    Kllrute 

Kllrute  «iii  remove  hair  safely  ly.     Dls 

criminating  women  of  refinement 

aiding    former    mi 

lor    Ihis    one    successful    t cat m.  Tit      r*_ 

for  tiie   elimination   of  unsightly 

hair  growth.  You  owe  it 
to  yourself  to  preserve  your 
womanly     charm     and 


^endJ\[qMpney_ 


Kilrute  will  be 
sent  CO.  I'   "■ 

iptof  S5 
nlusalewccnts 
fur  postage. 


dalntlne 


KILRUTE 

Dcpt.  1010 


COMPANY 


247  West  72nd  St. 
New  York  City 


KILRUTE   COMPANY. 

Dept.    1010.  247  West  72nd  St.,   New   York  City, 
men : 
Please    send    me    on    approval    a    complete    Kilrute 
Combination    Treatment    for    superfluous   halt    I  Kllrute 
Powder   and    Kilrute   Lotion)    which    you    Buarautee   lo 
remove   external    hair   Immediately    and    to   discourage 
any    future  growth.      I    will    pay    tile   postjnai]    $'•    tins 
postage    on    delivery.      If    I    am    not    perfectly 
with   the  results,  you  guarantee  to  refund  my  $">. 
(If  you   prefer,   send    $r,   with   this   coupon,    subject  to 
above  money-back  guarantee.) 

Name 

Address 


ART  PHOTOS 

STUDIES  BEAUTY  OF  NATURE 

Post  card  size  and  larger  size.  Great  collec- 
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BEAUTYPEEL 


ter^J 


•UNMASKS    YOUR 

'HIDDEN'  BEAUTY" 
Creates  Renutifn  ICnmplexion  by  peflino  oft  VACA- 
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A  Shapely  Foot  is  a  Joy  Forever 

BEAUTIFY  YOUR     4^       , 
FEET  /IfigJ 

The  Perfection  Toe  Spring 
REMOVES     THE 
CAUSE    of    the    BUNION    or 
enlarged      joint.       Worn      at 
night,    witli    auxiliary    appli- 

llse. 

1    outline    of    fooL 

Straighten  Your  Toes 
Banish  that  Bunion 

Full   particulars   In   plain   envelope 

C.  R.  ACFIELD,  Foot  Specialties 

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but  which  the  producers  imagine  is 
still  good  meat  for  the  masses.  It  is 
a  lot  of  bunk — this  story,  which  pre- 
sents its  characters  in  an  ever-con- 
tinuous walking  marathon  from  one 
set  to  another.  The  moral  establishes 
that  it  is  the  wandering  boy  who  pro- 
duces the  wandering  girl.  It  is  told 
against  a  colorless  society  back- 
ground. A  poor  story,  poorly 
directed. 

THE  serial  form  of  melodrama — 
wherein  much  excitement  and 
thrills  are  compressed  into  a 
harum-scarum  tale  of  feature  length 
is  exposed  again  in  Fox's  "The 
Eleventh  Hour."  The  idea  goes  back 
— very  far  back — to  the  days  of  the 
ten,  twent',  and  thirt'  gallery  god 
stuff — when  Lincoln  J.  Carter  and 
Hal  Reid  turned  them  out  over- 
night. This  happens  to  be  one  of 
Carter's  which  has  been  revised  and 
made  up  to  date  to  fit  the  modern  age 
of  inventions. 

Once  upon  a  time,  Louis  Sherwin, 
the  adaptor,  scoffed  at  such  intensi- 
fied hokum,  when  criticizing  the 
drama.  Possibly  he  was  laughing  up 
his  sleeve  while  he  doctored  up 
Carter's  pet  plot.  It  keeps  moving — 
that's  something  in  its  favor.  And 
it  concerns  a  government  agent  in 
conflict  with  a  group  of  conspirators 
determined  to  embarrass  our  fair 
country.  The  agent  fights  them 
singly  and  collectively  and  before  he 
rescues  the  girl — you  will  see  plenty 
of  melodramatic  fireworks  which  in- 
clude daring  rescues,  escapes,  hot 
steel,  hot  furnaces,  hot  love  and  pur- 
suits thru  land,  sky  and  water. 

A  WEIRD  attempt  to  make  capi- 
tal of  the  jazz  craze  and  the  at- 
tendant moral  when  the  young 
irresponsibles  absorb  some  common 
sense  in  Paramount's  "Children  of 
Jazz."  It  is  mad,  bad  hokum — with- 
out rhyme  or  reason — a  tale  which 
thrusts  its  characters  in  wild  orgies — 
which  takes  them  thru  the  air  in 
planes  and  thru  the  water  in 
schooners — which  puts  them  down  in 
a  secluded  island  presided  over  by  a 
quaint  figure  of  yesteryear.  The 
idea  employed  is  that  of  cave-man 
tactics  in  taming  the  young  irrespon- 
sibles. Jerome  Storm,  the  director, 
is  out  of  his  element  here.  The  rural 
touch  comes  to  the  surface  ever  so 
often.  It  is  poorly  arranged  and 
episodic  and  badly  overplayed  by 
Theodore  Kosloff.  Wildly  improb- 
able, but  which  holds  the  attention  be- 
cause one  will  want  to  see  how  crazy 
it  becomes. 

THERE  seems  to  be  no  way  of 
judging  what  stage  plays  will  be- 
come entertaining  on  the  screen. 
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the  spoken  version  w  bad,  nor 

was  i  "I     Inn  upon  thi 

it  i-<  colorless,  'lull  .m<l  Btupid.    1 1 
been  doctored  too,  probabl)  thru 
of  the  ci  nsoi  -      But    we  did  glean 
that  it  concerns  our  old  friend,  the 
plaj  t'ul   husband— who   d  his 

wife    who   pays,  pays,  and   paj 
until    ^lu-   goes    to   the    rescue   and 
matches  her  wits  against  the  wilj  ad 
venturess. 

Tlie  sponsors  have  nol  injected  ;i 
single  dramatic  episode.  In  tact,  the 
punch  is  entirely  missing.  There  are 
several  interludes  which  have  noth- 
ing in  common  with  the  story-  .-mil 
these  feature  a  display  of  cabaret 
life  with  (iil«l;i  Gray  and  several 
Follies  uirls  shaking  their  torsos — 
to  the  delighl  of  the  extras  and  the 
spectators.  The  story  is  common- 
place and  the  acting  is  uninspired. 

IN  speaking  of  stupid  stories,  the 
prize  must  be  given  "The  Leove 
Piker"     (Cosmopolitan-Goldwyn  i 

for  turning  out  a  picture  which  liter- 
ally stands  still  in  its  tracks.  What- 
ever merit  the  original  tale  carried 
has  been  lost  in  transference  to  the 
screen.  There  is  no  humor,  no  sen- 
timent, no  pathos,  no  drama,  no  sus- 
pense and  positively  no  movement. 
A  tame,  boresome  account  of  a 
snobbish  girl  who  falls  in  love  with 
the  young  engineer  in  her  father's 
company.  There  is  no  reason  to  con- 
tinue further — you  know  the  follow- 
ing episodes.  Let  us  explain,  how- 
ever, that  the  conflict  rests  upon  such 
a  delicate  premise  as  the  girl's  refus- 
ing to  marry  the  youth  because  his 
father  is  an  uncouth  pipe  smoker.  Oh 
yes,  he  develops  some  manners  in 
the  end — and  the  wedding  takes  place 
per  schedule. 

MADGE  KENNEDY  must  be 
given  more  suitable  stories 
than  'The  Purple  Highway" 
(Paramount)  if  she  wants  to  bask  in 
the  spotlight  of  her  erstwhile  popu- 
larity. The  piece  places  a  heavy 
strain  upon  this  able  pantomimist — 
who  docs  manage  to  appear  genuine- 
ly human  in  a  sticky,  sentimental  ad- 
venture of  a  girl  placed  on  the  heights 
by  a  couple  of  artistic  failures.  They 
write  a  musical  comedy  for  her  and 
she  neglects  them  in  responding  to 
the  advances  of  a  wealthy  stage-door 
Johnnie.  The  customary  movie  end- 
ing is  tacked  on  to  leave  us  smiling 
when  we  say  good-bye.  There  is 
little  resemblance  in  this  piece  with 
the  original — once  known  as  "Dear 
Me."  Monte  Blue  conveys  the  impres- 
sion that  he  has  lost  his  last  friend 
in  the  role  of  the  neglected  play- 
wright. 


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Science  Discovers  the  Secret 
of  Carusos  Marvelous  Wee 


WHY  is  it  that  the  humble 
peasant  boy  of  Italy  be- 
came the  greatest  singer 
of  all  time?  This  diagram  of  his 
throat  will  show  you.  Caruso's 
marvelous  voice  was  due  to  a 
superb  development  of  his  Hyo- 
Glossus  muscle.  Your  H^jp- 
Glossus  muscle  can  be  devel- 
oped too!  A  good  voice  can  be 
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°We  Guarantee 

Hour  Voice  Can 
Be  Improved  100% 

EVERY  normal  human  being  has  a  Hyo-Glossus  muscle 
in  his  or  her  throat.  A  few  very  fortunate  persons 
—  like  the  late  Caruso  —  are  born  with  the  ability  to 
sing  well.  "But  even  they  must  develop  their  natural  gifts. 
Caruso  had  to  work  many  years  developing  that  muscle  before 
his  voice  was  perfect.  Whether  your  voice  is  strong  or  weak, 
pleasant  or  unpleasant,  melodious  or  harsh,  depends  upon  the 
development  of  your  Hyo-Glossus  muscle.  You  can  have  a 
beautiful  singing  or  speaking  voice  if  that  muscle  is  developed 
by  correct  training. 

Prof.  Feuchtinger's  Great  Discovery 

Professor  Feuchtinger,  A.  M.  —  descendant  of  a  long  line  of 
musicians  —  famous  in  the  music  circles  of  Europe  for  his  suc- 
cess in  training  famous  Opera  Singers — discovered  the  secret  of 
the  Hyo  Glossus  muscle.  Dissatisfied  with  the  methods  used  by 
the  maestros  of  the  Continent  who  went  on  year  after  year 
blindly  following  obsolete  methods,  Eugene  Feuchtinger  devoted 
yars  of  his  life  to  scientific  research.  His  reward  was  the 
discovery  of  the  Hyo-Glossus,  the  "Singing  Muscle" —  and  a 
system  of  voice  training  that  will  develop  this  muscle  by 
simple,  silent  exercises. 

>  i  r  1 1 1 1 1 1 1 1 1 1  ■  1 1 1 1 1 1  ■  1 1  ■  i  ■  1 1 1 1  ■  1 1 1 1 1 1 1  ■  1 1 1 1 1 1  ■  1 1 1  ■  i  ■  1 1  ■  1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1  m  1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 : 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1  >  1 1  ■  1 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1  ■  1 1 1 1 1 1 1_^ 

Perfect  Voice  Institute,    studio  12-77 

1922  Sunnyside  Avenue,        Chicago,  Illinois 

Please  send  me  FREE  Professor's  Feuchtinger's  book,  "Enter  Yout  1 

World."    I  have  put  X  opposite  the  subject  that  interests  me  most.  | 

I  assume  no  obligation  whatever.  | 

D  Singing  D  Speaking  D  Stammering  D  Weak  Voice  | 

Name | 

Address § 

City  and  State Ac* I 


Opera  Stars  Among  His  Students 

Since  the  Professor  brought  his  discovery  to  America  hun- 
dreds of  famous  singers  have  studied  with  him.  Orators,  choir 
singers,  club  women,  preachers,  salesmen  and  teachers  —  over 
10,000  happy  pupils  have  received  the  benefits  of  this  wonderful 
training. 

There  is  nothing  complicated  about  the  Professor's  methods. 
They  are  ideally  adapted  for  correspondence  instruction.  Give 
him  a  few  minutes  each  day.  The  exercises  are  silent  You 
can  practice  them  in  the  privacy  of  your  own  home.  The 
results  are  sure. 

The  Perfect  Voice  Institute  guarantees  that  Professor  Feuch- 
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A  Beautiful  Voice  for  YOU 

You  cannot  even  guess  the  possibilities  of  your  own  voice. 

If  you  want  to  sing— if  you  have  always  felt  that  you  could 
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to  sing  at  a  very  small  cost  and  in  the  privacy  of  your  own  home. 

If  you  want  to  improve  your  speaking  voice — if  you  stammer 
or  stutter— Professor  Feuchtinger  will  help. 

Valuable  Book  FREE  to  You 

Send  us  the  coupon  below  and  we'll  send  you 
FREE  this  valuable  work  on  the  Perfect  Voice.  Prof. 
Feuchtinger  is  glad  to  give  you  this  book.    You  as 
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first  step  in  your  career.    Do  not  delay. 

Mail  the  coupon  today. 

Perfect   Voice   Institute 


1922   Sunnyside   Ave. 


Studio  12-77.  Chicago,  111. 

(One  hundred  and  two) 


EDWARD    LANGER    PRINTING    CO.,  INC, 
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\V  O  O  D   B    U   K  Y 


FACIAL      SOAP 

Copyright,  1923,  by  The  Andrew  Jergens  Co. 


DECEMBER 


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This  Wonderful  Reducing  Cream 
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Thousands  of  stout  persons  have  testified  to  the  wonderful  results  obtained  from 
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m 


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aWaBaaHBaaH 


CAREFUL  conscientious  training- by  members  of 
our   faculty  made  this  possible.     Today,  trained 
illustrator^  who  draw  pictures  for  magazines,  news- 
papers,  etc.,    both    men    and    women    earn    $200.00   to 

$500.00  a  month  and  more.  The  present  splendid  oppor- 
tunities in  this  field  have  never 
been  excelled.  Thousands  of 
publishers  buy  millions  of  dollars 
worth  of  illustrations,  like  the 
one  shown  here,  every  year. 
Illustrating  is  the  highest  type  of 
art.  I  f  you  like  to  draw,  let  your 
talent  make  your  fortune.  De- 
velop it.  It  takes  practice,  hut  so 
does  anything  worth  while. 
Learning  to  illustrate  is  fascinat- 
ing to  anyone  who  likes  to  draw. 
The  Federal  School,  one  of  the 
^      ->J  oldest  and  largest  art  schools  in 

n  ^Jf  America,    has    trained    hundreds 

^*  iBk.    k  .        of  successful  illustrators.    It  was 

originally  founded  by  the  Bureau 
of  Engraving  to  supply  artists 
for  it--  own  needs.  Since  then 
Federal  School  graduates  have 
become  so  distinguished  for  their 
Jl^^jJj^L  ^^^^^  high  quality  work  that  they  are 
fj  in    great    demand    by    publishers 

IgLm       ^^i         anu-  art   "r>,r;m>/''it'<"is.    The  rea- 
'  ™     W*  son    for  this   was  plainly  because 

fi£  m^   ^fl       of  the  thorough  training  given  by 

the  school,  instruction  which  was 
not  duplicated  by  any  other  in- 
stitution in  the  country. 

Why  the  Federal  "Master 


Course"  Excels 


A 


strictly  up  to  date  and  practical  art  course  must  give 
thorough  and  comprehensive  training  in  many  different  subjects 
such  as  illustrating,  serious  and  comic  cartooning,  lettering 
poster  designing,  window  card  illustrating,  etc.  No  one  art i-t  is 
competent  to  give  instruction  in  all  these  branches.  For  thi 
son  the  Federal  School  has  established  its  "Master  Course" 
which  every  subject  is  covered  by  a  specialist,  an  artist  who  has 
made  a  success  in  that  one  particular  field.  Xo  other  school 
can  offer  a  course  of  instruction  which  is  nearly  comparable.    Xo 


$50022 

IN  ONE  MONTH 

DRAWING 


other    institution    in   tin    count  rj    I 

artist  as  are  on  the   Fcd< 

The   Federal   Authors 

The  Inderal  Authi  ||y  known 

artists  ;,s  Sid  Smith.  Neysa   McMein,  Fontaine   I 
(  narles  Livingston  Dull,  Clai  .  Norman  Rock 

well,  lay   Kmg.   Frank   King.  Charles    Russell    I 
lien  Johnson,  Walter  Wilwerding,  Charles   Barth 
mew  and  over  fifty  others.    Exclusive  original  lessons 
and    drawings    especially    prepared    by    these    fan 
artists  are  included  in  the  Federal  Home  Stud.   I 
Tiny  teach  you  everything  you  need  to  know 
illustrating    so    that    when    you    finish    the    • 
will  not   find  anything  new   to  you.    You   will  I. 
pared  for  any  problem  or  emergency  which  may  ai 

The  Federal  Course  is  a  Proven  Result  Getter 
Federal  School  Graduates  are  employed  by  pub 
hshcrs  and  commercial  organizations  all  over  the  country  The 
usual  salary  tor  the  beginner  is  from  $35.00  to  $50.00  a  week 
and,  with  increasing  experience,  promotion  is  rapid.  No  previous 
experience  is  necessary  in  order  to  take  this  course,  livery  step 
is  plain  and  you  will  be  lead  gradually  from  simple  sketches  to 
complex  illustrations  having  a  high  market  value.  At  all  times 
'act  with  you  is  direct  and  personal  and  everj  effort  is  made 
to  develop  your  own  individual  style.  What  this  style  is  can  only 
be  determined  alter  thorough  training  in  the  fundamentals  of 
draftraanship. 

Study  at  Home  in  your  Spare  Time 

In  studying  with  the  Federal  School  you  can  take  as  long  as 
you  like  to  finish  each  piece  of  work.  The  fact  that  you  are 
busy  during  the  daytime  makes  no  difference.  The  course  may 
Ije  completed  in  your  own  home  at  night  or  during  any  spare 
tune  you  have.  Earn  while  you  work  if  you  wish.  "  Many 
students  find  a  market  for  their  drawings  long  before  they  finish 
ihe  course.  Some  earn  the  price  of  the  course  several  times 
over  before  they  finish.  Moreover,  when  you  graduate  vour  con- 
nection with  the  school  is  not  terminated.  We  take  a  personal 
interest  in  the  success  of  our  graduates  and  our  business  connec- 
tions enable  US  to  .offer  many  line  opportunities.  In  our  files  are 
hundreds  of  letters  from  students  telling  what  the  Federal  School 
has  done   for  them. 

Send  for  FREE  BOOK 

Our   free    illustrated    l.<.< .k.    "A    Road    To 
contains  some  of  these.     It 

-hows    the    work    they    have    done    and 

•    all    the    details    of    the    course. 

If  you  like  to  draw,  do  not  jive  it   up  for 

something    you    do    not    like    so   well.      ¥i  u 

owe  it  to  >,  urself  to  develop  the  ability  you 

rill    in   the  attached   coupon,   mail 

it    today   and  start   up  the   "Road   To   Bigger 

Things." 


'«d&iL 


FEDERAL  SCHOOL  OF  ILLUSTRATING 

1227  Federal  School  Building,  Minneapolis,  Minn. 


Name.  .  . 
Address. 


•  Age . 


(Three) 


IF   it's    a    Paramount    Picture    it's   the    best    show   in    town/ 


paramount  (pictures 


(Four) 


I 


(  »>\  i  R    PORTRAI I  —  H  wt\    PSGCI 
bj    E,   Dahl  from  a  photograph  by   Horwitz 


Paci 


A  Portfolio  of  Players,  Stage  and  Screen:     Hope   Hampton,   Pedro  de  Cordoba, 

\ mi  Pennington,  Nita  Naldi,  *  onrad  Nagel,  Maj   M 1  ivoy,  Madge  Kennedy 11 

Questions  and  Answers,  Asked  and  answered  by Harry  (  m 

The  Powers  Behind  the  Screen,  The  third  instalment Stanton    Leeds    20 

Cameo  Kirby,  Gentleman  Gambler,  A  portrait  Study 21 

When  I  Come  Back,  A  promise Rodolph    Valentino    22 

Contrasts  24 

Famous  Heroines  No.  Ill,  Leatrice  Joy  as  I  tester  Prynne 

Foreign  Films,  Eur<  ipean  studii  is  at  a  glance (  inemat 

Scaramouche,  Rex  Ingram's  picture  in  short-story  form Cardan  Malherbe  Hillman    J.s 

The  Gold  Girl  of  the  Follies 33 

Hollywood  Homes,  Cecil  B.  De  Milk's >4 

Glenn  Hunter — On  and  Off Homer   (  ro. 

The  Inescapable  Russians,  A  picture  page $8 

Fathers  and   Daughters 

A  Lover  of  Life,  An  in  ten  iew  with  Eulalie  Jensen Maude    (  heatham    40 

Rabindranath  Tagore,  A  portrait 42 

The  Photographer  Takes  the  Stage,  Classic's  monthly  theatrical  department 43 

The  Celluloid  Critic,  Selects  "Rosita"  as  the  best  picture  of  a  second  great  month Laurence   Reid    47 

Iris  In,  Pertinent  and  impertinent  screen  comment II.  II'.  Hanemann    50 

A  Daughter  of  Tragedy,  1  da  Rubenstein 51 

Flashes  From  the  Eastern  Stars,  Of  the  stage,  on  the  screen Caught  by  the  Editor 

The  Slave  of  Desire,  Fiction Grace  Lamb 

Abandon,  (iilda   Gray's  latest  portrait 

Classic  Considers The  «  reat  and  the  near  great 

Getting  Married  and  Unmarried ! Lew  (.  'ody 

Why  Do  People  Get  Divorces? Helene    Chadwick 


A  Snare  and  a  Delusion,  A 


unan's  negligee <>4 


A  Happy  Young  Man,  Alfred  Lunt  is  the  one Faith    Service  65 

The  Hollywood  Boulevardier  Chats Harry    (  an 

The  Movie  Encyclopedia By  the  Answer  Man  70 

New  Books  In  Brief  Review 7° 


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E.   M.   Heinemann.  Secretary. 

EXECUTIVE    and    EDITORIAL    OFFICES.    ITS    DUFFIELD    ST.,   BROOKLYN,    N.    Y. 

Copyright,  1923,  by  Brewster  Publications,  Inc.,  in  the  United  States  and  Great  Britain. 


SUSAN  ELIZABETH   BRADY,  Editor 

Adele  Whitely  Fletcher Managing   Editor 

Harry    Carr Western     Representative 

A.  M.  Hopf muller Art    Director 

Duncan  A.  Dobie Director    of    Advertising 

Classic  comes  out  on  the  12th    of  every  month,   Motion    Picture  Macazink  on  the  1st,   Hfvi  n   on  thi 


Announcement  for  January 

Kenneth  Macgowan,  the  youngest  and  must  brilliant  of  theatrical  authorities,  is  going 
to  write  an  article  every  month  for  Classic  on  "The  Play  of  the  Month"  *  *  *  Laurence 
Reid,  the  besl  Of  the  movie  critics,  will  head  his  monthly  department  with  "The  Movie 
of  the  Month"  *  *  *  Should  be  interesting.  *  *  .*  A  stage  star  lias  interviewed  a 
screen  star,  and  each  one  insisted  upon  talking  about  the  other.  *  *  *  Anyway,  Doris 
Kenyon  tried  to  make  Richard  Barthelmess  talk  about  himself.  *  *  *  Leonore  Ulric 
tells  what  she  thinks  of  California.  You'd  be  surprised!  *  *  *  The  lovelies)  assort- 
ment of  pictures  we  have  ever  offered.  *  *  *  Why  donl  you  buy  Classic.  *  *  *  It  is 
the  most  beautiful  screen  magazine  on  the  stands  *  *  '  \ud  donl  forget,  the  January 
number  is  a  Christmas  Number.    * 


(Five) 


Current  Stage  Plays 

(Readers   in  distant   tozvns   will  do   well  to  preserve  this  list  for  reference  when 
these  spoken  plays  appear  in  their  vicinity.) 


V>    V, 


Ambassador. — "The  Courtesan."  A  lively  and 
entertaining  musical  comedy.  Alys  Delysia  and 
Donald  Brian  head  the  cast. 

.Ipollo. — "Poppy."  A  musical  comedy  concerning 
a  strolling  swindler  and  his  daughter ;  W.  G.  Fields 
and  Madge  Kennedy  in  the  leading  roles. 

Belasco. — "Mary,  Mary,  Quite  Contrary."  Mrs. 
Fiske,  supported  by  several  English  players,  in  a 
St.  John   Ervine  comedy. 

Belmont. — "Tarnish."  A  finely  acted  play  about 
a. once. idle  rich  family,  now  fallen  to  a  state  where 
the  salary  of  the  daughter  keeps  the  wolf  from 
the  door.  Ann  Harding  does  some  excellent  acting 
as  the  daughter. 

Bijou. — "The  Whole  Town's  Talking."     A   farce 
by    John    Emerson    and    Anita    Loos,    well-known 
motion-picture    scenarists,    written    around   a    movie   director    who 
ignores  the  Eighteenth  Amendment. 

Booth. — "The  Seventh  Heaven."  Hand-made  on  melodramatic 
pattern  in  a  Montmartre  tenement  in  Paris,  of  an  admixture  of 
love,  regeneration,  humor  and  unreality.  An  excellent  per- 
formance with  Helen   Menken  starring. 

Broadhurst. — "The  Dancers."  Richard  Bennett  in  a  play  by 
Gerald  Du  Maurier.     Review  later. 

Carroll. — "Vanities  of  1923,"  with  Peggy  Hopkins  Joyce  lead- 
ing the  delectable  and  innumerable  vanities. 

Casino. — "Wildflower,"  in  which  lovely  Edith  Day  flashes  thru 
an  exquisite  musical  score. 

Century. — Sir  John  Martin-Harvey's  English  company  in 
'repertoire. 

Century  Roof. — "The  Nine  O'Clock  Revue."  Arthur  Ham- 
merstein's  London  importation  with  an  English  cast.  It  is  a 
simple  but  colorful   revue. 

Cohan. — "Adrienne."  A  musical  comedy  with  an  unusually  good 
chorus.  Billy  Van  and  Richard  Carle,  the  latter  of  "The 
Spring  Chicken"  fame,  take  care  of  the  laughs.  Lou  Lockett 
and  Margaret  Ross  introduce  a  new  dance,  Adagio. 

Comedy. — "Children  of  the  Moon."  A  modern  story  of  a 
moon-mad  daughter,  a  lover  and  a  possessive  mother.  Florence 
Johns  does  fine  work  as  the  daughter. 

Cort. — "The  Swan."  Eve  Le  Gallienne  in  another  play  from 
the  Hungarian  of  Franz  Molnar. 

Daly's.—  "Ginger."  A  lively  musical  comedy  with  Tom  Swift 
and   Nellie    Breen. 

Elliott. — "Rain."  A  bitter  tragedy  by  Somerset  Maugham ;  a 
violent  attack  on  the  repressions  of  Puritanism.  Jeanne  Eagels 
is  superb   in  the  leading  role. 

Eltingc. — "Red   Light  Annie,"  a  melodrama  of  the   underworld 

dealing  with  the  drug  question.     Mary  Ryan  in  the  leading  role. 

Empire. — "Casanova,"   a   glamorous   eighteenth-century   romance 

adapted  from  the  Spanish  by  Sidney  Howard,  featuring  Katherine 

Cornell  and  Lowell   Sherman. 

Forty-eighth. — "Zeno."  This  melodra- 
matic mystery  play,  by  Joseph  R.  Rinn, 
deals  with  the  newest  brand  of  crooks, 
electricity  and  radio. 

forty-ninth. — "For  All  of  Us."  A  play 
by  William  Hodge.  The  cast  includes  the 
author,  Florence  Mason  and  Marion  Ab- 
bott.    Review  later. 

E  razee.  —  "Tweedles."  A  comedy  by 
that  team  of  humorists,  Booth  Tarkington 
and  Harry  Leon  Wilson,  built  on  a-  skele- 
ton of  family  pride.  Gregory  Kelly  and 
Ruth  Gordon,  the  young  pair  conspired 
against,  do  good  work  while  reducing  all 
the  overly  proud  to  mere  "Tweedles." 

Frolic. — Grand  Guignol  Players  of  the 
Grand  Guignol  Theater,  Paris,  in  rep- 
ertoire of  drama  and  comedy  given  in 
French. 

Fulton. — "Nifties  of  1923."  An  inter- 
esting revue  which  includes  a  color  ballet 


Classic  Lists  the  Plays  That 

You  Should  See 

H 

Tarnish 

Tweedles 

The  Nervous  Wreck 

In  Love  with  Love 

Children  of  the  Moon 

Casanova 

with  changing  lights  proving  very  effective  on  the 
costuming  of  the  chorus.  The  cast  includes  Sam 
Bernard,  William  Collier,  Van  and  Schenck,  Ray 
Dooley  and  Lina  Basquette. 

Gaiety. — "Aren't  We  All?"  Cyril  Maude  in  a  de- 
lightful light  comedy  that  revolves  around  a  phi- 
landering husband  and  an  indiscreet  wife.  Mr.  Maude 
in  a  Grumpyish  character  sets  a  rare  pace  of  fun 
and  his  support  keeps   it  up. 

Garrick. — "Windows."  This  John  Galsworthy  play 
centers  about  a  household  plunged  into  a  turmoil  over 
a  young  girl  just  out  of  prison,  where  she  was  sent 
for  smothering  her  illegitimate  child,  who  has  been 
employed   as   housemaid. 

Globe. — "George    White's    Scandals."      A    de  luxe 
edition    of    gorgeously    gowned    beauties    that    make 
scandals  appetizing,  including  parodies  on  the  "Chauve-Souris"  and 
the   Moscow  Art   Theater. 

Greemmch  Village. — "The  Shame  Woman,"  by  Lulu  Vollmer, 
author  oi  "Sun  Up,"  a  current  success. 

Harris. — "The  Nervous  Wreck."  An  excellent  farce  by  Owen 
Davis.  Otto  Kruger  plays  the  part  of  the  nervous  wreck,  a 
young  clerk  sent  West  to  cure  himself  of  the  diseases  he 
imagines,  he  has.  He  wishes  to  be  left  alone  to  die  peacefully, 
but  June  Walker,  as  the  entrancing  heroine,  tries  to  run  away 
with  him  and  thus  starts  an  endless  amount  of  trouble  for  him. 

Hudson. —  'The  Crooked  Square,"  by  Samuel  Shipman  with 
Edna  Hibbard  and  Ben  Lyon  taking  the  leads. 

Jolson's. — E.  H.  Sothern  and  Julia  Marlowe  with  a  capable 
and  supporting  company  in  repertoire  of  Shakespeare's  plays. 

Klaiv. — "Nobody's  Business."  Francine  Larrimore  and  Frank 
Conroy  in  a  good-humored  comedy. 

Knickerbocker. — "The  Lullaby."  An  Edward  Knoblock  drama 
starring  Florence  Reed.  This  is  the  storv  of  a  sinning  woman's 
life. 

Lenox  Hill. — "Sun  Up."  A  passionate  tragedy  of  the  North 
Carolina  mountain  folk.  The  Widow  Cagle  is  superbly  played  by 
Lucile  La  Verne. 

Liberty. — "The  Magic  Ring."  Mitzi,  after  a  two-years'  ab- 
sence, returns  as  a  street  urchin  in  a  fantastic  musical  comedy 
which  revolves  about  a  magic  ring.  Harold  Levy  is  responsible 
for  some  very  catchy  musical  numbers  of  the  play. 

Little. — "Chicken  Feed."  A  comedy  dealing  with  small-town 
life,  setting  forward  what  happens  about  the  fifteenth  year  of 
married  life.     Roberta  Arnold  is  featured. 

Longacre. — "Little  Jessie  James,"  a  musical  comedy  with  Nan 
Halperin  as  Little  Jessie.  The  Paul  Whiteman  band  dubbed  the 
James  Boys  takes  care  of  the  orchestration. 

Lyceum. — "Little  Miss  Bluebeard."  Irene  Bordoni  in  a  comedy 
that  cleverly  misses  being  risque.  The  plot  hangs  on  the  belief 
of  the  heroine  that  she  is  married  to  two  men.  Miss  Bordoni 
sings   several    fascinating   ballads. 

Henry  Miller. — "The  Changelings."  A 
comedy  by  Lee  Wilson  Dodd.  The  cast 
includes:  Henry  Miller,  the  producer, 
Blanche  Bates,  Ruth  Chatterton,  Laura 
Hope   Crews. 

Morosco. — "Scaramouche."  Vivienne  Os- 
borne and  Sidney  Blackmer  in  a  play 
dramatized  from  Rafael  Sabatini's  book  of 
the   same  name. 

Music  Box. — "Music  Box  Revue."  A 
new  edition  of  Irving  Berlin's  extravagant 
display  of  beauty  and  humor. 

New  Amsterdam.  —  "Ziegfeld  Follies." 
The  1923  edition  of  the  Follies. 

Palace. — Keith  vaudeville.  Always  a 
good  bill,  and  drawing  more  and  more 
talent  from  the  headliners  of  the  regulars. 

Playhouse. — "The  Player  Queen."  A 
play  by  William  Butler  Yates;  and  "The 
Showing  Up  of  Blanco  Posnet,"  by  George 
Bernard    Shaw,    with    Pamela    Gaythorne, 


(Six) 


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(Seven) 


Joanna  Roos,  Soph  •■  II  and  oil 

/'/\  l  ..iim/i  "      Pauline     I  oi  d 

in  -i   plaj    from   thi    Hungarian   ol    l 
Mi ilii.ii,    adapted    Ii)     Edna    Si 

Mill. IN.        I 

/">  :  I  In     H  ll   '  All    III 

(cresting  pla>   b)    Maxwell    Anderson  with 
George   -Vbbott  and  Frank  Shannon, 

Republic,  "Abie's  Irish  Rose."  An 
amusing  ^ 1 1 1 » ! >  iii  temperaments  oi  the 
Irish  and  Jew  in  which  th<  ilable 

onciled  thru  emotion. 

Rits,    "In    Love    W  ith    Love,"    i^    the 
oi  .i   tlii t  caught   m  her  own  love 
net.    I. >mi  Fontanne  holds  you  in  suspi 
with  a  reality  that  makes  your  heart  beat, 

Sehtrvn,  "Battling  Buttler."  A  peppj 
musical  comedy  about  a  husband  who  im 
personates  a  prize  fighter  having  the  same 
name  ;i-*  his,  which  enables  him  to  steal 
away  from  his  wife  on  many  supposed 
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Shubert.  -  "Artists  and  Models,"  ;i 
rev  no :  the  professional  version  of  the  II 
lustrators'  Show.  It  includes  sketches  by 
James  Montgomery  Flagg,  Henrj  V 
staff  CrihbK-  and  Clarence  Buddington 
Kelland.  Adele  Klaer,  who  acts,  paints, 
and  writes  poetrj   has  the  lead. 

Thirty-ninth.  —  "A  Lesson  Tn  Love." 
Emily  Stevens  and  William  Faversham  in 
an  interesting  and  emotional  comedy- 
drama. 

Times  Square, — "Helen  <>t  Troy.''  A 
musical  comedy,'  the  book  by  Kaufman 
and  Connolly  and  the  lyrics  bj  Kalmar 
and  Ruby.  It  bus  a  coherent  plot  and 
deals  with  adventures  in  a  collar  factory. 

Vanderbilt. — "Two  Fellows  and  a  Girl," 
typical  Cohan  comedy-drama,  panned  by 
all  the  critics  and  (locked  to  by  the  public. 

Winter  Garden.  —  "Greenwich  Village 
Follies."  A  beautiful  spectacle  seasoned 
with   goodly   humor. 

ON    TOUR 

"Abie's  Irish  Rose."  An  amusing  study 
in   temperaments. 

"Artists  and  Models."     Second  company. 

"Blossom  Time."  A  musical  comedy 
based  on  the  life  of  Franz  Schubert. 

"Bombo,"   black-face   extravaganza. 

"Cameo  Girl,"  and  "Listen  to  Me," 
musical  comedies  of  one-night  stands. 

"Caroline,"  a  musical  gem. 

"Dew  Drop  Inn."  Wherein  a  black- 
faced  comedian  leads  the  musical  show. 

"Good  Morning  Dearie."  Entertaining 
musical  comedy. 

"Icebound."  A  dramatic  study  of  New 
England  life.  Awarded  the  Pulitzer  prize 
tor  1522-1923. 

"Irene."  A  musical  worth-while  comedy 
with    the    original    cast. 

"Irene  Castle's  Fashion  Show,"  includ- 
ing dancing  and  musical  numbers. 

"Jack  and  Jill."  John  Anderson's  cele- 
brated musical  revue. 

"Kempy,"  an  English  comedy. 

"Kiki."  Lenore  Ulric  as  a  bewitching 
gamine. 

"Lady  in  Ermine."  A  musical  comedy 
concerning  a   romantic   legend. 

"Lightnin'."  The  comedy  that  Frank 
Bacon  made  famous. 

"Little  Nellie  Kelly."  A  typical  George 
Cohan   comedy. 

"Loyalities,"  a  Galsworthy  play  with  an 
English  cast — the  story  of  Semitic  conflict 

"Partners  Again,"  a  Potash  and  Perl- 
mutter  comedy. 

"Sally,  Irene  and  Mary."  One  of  the 
best    musical   shows   extant. 

"Secrets."  Margaret  Lawrence  and  the 
original  cast,  in  an  English  comedy-drama. 

"So  This  Is  London."  George  Cohan 
poking  fun  at  American  and  British  tem- 
peraments.    Not  original  cast. 

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64  East  Richmond,  Toronto,  Canada. 


headed  by  the  versatile  and  delightful 
Basil  Sydney  in :  Andreyev's  "He  Who 
Gets  Slapped,"  Ibsen's  "Peer  Gynt"  and 
Shaw's  "The  Devil's  Disciple."  All 
former  New  York  successes. 

"The  Bat."  The  Hopwood-Rinehart 
mystery  play  of  record  run. 

"The  Clinging  Vine."  Delightful  musi- 
cal play  of  flappers  and  a  flapper  grand- 
mother. 

"The  Crash,"  a  melodrama  by  Lincoln 
J.  Carter  and  Ralph  Kittering,  produced 
exclusively   for   the    road. 

"The  Dancing  Girl."     Song  and  dance. 

"The  First  Year,"  a  comedy  about 
"breakers   ahead"   on   the   honeymoon. 

"The  Fool,"  a  drama  about  a  minister 
who  tries  to  follow  the  life  of  Christ  in 
modern    locale. 

"The  Gingham  Girl."  Good  comedy  and 
better  music. 

"The  Heart  of  Paddy  Wack,"  with  the 
old  favorite  Chauncey  Olcott. 

"The  Music  Box  Revue."  Extravagant 
in  girls,  costume  and  song. 

"The  Old  Soak,"  a  play  on  the  order  of 
"Lightnin'."  With  Harry  Beresford,  the 
lovable   inebriate. 

"The  Passing  Show,"  as  usual  a  gor- 
geous  revue. 

"The  Perfect  Fool."  Edwin  Wynri 
making  it  perfect. 

"Thumbs  Down."  A  somewhat  wild 
but  amusing  mystery  play. 

"Up  the  Ladder,"  a  drama  concerning 
the  newly  married  and  their  extravagance. 

"Wang,"  with  the  arch  comedian,  De 
Wolf  Hopper,  a  charming  revival. 

"Whispering  Wires,"  a  mystery  play 
that  makes  the  flesh  creep. 

"Wildflower,"  which  has  a  delightful 
musical  score.     Second  company. 

"You  and  I,"  a  society  comedy,  wherein 
a  career  is  sacrificed  to  matrimony. 


QUESTION 

By  Wright  Field 

You  have  said  that  you  love  me  .   .   . 

I  have  not  tasted  food  today, 

And  the  water  that  I  drank 

Has  been  wine.  .  .  .  Last  night, 

Heaven  spilled  itself  across  my  bed 

In  the  glory  of  moonlight, 

And  kissed  down  my  eyelids 

Into  a  trance  of  delight 

More  exquisite  than  dreams  . 

I  trembled  with  the  ecstasy 

That  swam  about  me  .    .    .  if  it  is  thus 

To  know  that  you  love  me, 

How  shall   I  bear  it 

When  .   .   .  you  kiss  me? 


all  day 


THE  EGO 

{To  any  man- — or  zvomaii) 

By  Wright  Field 

What  are  you,  anyway, 
That  your  small  pin-pricks  of  opinions, 
Hopes,   fears,  desires,  and   prejudices, 
( Especially  the  latter  ! ) 
Should  be  thrust  upon  a  World 
That  has  annoyances  of  its  own, 
And  a  hard  enough  time,  as  it  is, 
To  get  along  with  you, 
Without  your   small   stings? 

Should  a  worm. 

Sucking   its  life   from   an  apple, 

Rear  its  humble   form  indignantly, 

And  hurl  advice  or  venom  at  the  apple-tree 

That  tolerates,  shelters,  and  feeds  it? 

The  World 

Is  your  apple-tree ; 

Be  glad  it  tolerates  you, 

And  keep  your  worm-like  views 

In  your  own  worm-hole  ! 


QwksMcNd, 


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we  tell  you  what  our  own 
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ill  we  tell  you,  fully. 
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Subscription  Dept. 

EREWSTER  PUBLICATIONS,  Inc. 

175  Duffield   St.,  Brooklyn,  N.  Y. 

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r  A  1    the  enemy  that  is 
shortening   your   life — banished 

By  Neutroids 
—  Dr.     Graham's    Famous    Prescription 

Supei  Ruoui  t-ii  ovi  i  burdens  (hi 
the  lungs,  kidne*,  ,  itomai  d  and 
Stdul  men  and  women  are  ihi 
pneumonia,     Ti  h  ial    maladii  s,    mi  h 
poisoning    or    bronchial 
and  unexpected  death  to  stout  people 
thing    is    unheard    of    when    sl< 
similarly    affected      Realizing    thai 
serious    factor   in   shortening  human  k 

Lincoln    Graham,    famous 
New    York,    h,-!-,    devoted    lu^    life    to    findii 
method    For   reproducing   obesity   naturally    without     • 
lo   the   health   of   the   patient   in   any    way.      Finall 
countless   experiments    in    the    laboratories   oi  and 

America,  he  developed  and  perfected  his  i 
as  NEUTROIDS 


FREE 

Personal  Mail 
Consulting 
Service  by  Dr. 
Graham's  Staff 

A  n  >  pe  i  son 
taking  Neu- 
troids may 
feel  free  to  call 
at  the  Sanitari- 
um or  write  to 
Dr.    G  ra  h  a  m 

con  f  id  entially. 
Y<ur  letter 
will  receive-  the 
nal  atten- 
tion of  either 
Dr.  Graham 
h  i  m  self  or  a 
staff     physician. 


No  Creams — No  Baths — No  Diet — No  Exerc 


ise 

I     in    >our    body     i-  a     simple    chemii 

cells    in    the    stomach    combine    with    tbi 

our _  food,    causing    fatty    ti- 


NO 

DANGER 

GUARANTEED 
HARMLESS 


\  t 

■■' 

Neutroids    counteract    the    action 

cells  and  immediatc-h  overcome 
the  formation  of  fat  at  its  verj 
Neutroids  then  aid  nature  in  dissolving 
fatty  tissue  accumulated  over  a  long 
period.  Dr.  Graham  has  prescribed  Neu- 
troids for  thousands  of  people  suffering 
from  overweight  who  have  visited  Ins 
sanitarium.  He  personally  guarantees  that 
his  prescription  will  give  satisfactory  re- 
sults and  that  it  contains  no  thyroid  ex- 
tract or  habit  forming  drugs  and  can  be 
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SEND    COUPON    ONLY— NO    MONEY 

Merely  fill  in  and  send  this  convenient 
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with  Postman  This  will  be  refunded  if 
you    are    not    sati- 


WHAT  USERS   OF 

NEUTROIDS  HAVCTOSAY 

Had  tried  everything 

on    the  • 

reduce     ind     nnthi    . 
done  me  toy 
Graham's     \ 
'  Dee    K.    II  arris, 

Brooklyn,   N.  Y. 
Lost  5  pounds  In  one  week 
"In  the  first  week's  treat- 
ment   nf    Neul 
five  pout.  <  ravine 

for    fund,    feel    liBhtiT    and 
more   a. -tin -."—  Mrs     Made- 
intaer.     New    York 

Lost  16  pounds  In  2  weeks 

"I  l'>st  sixteen  pou: 
the   first    two 

nu-nt  and  feel  tine.     1  nam 
twi  lav-four  pounds- 
iii  ore.  ' '-  I.     <:     M  I  Her, 
ThermoDolis,  Wyp. 


Dk  R.  Lincoln  Graham,  care  of  The  Graham  Sanitarium.  Inc.,  12.5  East  S9th  St.. 
Dept.  713,  New  York  City; — Send  me  two  .weeks'  treatment  of  Neutroids  which  entitles 
me  to  free  professional  mail  consulting  service  and  free  booklet  on  Obesity.  I  will  pay 
postman  $2  (plus  15c  postage)  on  arrival  in  plain  package.      Money  to  be  refunded   if  not 

satisfied. 


Name \ge .  . .  . 

Address Weigh 


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r 


<^s4  girl's  skin  can  be  a  constant  humiliation  to  her — or  it  can  be  one 
of  the  loveliest  things  about  her,  so  fresh  and  sweet  that  no  one  can 
see  it  and  not  admire  it. 

If  you  want  to  be  attractive  to  other  people — begin  with  your  skin! 
Overcome  its  defects — learn  to  care  for  it  in  the  way  that  ■will  keep 


it  flawlessly  clear  and  smooth,  with  a  fresh,  natural  color.  The 
satisfaction  you  will  feel  in  having  a  beautiful  complexion  will 
more  than  repay  you  for  the  few  minutes  of  regular  care  that  you 
spend  on  it  every  day.     .     „     „ 


Your  skin  can  be  as  lovely  as  any  woman's 

— if  you  give  it  the  right  care 


lJON'T  be  a  fatalist  about  your 
skin! 

Don't  say  to  yourself  that  you 
have  a  naturally  poor  complexion, 
just  as  some  women  have  a  natu- 
rally good  complexion. 

A  poor  complexion  is  never 
natural  to  anyone. 

If  there  is  something  about  your 
skin  that  keeps  it  from  being  at- 
tractive— if  it  is  pale  and  sallow,  or 
excessively  oily,  or  disfigured  with 
blackheads — with  blemishes — 
then  you  can  be  sure  that  you  are 
not  giving  your  skin  the  right  kind 
of  care. 

Begin  now  to  overcome  this 
condition!  You  can  make  your 
skin  what  you  will,  for  each  day 
it  is  changing;  old  skin  dies  and 
new  takes  its  place.  Give  this  new 
skin  the  special  treatment  it  should 


have,  and  see  how  smooth  and 
lovely  you  can  keep  it  —  how 
quickly  the  defects  in  it  will  dis- 
appear. 

Use  the  following  treatment  to 
free  your  skin  from  blemishes — 

Just  before  retiring,  wash  your  face 
with  warm  water  and  Woodbury's 
Facial  Soap,  finishing  with  a  dash  of 
cold  water.  Then  dip  the  tips  of  your 
fingers  in  warm  water  and  rub  them 
on  the  cake  of  Woodbury's  until  they 
are  covered  with  a  heavy  cream-like 
lather.  Cover  each  blemish  with  a 
thick  coat  of  this  and  leave  it  on  for 
ten  minutes.  Then  rinse  very  care- 
fully, first  with  clear  hot  water,  then 
with  cold. 

Special  treatments  for  all  the 
commoner  skin  troubles  are  given 
in  the  booklet,  "A  Skin  You  Love 
to  Touch"  which  is  wrapped  around 
every  cake  of  Woodbury's  Facial 
Soap. 


Get  a  cake  of  "Woodbury's  Facial 
Soap  and  begin  to-night  the  right 
treatment  for  your  skin!  Within  a 
week  or  ten  days  you  will  see  a 
marked  improvement. 

A  25  cent  cake  of  Woodbury's  lasts 
a  month  or  six  weeks  for  regular  use, 
including  any  of  the  special  treatments. 
The  same  qualities  that  give  Woodbury's 
its  beneficial  effect  in  overcoming 
common  skin  troubles  make  it  ideal 
for  regular  toilet  use.  You  can  also 
get  Woodbury's  in  convenient  3-cake 
boxes. 

ThreeWoodbury  skin  preparations 
— guest  size — for  10  cents 

Send  10  cents  today  for  a  miniature  set 
of  the  Woodbury  skin  preparations, 
containing: 

A  trial  size  cake  of  Woodbury's  Facial  Soap 
A  sample  tube  of  Woodbury's  Facial  Cream 
A  sample  box  of  Woodbury's  Facial  Powder 
Together  with  the  treatment  booklet.  "A  Skin 
You  Love  to  Touch. " 

Address  The  Andrew  Jergens  Co.,  912  Spring 
Grove  Ave.,  Cincinnati,  Ohio. 

If  you  live  in  Canada,  address  The  Andrew 
Jergens  Co.,  Limited,  1)12  Sherbrooke  St.,  Perth, 
Ontario.  English  Agents:  H.  C.  Quelch  &  Co., 
4  Ludgate  Square,  London,  E.  C.  4. 


Copyright,  1923,  by  The  Andrew  Jergens  Co. 


(Ten) 


/. 


oo  <f  mm 


»°  SCREEN 


IL 


Photograph  by  Ira  D.   Hill 

Hope  Hampton  has  been  conscientiously  and  persistently  working  toward  better 
things,  and  for  her  part   in   "The   Gold  Diggers,"   the  critics   had   only   praise 


■  — 


r 


Photograph  by   Maurice  GcMher* 


This  sterling  actor,  like  so  many  others, 
divides  his  time  betzveen  stage  and  screen. 
He  is  now  playing  in  the  New  York  stage 
success,  "The  Jolly  Roger,"  and  has  just 
completed  an  English  film 


PEDRO  De  CORDOBA 


_i 


Photograph  bj    Rich.in]   Sniithall  (Irani 


ANN  PENNINGTON 


Whenever  a  show  in  New  York  is  in 
danger  of  flopping,  the  powers  just  caU 
in  little  Miss  Pennington  and  the  day  is 
saved.  Pinch  hitting  scons  to  be  her 
"metier."      Piquant     is    an  rked 

word,  but  it  belongs  to  Ann 


We  cant  resist  quoting  Classic's  own 
"Iris  In"  about  this  fascinating  woman. 
Speaking  of  "Lawful  Larceny,"  Hane- 
mann   said,   "It's  Naldi,   but  it's   nice!" 


Photograph  by   Donald   Biddle  Keyes 


NITA  NALDI 


CONRAD  NAGLE 


Whose  work  is  steadily  improving  under 
the  Goldwyn  banner.     He  has  just  com- 
pleted "The  Rendezvous"  and  will  play 
Paul  in  Elinor  Glxn's  "Three  Weeks" 


' 


This  starlet  has  had  hard  luck,  but  it  has 

turned  noxv,  and  she  is  playing  Beatrice 

Chetu  opposite  Glenn  Hunter  in  "West  of 

the  Water  Toiver" 


Photograph   by   StraussPeyl  ■ 


MAY  McAVOY 


Photograph  by  White  Studios 


MADGE  KENNEDY 


This  irresistible  comedienne  is  twinkling 
on  the  stage  in  "Poppy"  and   is  at   the 
same  time  on  tour  in  her  photoplay.  "Tin- 
Purple  Highway" 


Paramount 

POLA   NEGRI 
The  genius  of  the  screen 


%gt 


Edwin  Bower  Hesser 
MABEL   NORMAND 

The  most  temperamental 


Clarence  S.  Bull 

BLANCHE  SWEET 

The  most  extraordinary 

personality 


MADGE  BELLAMY 

The  prettiest 


Questions  and  Answers 


WHEN  they  know  you  are  from  Hollywood,  you 
are  due  for  a  cross-examination ;  and  when  I  am 
cross-examined,  this  is  what  I  tell  them : 
The  Question  :  Who  is  the  finest  artist  in  the  movies? 
The  Answer  :  Taking  all  things  into  consideration,  the 
finest  artist  among  the  men  is  Charlie  Chaplin ;  Lillian 
Gish  among  the  women. 

And  if  it  comes  to  a  decision  between  the  two,  we  will 
have  to  agree  upon  what  we  mean  by  an  artist.  Charlie 
is  a  conveyor  of  ideas.  Lillian  Gish  is  a  delineator  of 
characters.  Charlie  is  never  anybody  but  himself  and 
never  tries  to  be. 
Charlie  expresses 
himself  and  his 
quaint  original 
angle  on  life.  Lil- 
lian  expresses 
other  people  and 
their  angles  on 
life.  S  t  r  ict  ly 
speaking,  I  sup- 
pose you  might 
say  that  Chaplin 
is  not  an  actor  at 
all.  That  is  to 
say,  he  never 
merges  his  own 
character  into  the 
representation  of 
some  character 
out  of  life. 
Charlie  is  essen- 
tially a  painter. 
Only  he  uses 
himself  and  a 
camera  instead  of 
an    easel    and    a 

brush.  No  artist  in  all  the  history  of  art  has  given  to 
the  world  more  exquisite  pictures  than  the  perfect  little 
thumbnail  sketches  that  Chaplin  paints.  He  is  a  poet, 
only  he  uses  his  own  feet  and  a  pair  of  big  shoes  instead 
of  iambic  tetrameter.  Charlie's  little  pictures  of  wistful 
poverty  are  among  the  great  satires  of  the  world's  liter- 
ature. Lillian  Gish,  on  the  other  hand,  is  a  great  actress 
in  the  sense  of  casting  off  her  own  personality  and  put- 
ting on  another  like  a  coat. 

It  is  an  incorrect  use  of  terms  to  call  Lillian  a  genius. 
Mabel  Normand  is  a  genius — perhaps  the  most  remark- 
able that  ever  came  to  the  screen.     Pola  Negri  is  another. 


Kenneth  Alexander 

CORINNE   GRIFFITH 
The   second  most  temperamental 


LILLIAN   GISH 

The  finest  artiste 


Abbe 


Lillian  is  not  a  genius.  She  is  a  master  workman.  With 
Mabel  Normand,  acting  bubbles  out  of  her  soul  like 
water  from  a  spring.  I  dont  believe  she  gives  it  much 
thought.  Also  if  she  gave  it  much  thought,  she  would 
hurt  her  work.  She  is  at  her  best  when  she  "just  does 
it."  The  same  is  true  of  Pola  Negri.  One  of  the  reasons 
why  "Bella  Donna"  failed  artistically  was  because  Pola 
began  figuring  out  what  to  do  instead  of  plunging  right 
in  as  she  has  done  when  she  had  a  director  she  knew  and 
trusted.  With  Lillian  Gish,  on  the  other  hand,  it  is  all 
conscious  effort.  She  is  always  shooting  at  a  mark.  She 
studies  the  character  she  is  to  portray  as  a  surgeon 
studies  a  disease.  She  even  figures  out  in  her  own  mind 
what  such  a  girl  would  eat ;  what  she  would  do  on  her 
holidays ;  what  kind  of  friends  she  would  have.  She 
may  never  use  these  points  on  the  screen ;  but  it  helps 
her  to  get  "clear  under."     I  think  her  work  in  "Broken 

Blossoms"  was  the 
highest  point  to 
which  screen  acting 
has  ever  been  lifted. 

The  Question: 
Who  is  the  most  in- 
telligent woman-  on 
the  screen  ? 

The  Answer  :  It 
lies  somewhere  be- 
tween Mary  Pickford 
and  Louise  Fazenda. 
Mary  has  the  level 
keen  intelligence  of  a 
captain  of  finance.  I 
think  she  could  make 
a  success  of  any  busi- 
ness in  the  world. 
She  would  be  a  glow- 
ing journalist;  I  am 
inclined  to  think  she 
would  be  one  of  the 
most  remarkable 
newspaper  editors  the  world  of  journalism  has  known. 
With  absolute  seriousness  I  nominate  Mary  for  this 
woman  cabinet  member  they  say  is  due  to  happen  before 
long.  She  has  vision  and  a  level  sanity  that  is  almost 
appalling.  I  have  never  known  any  big  public  man  with 
such  an  ability  to  reduce  a  situation  to  its  native  elements. 
Louise  Fazenda  is  another  type  of  mind.  She  is  almost 
as  shrewd  and  keen  in  a  business  way  as  Mary  but  she 

(Eighteen) 


Kitw  in  Hnwrr  Il<-*srr 

THEDA    BAKA 

The   most   charming   socially 


Witttl,  I.    A 

FLORENCE   VIDOR 
The  most  beautiful 


Wit/,  I.  I       \ 


RUTH    ROLAND 

The  best  business  woman 


11      •  •  -  •  u - 1 1  ■ 

LOUISE    FAZENDA 

The  most  original 


Harry  Carr  Settles  These  Cinema 
Queries  Once  And  For  All 


sometimes  allows  herself  to  he  blinded  by  fits  of  self-pity 
and  a  variety  of  self-consciousness  that  manifests  itself 
as  "acting."  You  are  not  sure  when  you  are  down  to  the 
real  genuine  Louise  Fazenda,  or  when  she  is  just  ''act- 
ing." Without  any  comparison,  however,  she  has  the 
mo-~t  original,  daring  and  Mashing  intelligence  of  any  girl 
in  the  movies.  Mary  always  makes  me  think  of  a  bank 
with  shiny  desks ;  Louise  is  more  like  a  circus.  Mary 
may  emerge  some  day  as  a  great  financier;  I  shouldn't 
be  surprised  to  see  Louise  become  an  author  of  real  note 
and  genius. 

The  QUESTION:  Who  is  the  most  charming  socially0 

The  Answer:  The  most  finished  social  charm  I  ever 
met  in  the  movies  came  from  a  Russian  princess  who 
was  working  as  an  extra.  She  had  escaped  from  Siberia 
in  a  box  car  with  thirty  drunken  Russian  Cossacks  who 
were  trying  to  assault  her  most  of  the  time  and  who  were 
held  at   bay   by  her 

wit    and    charm    of  charlie  chaplin 

manner.     I    cant    re-  The  finest  artist 

member     her    name  ©  Strauss-Peyton 

and  dont  know  what 
became  of  her.  She 
just  blew  in  and 
blew  out  again.  Of 
established  actresses, 
the  most  charming 
woman  I  ever  met 
is  Theda  Bara.  I 
imagine  it  is  some- 
what studied  and 
planned  for  on 
Theda's  part ;  never- 
theless  she  has 
charm  and  poise 
and  a  light  flashing 
wit  and  at  the  same 
time  depth  and  a 
rare  tact  and  a  de- 
lightful   instinct    for 

the  color  of  words  and  the  natural  boundaries  of  a  social 
conversation. 

The  Question  :  Who  is  the  most  extraordinary  per- 
sonality ? 

The  Answer:  Is  it  Mabel  Xormand  or  Blanche 
Sweet?  Certainly  one  of  the  two.  Mabel  is  the  only 
person  I  ever  knew  who  seemed  to  take  a  delight  in  put- 
ting her  worst  foot  forward.     Mabel  is  one  of  the  most 


thoroly  and  widely  read  women  I  have  ever  known  but 
she  religiously  conceals  the  fact.  If  Mabel  buys  the  At- 
lantic Monthly,  she  carries  it  home  wrapped  up  in  the 
Police  Gazette.  Mabel  has  a  good  angel  that  she  always 
keeps  locked  up  where  nobody  can  find  her.  She  has  a 
bad  angel  whose  name  is  Wild  Impulse.  The  good  little 
sweet,  tender-hearted  child  who  is  the  real  Mabel  sits  at 
one  side  saying,  "Dont.  oh  dont"  to  the  reckless  little 
Mabel  who  'rushes  wildly,  intcmperatelv  on.  refusing  to 
listen.  Blanche  Sweet  is  another  »irl  who  keeps  the  besl 
of  herself  where  nobody  can  see — who  covers  up  a  tender. 

-\  mpathetic  heart 
and  tries  her  best 
to  be  something 
other  than  the 
sweet  lovable 
girl  that  she  is. 
Underneath  the 
Blanche  S  w  e  c  t 
that  the  world 
knows  is  a 
strange  tragic 
note  that  is  hard 
to  explain  and 
understand. 

The  Oies- 
tiox  :  Who  is  the 
richest  woman  in 
the  movies  - 

The  Answer: 
In  her  own  right. 
Mary  Pick  ford. 
She  has  a  large 
fortune  in  securi- 
ties that  are  like 
greenbacks  in  the 
bank.  It  is 
mated  that  Mary  is  about  twice  a  millionaire.  Ruth 
Roland  is  also  a  very  rich  woman  as  a  result  of  her  real- 
estate  investments.  The  ultimate  extent  of  her  fortune 
will  depend  somewhat  upon  the  future  of  Los  Angeles. 
With  her  immense  oil  fields;  with  a  wealth  of  cheap  elec- 
tric power  in  her  mountains,  with  her  great  fruit  and 
cotton  interests  and  her  proximity  to  the  (  irient,  it  looks 
as  tho  Ruth  had  in  the  future  of  Los  Angeles  a  pretty 
safe  bet. 

If   we  consider  her  husband's    fortune  as   hers,   which 
it    i<,    in    fact,    under    the    California    law.    then    Norma 
(  Continued  on  poyc  S2) 


©  Strauss-Peyton 

MARY   PICKFORD 
The  richest  and  the   most  intelligent 


(Nineteen) 


The  Powers  Behind  the  Screen 

Who's  Who  in  the  Motion-Picture  Business 
By  STANTON  LEEDS 

Editor's    Note. — This   is    the    third    of    the    series    of   five   articles    on    the    business 

end  of  the  motion  picture  and  <i  discussion  and  a  description   of  the  truly  great 

personalities  who  have  put  the  movies  on  the  map 


THE   exhibitor." 
producers    are 
wont  to  complain, 
"is      the     original     cry- 
baby." 

However  that  may  be, 
the  chorus  against 
Adolph  Zukor,  after  he 
set  out  on  his  ambitious 
project  of  supplying 
regularly  each  year. two 
feature  pictures  a  week, 
rose  to  a  scream.  It  was 
maintained  that  high 
prices  would  scare  off 
the  public. 

The  idea  was  general, 
but  it  grew  to  be  the 
particular  white-headed 
pet  of  W.  W.  Hodkin- 
son,  the  Cassandra  of 
the  picture  business. 
Much  given  to  prophecy, 
his  warnings  have  rarely 
been  heeded,  but  that 
they  deserved  better  of 
his  hearers  is  shown  by 
his  own  success  and  his 
record  as  an  independent 
distributor  of  a  program 
of  unusually  we  11 -se- 
lected pictures.  "Down 
to  the  Sea  in  Ships"  was 
his.  So  was  "Tourney's 
End." 

Tall,  reserved  but 
courteous,  with  a  precise 
manner  of  speech  that 
bears  witness  to  his  gift 
for  balancing  all  the 
forces  that  assert  their 
weiglit  in  any  particular 

problem,  he  was  the  first  president  of  Paramount,  and  on 
the  subject  of  the  company's  attitude  toward  exhibitors, 
he  and  Zukor  had  words. 

It  lias  been  said  authoritatively  of  Adolph  Zukor  that 
he  will  express,  in  private,  without  reserve  all  the  stored- 
up  antagonism  he  may  feel  toward  some  rival,  and  the 
next  minute  receive  this  same  rival  in  his  office,  welcoming 
him  with  all  possible  sympathy  and  attention,  but  this 
quality,  that  is  also  Lloyd  George's,  did  not  signalize  his 
difference  with  Hodkinson.  Their  interchange  of  com- 
pliments is  one  of  the  classics  of  Broadway. 

Its  upshot  was  a  meeting  of  the  board  of  directors. 
Hodkinson  found  himself  suddenly  out  in  the  cold,  and. 
from  time  to  time,  others  have  followed  him  from  the 
realm  ruled  by  Zukor — notably  B.  P.  Schulberg,  who,  on 
his  own,  discovered  Katherine  MacDonald,  the  American 
Beauty,  to  a  waiting  world;  Hiram  Abrams,  now  manag- 
ing for  Pickford,  Fairbanks,  Griffith,  Chaplin  and  others, 
their  own  distributing  concern  ;  Al  Lichtman.  at  thirty  a 
salesman  with  an  amazing  reputation  for  results  ;  Whit- 


Photograph  by   Pach,   N.    Y. 

W.  W.  Hodkinson,  the  Cassandrat  of  the  picture  busi- 
ness. Much  given  to  prophecy,  his  warnings  have  rarely 
been  heeded;  but  that  they  deserved  better  of  their 
hearers  is  shown  by  his  own  success  as  an  independent 
distributor.  "Down  to  the  Sea  in  Ships"  was  his  offering 


man  Bennett,  a  Harvard 
sumnui  cum  laude  man 
and  now  producer  of  his 
own  pictures,  and  John 
D.  Williams. 

These  men  are  Zukor 
men,  and  they  have  the 
Zukor  idea  just  as  surely 
as  S.  R.  Kent.  Famous 
Players'  present  sales- 
manager,  has,  but  that 
John  D.  Williams  ever 
was  with  Adolph  Zukor 
seems  to  have  been  for- 
gotten. 

An  Australian,  he  was 
disregarded  until  he 
loomed  up,  apparently 
from  nowhere.  Asso- 
ciated with  him  was  H. 
O.  Schwalbe,  erstwhile 
secretary  of  the  Stanley 
Company  which  owns  a 
great  chain  of  theaters  in 
censor-ridden  Pennsyl- 
vania— in  fact,  that  great 
state,  if  not  its  perform- 
ing censors,  is  said  to  eat 
out  of  this  company'.s 
hand. 

At  any  rate,  with  this 
immense  market  back  of 
them,  Williams  and 
Schwalbe  proceeded  to 
organize  the  co-operative 
company  which  they 
called  the  First  National. 
"Paramount  has  the 
stars,"  they  said.  "That's 
Zukor's  talking  point. 
Till  we  get  'em  away,  we 
cant  sell  the  country." 
Now  exhibitors,  of  course,  had  the  neat  notion  that 
if  they  were  to  make  pictures  themselves  they  wouldn't 
have  to  buy  them  from  Paramount.  If  they  didn't  have 
to  pay  so  much  to  Paramount,  they  would  make  more 
themselves.  Williams  and  Schwalbe  found  that  these 
very  ideas  were  rich,  red  meat  for  them. 

In  return  for  pictures  to  come,  exhibitors  banked  money 
in  the  First  National  war  chest  and  this  money  was  used 
to  assist  such  producers  as  D.  W.  Griffith.  Thomas  H. 
Ince,  Marshall  Neilan  and  ,so  on,  to  make  their  own  pic- 
tures. The  pictures,  of  course,  were  First  National's  to 
distribute,  and  on  these  pictures  exhibitors  having  a  First 
National  franchise  had  a  primary  claim. 

The  money  was  also  used  to  hire  stars  to  appear  in 
pictures.  From  Zukor,  Williams  and  his  crowd  coaxed 
Mary  Pickford  and  a  merry  war  was  on. 

Thru  the  loss  of  Mary  Pickford,  Zukor  found  all  his 
valuable  contracts  threatened.     He  countered  by  buying. 
or  building,  theaters.     In  short,  he  became  again  what  he 
{Continued  on  page  84) 


(Twenty) 


Cameo  Kirby,  Gentleman  Gambler 

John   Gilbert  in  the   picturesque  title-role   of   the 

new    Fox   film,   "Cameo    Kirby,"   by    Booth    Tar- 

kington  and  Harry  Leon  Wilson.     Photograph  by 

Edwin  Bower  Hesser 


I  Twenty-one) 


Photogr 


Photograph  by 
Victor  George 


When  I 
Come  Back 

A  Promise 

By 
RODOLPH  VALENTINO 


Photograph   by 
Donald  Biddle  Keyes 


rHE  only  Valentino  sits 
easily  at  one  end  of  a 
neutral-tinted  d  av  c  n- 
port  in  his  New  York  apart- 
ment. The  room  is  in  disor- 
der, stripped  of  its  draperies 

and  the  little  odds  and  ends  that  make  of  four  walls  a 
home.  Trunks  and  boxes  of  all  shapes  and  sizes  are  about. 
Expensive  luggage  of  every  description  fairly  litters  the 
place.  He  is  leaving  with  his  wife,  Natacha  Rambova, 
for  a  belated  honeymoon  in  Europe.  The  interviezver  is 
confused,  frankly,  rattled.  One  has  heard  so  much  of 
this  man  and  dreamed  so  much  more,  that  when  one 
finally  is  in  The  Presence,  words  simply  desert,  or  worse 
still,  mutiny,  and  intelligent  questions  become  chaotic 
stammerings.  Yes,  one  is  a  little  excited.  Not  so  Valen- 
tino.   He  is  smoking  cigarets  in  an  inordinately  long  and 


Above  is  a  study  of  Valentino  and  his  remarkable 
wife,  Natacha  Rambova,  taken  in  their  own  apart- 
ment before  they  sailed  for  Europe.  The  little  round 
pictures  look  like  "before  and  after"  his  coming 
back  to  the  cinema 


preposterously  slender  ivory 
holder.  If  the  couch  is  neu- 
tral-tinted, he  is  not.  He 
wears  a  shining  gun-metal 
grey-satin  lounge  suit  with 
collars  and  cuffs  and  frogs 
of  bright  Chinese  red.  His  voice  is  soft,  a  little  throaty, 
musical  as  all  Italian  voices  are.  There  is  only  a  trace  of 
accent,  utterly  charming.  His  vocabulary  is  remarkable. 
He  speaks: 

I  have  not  been  happy  away  from  pictures  .  I  want  to 
start  to  work  again  and  I  believe  that  that  may  be  soon. 
You  know  I  have  signed  a  contract  with  the  Ritz-Carlton 
Pictures  and  Mr.  J.  D.  Williams,  who  is  doubtless  known 
to  you.  The  arrangement  becomes  effective  with  the  ex- 
piration of  my  Famous  Players-Lasky  contract.  In 
February  I  shall  start  making  pictures  again. 


(Twenty-two ) 


CLASSIC 


1  think  1  have  the  most 
wonderful  contract  it  has 
r\  cr  been  a  star's  privilege 
to  sign,    I  had  man)  other 

offers    too      Do    not    think 

that  vanity  :  I  am  merely 

stating  a  fact    Hut  the  con 

trad    that     Mr      Williams 

offered  me  is  exactly  the 
thing  I  have  been  looking 
tor  ever  since  "The  Four 
Horsemen."  I  am  to  se- 
lect my  own  stories,  my 
own  cast,  ami  the  director 
I  think  best  qualified  to 
handle  the  particular  story 
I  wysh  to  make.  I  am  at 
liberty  to  choose  any 
member,  or  the  entire 
staff  necessary  to  the  mak- 
ing of  pictures  these  days. 
The  entire  responsibility 
will  be  mine.  If  the  pic- 
tures fail,  it  will  be  my 
fault. 

Rut  I  do  not  think  they 
will  fail.  I  have  not  lost 
my  head  entirely,  and  do 
not  mean  to  try  to  shoul- 
der everything,  as  so 
many  motion-picture  stars 
have  been  doing  lately, 
and  with  such  disastrous 
results.  Oh,  no.  I  shall 
pick  my  own  director,  but 
once  he  is  mine.  I  shall  be 
his — if  you  understand 
me?  I  shall  place  what- 
ever talents  I  have  in  his 
hands  and  I  shall  try  to 
the  best  of  my  ability  to 
be  guided  by  superior 
mentality  wherever  I  find 
it.  So,  I  do  not  think  we 
will  fail. 

I  dare  not  fail.  I  do 
not  like  poverty  and  I 
have  had  my  share  of 
adversity  and  disillusion- 
ment. Perhaps  it  has 
been  good  for  me — I  am 
sure  it  has — but  I  do  not 
want  any  more  of  it.  .   .   . 

I' ale nt i no  sighs  a  little, 
smiles  a  little,  and  lights 
another  cigaret.  His  eyes 
are  far  away.  He  is 
hardly  conscious  of  a 
listener.  It  is  as  tho  he 
merely  speaks  his  thoughts 
aloud,  far-away  thoughts, 
but  not  so  long  ago  that 
they    should    be    softened 

by  the  merciful  hatid  of  retrospect.    So  little  a  'while  ago 
.   .   .  and  he  was  stoning  poor.   .   .   . 

I  have  been  so  poor,  so  what  you  call  broke,  that  I 
hardly  got  enough  to  eat.  I  remember  that,  and  it  keeps 
me  forever  humble.  I  think  back  on  those  days  and  I 
think  that  now  I  must  be  carefnl.  I  must  not  get  the 
swell  head,  because  that  ruins  development ;  I  must  not 
think  people  cannot  get  along  without  what  I  have  to  give 
them,  because  there  was  a  time  when  they  did;  and  if  I 
do  not  keep  faith   with  my — my — friends  who   like  me, 


A  character  study  of  Valentino  by  Russell  Ball.    Ruddy  will  start  making  pictures 
again  for  us  in  February — unless  he  has  more  bad  luck  with  his  previous  contract. 

We  hope  not,  dont  you? 


they  will  deny  me  and  I  shall  be  poor  and  obscure  again. 
Yes.  I  have  been  poor,  so  poor  that  I  used  to  haunt  the 
free-lunch  counters.  And  I  always  used  to  go  at  five 
o'clock  too — spent  the  day  tightening  my  belt  and  waiting 
until  five  o'clock.  And  the  reason  I  waited  till  five  o'clock 
was  that  all  the  working-men  filled  the  saloons  then  and 
bought  their  glass  of  beer — you  were  supposed  to  buy  a 
glass  of  beer,  but  I  never  had  the  price — and  in  the  crowd 
no  one  noticed  that  I  had  eaten  tho  I  bought  nothing.  I 
(  Continued  on  piu/c 


(Tuenly-three) 


Foreign  Films 


W 


Above  is  Sadi  Lecointe, 
the  French  Ace,  in  a 
Phocea  Film,  "The  Speed 
King."  Right  is  a  scene 
from  the  German  film 
"Struensee,"  which  deals 
with  the  love  affairs  of  a 
great  statesman  and  a 
Danish  queen 


Photographs   (above,   right 
and     below)     ©    Gaumont 


Above  is  Mary 
Johnson  in  a 
Swedish  photo- 
play called  "The 
Old  Manor." 
Right  is  a  scene 
from  "The  Mys- 
terious Em- 
blem," a  Gau- 
mont produc- 
tion which  is 
laid  in  the  clos- 
ing  years  of 
Napoleon 


FRANCE 

H  EN  a  man  begins  to  be  too  attentive  to  his  past,  it  means 
that  he  has  given  up  hope  of  a  future.     If  national  and 
individual  psychology  conform  to  the  same  rule,  then  one 
is  inclined  to  conclude  that  the  future  of  the  film  abroad  is,  to  say 
the  least,  obscure.      Nearly  ninety  per  cent,  of   the  productions 
now  being  made  in  Europe  are  either  of  a  historical  or  legendary 
origin.     It  is  hardly  flattering' to  the  creative  talent  of  contem- 
porary writers  abroad  that  in  every  important  produc- 
ing country  there  should  be   such  a  marked  and 
almost  exclusive  tendency  to  exploit  the  past 
and  ignore  the  present.     However,  it  would 
be  unjust  to  lay  the  blame  for  this  situa- 
tion to  artistic  poverty,  for  the  policy  of 
exploring    the    past    and    ignoring    the 
present  has  largely  an  economic  sig- 
nificance.    It  is  cheaper  to  go  to  a 
public  library  than  to  submit  to  the 
demands    of    high-priced    authors, 
and  as  the  Budget  has  become  the 
Bible    of    industries    as    well    as 
governments  abroad,  the  role  of 
the    bookkeeper    has    assumed    a 
greater    importance   than   that   of 
the  author. 

The  current  productions  in  France 
are  an  excellent  illustration  of  this 
principle,  yet  the  revealing  thing 
about  them  is  that  the  principle  of 
economy  can  be  carried  out  without 
any  undue  sacrifice  of  art  or  impres- 
siveness.  In  fact,  in  many  instances 
the  artistic  value  of  the  picture  is 
actually  enhanced.  This  is  particularly 
true  of  the  ambitious  eight-part  drama, 
''The  Boy  King,"  being  made  by  the 
Societe  Cine-Roman,  which  not  only  dis- 
penses with  the  author  but  evades  the  exactions 
of  the  property-man.  The  story  deals  with  one  of 
the  most  dramatic  episodes  of  the  Pre-Revolutionary  era,  in  which  Louis  XVI, 
Marie  Antoinette,  the  pathetic  Dauphin,  and  Lafayette  figure  largely.  The 
background  of  the  action  is  the  Palace  at  Versailles,  a  majestic  mass  of 
architecture  which  lends  immense  dignity  to  the  picture  and  which  for  the 
first  time  has  been  conceded  by  the  government  to   filming. 

The  impressive  Gau- 
mont production,  "The 
Mysterious  Emblem," 
likewise  has  recourse 
to  history,  dealing  with 
the  closing  years  of 
Xapoleon  and  the  in- 
trigues of  his  loyal 
followers  to  bring  him 
back  to  power :  evi- 
dently an  inexhaustible 
source  of  drama  and 
dealt  with  in  this  in- 
stance very  convincing- 
ly. Aubert,  who  has 
just. brought  Sessue 
Hayakawa  to  Paris  to 
star  in  a  modern  film, 
also  bows  to  the  his- 
torical trend  in  "Buri- 
dan,  the  Hero  of  the 
Tour  de  Nesle,"  which 
goes  back  even  farther 

(Twenty-sis) 


Cineman  Glances  Over  the 

European  Studios 

to  Louis  V  m  which  intrigue  runa  deep  .m«l  passion  runs  high 
and  the  plot  thickens  to  the  point  of  being  oppressive  when 
Buridan  turns  down  Queen  Marguerite  of  Bourgogne  in  favor  of 
her  humble  but  charming  rival.  Myrtille.  From  these  pictures  il 
can  be  seen  that  the  film  tan-  of  France  will  in  the  coming  season 
submit  to  an  intensive  course  in  history  such  as  will  beggar  their 
school-day  memoi  ies. 

GERMANY 
rhe  origin  of  this  whole  movement  back  to  the 

pa^t    can,    of    course,    he    traced    to    Germany, 

where  the  essential  motive  was  le^>  economy 
than  an  effort  to  escape  the  stigma  of  1 
present    or    \er\    recent    past    by    seekiu 
shelter    in    the    neutrality    of    history. 
With  a  world  still  hostile  to  all  the 

earmarks     of     Kultur     and     to     any 
illusions,    however    oblique,    to    the 
nefarious    influence    which    critical 
eyes   can    still    discern   in    contem- 
porary Germany,  the  producers  of 
that    country    were    compelled    to 
seek    subjects    which    would    dis- 
arm any  lurking  prejudices.    The 
first  result  was  a  type  of  film  like 
"Caligary,"  fantastic,  hold,  experi- 
mental, and   without  any  mark  of 
nationality.       But     presently     this 
vogue   wore   out,  and  the   German 
producers  began  to  make  their  raids 
on  the  past,  prying  into  the  history 
and    legends    of    all    countries,    and 
selecting  subjects  which  belong  to  all 
times  and  all  peoples.     And  the  result 
has  been  of  inestimable  value  to  the  film 
world,  in  that  it  revealed  a  hitherto  unex 
plored   realm,   rich   in   possibilities,  and  now 
being  thoroly  exploited  by  all  European  countries. 

Germany  has  now  added  two  more  films  to  its 
historical  collection :  "Struensee,"  which  dramatizes  a  page  from  Danish  his- 
tory; and  "Peter  the  Great,"  which  centers  around  one  of  the  great  Czars  of 
Russia.  The  former  is  a  picturesque  and  stirring  record  of  the  career  of 
Struensee,  who  rose  from  obscurity  to  a  position  of  power  in  Denmark,  became 
a  statesman  of  talent  and  authority,  but  whose  weakness  (so  it  was  con- 
sidered )  was  a  most 
undignified  love  for  the 
common  people. 
Struensee  had  the  King 
and  the  whole  Court 
against  him  in  bis 
plebeian  taste,  but  he 
had  Queen  Caroline- 
Mathilde  with  him, 
which  was  ample  com- 
pensation. But  even  in 
palaces  the  way  of  love 
never  runs  smooth,  and 
as  Struensee's  heart  was 
doubly  compromised  in 
that  he  had  consecrated 
it  both  to  a  woman 
and  to  an  ideal,  he  paid 
the  ultimate  penalty, 
the  loyal  and  devoted 
Queen  sharing  his  fate 
at  the  guillotine. 
(Cont'd  on  page  83) 


I'll  .t.iuraph  O  liaumuni 


Above  is  a  tender  moment 
from  "Over  the  Wall." 
Left  is  Raquel  Meller,  a 
famous  singer  and  dancer, 
in  the  first  film  she  ever 
made  in  Spain,  "The  White 
Gitane."  She  is  in  the 
United  States 


riiotoKrapl 


el  and  Hci'«m  t 


Above  is  Alma 
Taylor,  Eng- 
land's Mary 
Pickford.  Every 
country  boasts 
at  least  a  doz- 
en! Left  is  a 
scene  from  "The 
Boy  King,"  an 
ambitious  his- 
torical film  story 
made  in   France 


(Twenty-seven) 


T 


HE  old  coach  rum- 
bled thru  the  rough 
streets  of  Gavrillac. 
Its  squeaking  was  prodig- 
ious, its  rumbling  im- 
mense; but  if  these  things 
disturbed  the  fat  lady 
with  seven  chins  who  sat 
in  the  corner,  they  had 
never  an  effect  on  Andre- 
Louis   Moreau. 

He  was  a  dark,  lantern- 
jawed  young  man,  whose  conceit  it  was  that,  the  world 
was  mad  and  that  he.  Andre-Louis,  was  made  to  laugh 
at  the  lot  of  common  mortals.  But  now  he  was  not  sar- 
donic, not  even  satiric.  His  hand  held  a  little  square  of 
crumpled  handkerchief,  and  his  thoughts  were  among  the 
stars  in  the  land  where  the  dead  dreams  go.  The  mem- 
ory was  that  of  a  young  girl,  fair  and  fragile,  a  spitfire 
if  she  wished,  but  with  all  a  spitfire's  sweetness.  This 
was  Aline  de  Kercadiou,  orphaned  niece  of  Quintin  de 
Kercadiou,  a  grand  seigneur  in  those  piping  days  of 
peaceful  France,  when  Louis  XVI  played  at  locksmith 
in  the  palace  at  Versailles. 

From  this  place  and  palace,  where  she  had  been  under 
the  patronage  of  a  powerful  lady,  Madame  de  Plougastel. 
she  had  come  home  once  more  to  the  sleepy  little  Breton 
town,  and  the  crumbling  chateau.  A  letter  on  Andre's 
lap  told  this,  and  more.  "You  will  find  her  much 
changed."  it  read.  Aline  changed  .  .  .  how  changed  .  .  . 
would  she  still  be  the  Aline  who  had  loved  Andre-Louis 
long  years  ago? 

"Look!  Look!'"  whispered  Philippe  de  Vilmorin, 
Andre's  companion,  divinity  student  and  earnest  revolu- 


Scaramouche 

Written  In  Short  Story  Form 

By 

GORDON  MALHERBE  HILLMAN 


tionist  in  those  dark  days 
when  a  republican  was  a 
marked  man. 

Down  the  steep  street 
came  a  solemn  proces- 
sion. Four  men  were 
carrying  a  quiet  inert  bur- 
den, whose  dark  head 
swayed  stiffly  as  they 
walked.  Ahead  of  them 
stalked  the  gigantic  figure 
of  the  gamekeeper  of  the 
of  all  mighty  nobles,  the 
As  they  stepped  from  the 


preserves   of    that    mightiest 

Marquis  de  la  Tour  d'Azyr. 

coacjh,  a  peasant  told  them :  "ft  is  Mabey.    He  was  poach 

ing  on  the  preserves  of  M.  le  Marquis.     They  shot  him 

dead." 

Into  the  squalid  hut  of  Mabey,  Philippe  followed  the 
body  and  its  bearers,  and  as  the  poacher's  wife  moaned 
and  a  naked  child  huddled  crying  in  a  corner,  he  knelt 
to  pray  for  the  soul  of  a  poor  peasant,  become  an  outlaw 
thru  that  grim  specter  of  starvation  that  stalked  the  land. 

There  was  a  rustle  outside,  the  stopping  of  a  mighty 
traveling  carriage,  and  there  entered,  stooping  at  the  nar- 
row door,  that  rakishly  handsome  roue,  that  bewigged 
and  beruffled  scourge  of  the  countryside,  that  minor 
tyrant,  the  Marquis  de  la  Tour.  With  him,  snuff-box  and 
cane  in  hand,  minced  his  friend,  the  little  jackal  who 
trailed  the  tiger,  the  Chevalier  de  Chabrillane.  They 
sniffed,  they  smiled,  they  exchanged  snuff-boxes,  for  all 
the  world  astho  they  were  in  the  gilded  salons  of  Ver- 
sailles instead  of  a  filthy  hut,  looking  upon  foul  murder. 

Philippe  the  rebel.  Philippe  the  hot-head,  sprang  up. 
his  rage  red  in  him,  an  accusing  finger  at  the  Marquis. 


(T-ci  nty  eight) 


"Y ou  mock ,  Monsieur. 
You  laugh.  Will  you  laugh, 
I  wonder,  when  God  pre- 
sents his  reckoning  to  you 
t» >r  the  bl(K)d  .iiid  plunder 
with  which  voui  hands  are 
full 

Chabrillane    sprang    t"i 
hut  the  Marquis  deli 
Otteh  tapped  lit—  snuff  1><  \ 
"Monsieur,"  he  said  coldly 
and    slowly,    "your    revolu- 
tionary   sentiments    betray 
the   indiscretion    of    which 
Bttdame  your  mother  must 
have  been  guilty." 

Philippe  was  a  priest  and 
.1  man  of  peace.  For  a 
moment  he  tailed  to  com- 
prehend; then  he  struck 
the  Marquis  square  in  the 
face.  Too  late  \tulre  saw 
the  trap  which  had  been 
baited  for  his  friend.  The 
outcome  i>i  such  an  act  was 
a  duel.  The  Marquis  was 
the  finest  sword  in  France; 
Philippe  hut  a  clumsy  boy. 

"Hut.  Monsieur."  he 
cried,  "see,  he  wears  no 
sword.  He  is  a  student  for 
the  priesthood." 

"But  mine  is  at  Mon- 
sieur's service."  said  Cha- 
brillane, smiling  like  a  great 
cat. 

And  so  it  was.  The  Mar- 
quis was  lithe  a>  a  serpent  : 


"You  have  killed  him!"  cried  Andre.     The  Marquis  ran  a  lace  handker- 
chief along   his   blade.     "Of  course.      He   had   a   too   dangerous   gift    of 
eloquence."      Below:     She    swirled    out,    swung    to    the    heavy    curtain 
behind  her,  and  met  Andre  on  the  stairs 


Philippe  stood  square  on  to  Ids  adversary. 

A  moment  sufficed,  the  Marquis  slid  his 
foot  far  forward,  and  his  sword  ran  red. 

"Vmi  have  killed  him!"  cried  Andre. 

The  Marquis  ran  a  lace  handkerchief 
along  his  blade. 

"Of  course.  He  had  a  too  dangerous  gift 
of  eloquence." 

Supporting  the  body  of  his  friend.  Andre 
called  after  him.  *'Come  back,  you  cow- 
ardly murderer,  and  make  yourself  quite 
safe  by  killing  me  too1'' 

The  Marquis  sprang  forward,  his  sword 
held  like  a  whip.  Hut  Chabrillane  held  him 
bade,  and  La  Tour  d'Azyr  turned  away, 
never  dreaming  that  in  the  shrill-voiced  DO) 
he  bad  left  behind  was  to  be  one  of  those 
searing  sparks  that  soon  set  all  France 
ablaze. 

For  Andre's  first  thought  was  of  ven- 
geance. He  would  have  justice.  So  for 
justice  be  went  to  bis  godfather,  Quintin 
de  Kercadiou.  the  country  squire,  whom 
the  villagers  suspected,  not  without  due  rea- 
son, was  father  to  this  child  of  unknown 
parents.  Andre-Louis  Moreau.  He  had 
paid  for  his  education,  had  sent  him  to  the 
law  school  of  Louis  le  Grand  in  Paris:  cer- 
tainly there  was  room  for  suspicion  of  the 
crusty  old  bachelor. 

Kercadiou  bad  been  a  friend  to  Philippe, 
surely  be  would  help  avenge  bis  death.  And 
so  Andre  ploughed  up  the  long  bill,  past  the 


(Tuenly-nine) 


CLASSIC 


'Oh,"  cried   the   girl  in   dismay,  "now   you've   gone  and   spoiled  it  all."     Too  late  Andre  realized 
that   he   had  disturbed   a   rehearsal  of  a  band  of  strolling  players 


working  windmills,  and  into  the  bare  and  rather  savage 
hall  of  his  godfather.  As  he  waited,  he  could  see  thru  a 
long  window,  the  shimmer  of  silks,  the  ruddier  glow  of 
velvets,  the  shake  of  a  ruffled  sleeve.  What  gallant,  he 
wondered,  could  be  wooing  Aline.  Suddenly  the  pair 
rose  and  wandered  into  the  glare  of  sunlight.  One  was 
Aline,  the  other  .   .   .  the  Marquis  de  la  Tour  ! 

He  fairly  sprang  at  his  godfather  with  the  story,  and 
Kercadiou  held  up  his  hands  in  horror  .  .  .  horror  not 
at  the  death  of  Philippe,  but  at  the  presumption  of  ac- 
cusing the  Marquis  of  murder.  For  remember,  this  was 
in  a  far-off  France  when  nobles  were  wont  to  shoot  peas- 
ants off  slate  roofs  for  want  of  better  amusement. 

Furthermore,  Monsieur  le  Marquis  was  pressing  a  cer- 
tain suit  with  Mademoiselle 
Aline.  It  would  endanger 
her  marriage  into  a  mighty 
house  if  trouble  were  made. 
In  short,  there  was  nothing 
to  be  clone,  and  Andre  had 
better  keep  his  hands  out 
of  it. 

Andre  stormed,  he  swore 
he  would  seek  justice  at 
Rennes,  where  was  the 
King's  Lieutenant,  he 
swept  out  into  the  hall,  and 
there  tore  Aline's  lace 
handkerchief  to  shreds.  It 
had  been  next  his  heart  for 
many  a  year,  and  now  as  it 
lay  at  his  feet,  Aline  her- 
self swept  thru  the  open 
door.  With  a  cry  of  joy 
she  ran  toward  him,  would 
have  taken  him  in  her  arms. 


SCARAMOUCHE 

Fictionized  by  permission  from  Metro.  Rex 
Ingram's  production  of  the  adaptation  by  Willis 
Goldbeck   of  the   Rafael   Sabatini  novel.     The   cast: 

Andre-Louis  Moreau Ramon    Xovarro 

Aline  de  Kercadiou Alice  Terry 

Marquis   de  la  Tour  d'Azyr Lewis  Stone 

Climene    Binet Edith    Allen 

M.  de   Kercadiou Lloyd  Ingraham 

Philippe  de   V ilmorin Otto   Matiesen 

Mme.  de  Plougastel Julia  Svvayne  Gordon 

Binet James  Marcus 

Madame Lydia  Yeamans  Titus 

Chevalier  de  Chabrillane William  Humphrey 

M.   Benoit J.   Edwin   Brown 

Mme.  Benoit Carrie  Clarke  Warde 

Le    Chapelier Bowditch   Turner 

George  Jacques  Danton George  Seigman 

Polichinelle John    George 

Rhodomont Joe  Murphy 

Innkeeper •. Snitz   Edwards 


but  he  drew  away  in  disdain,  and  plunged  out  of  the 
door  and  down  the  hill.  At  the  inn  he  hired  a  horse  and 
set  out  at  a  gallop  for  Rennes,  just  as  the  wondering 
Aline  was  picking  her  handkerchief  from  the  stone  floor. 
Rennes  was  roaring  with  revolt.  It  was  a  market 
town,  but  no  mean  metropolis  in  its  way.  and  its  citizens 
were  all  a-smart  with  the  indignities  the  Nobility  had 
heaped  upon  poor  France.  The  King's  proclamation,  it 
was  rumored,  had  been  made  null  by  the  Xobles ;  the  peo- 
ple's rights  had  been  swept  away.  So  students  and  towns- 
folk swirled  about  a  great  statue  like  a  surf-torn  sea. 
and  on  the  statue  stood  a  lean  young  man,  calling  on  his 
countrymen  to  arm. 

But  this  was  not  business  to  Andre.     He  swept  thru  to 

the  Palais  de  Justice,  and 
at  last  was  accorded  audi- 
ence by  the  King's  Lieuten- 
ant, who  was  tasting  some 
rare  old  Tokay  by  way  of  a 
weighty  day's  work.  He 
was  blustering  and  blowsy, 
his  face  was  a  mess  of 
marks  and  sears,  his  nose 
was  a  stalk  concluding  in 
a  bulb,  but  he  was,  withal, 
a  man  of  soft  sentiments, 
and  as  Andre  spoke  with 
passion  of  the  past  day's 
doings  at  Gavrillac,  he 
wept.  Tears  coursed  down 
his  countenance.  He  felt 
bitterly  for  his  fellow  men. 
he  was  near  total  inunda- 
tion in  salt  water,  when  he 
remembered  to  ask,  ''Who 
is  this  villain?" 


( Thirty) 


d 


CLASSIC 


\ndrc  LOUIS    told    him    in    .1    ringing    roar.        I  lie    I   ieu 

tenant  of  tin-  King  ceased  crying.    Hi-  turned  .i  rare  and 
ruddy  purple  instead,     lit-  eyes  would  have  flashed  save 

that  the)    wen-  to,,   tat  and  lluccid. 

"You  dare."  In-  squeaked,  "you  dan-  accuse  the  Mar 
quis!    You  dare  suggest  1  should  hang  him!    Out!    Gel 

out !" 

But  as  In-  rose,  tin-  angry  Andre*  could  not  fort 
final  shot.    "I  always  heard,  Monsieur,  that  Justice  was 
blind  hut  beautiful.     Today  I  have  round  thai  she  is  in 

truth  blind,  but  as  tor  beauty       ,       will  Monsieur  hut 
look  to  the  left  ?" 

Monsieur  looked.  'There  stood  a  mirror,  and  he  beheld 
the  bulbous  nose,  the  rolls  of  tat.  the  mighty  paunch,  and 
behind  it  all.  the  Kir  ^i  Andre-Louis  Moreau, 

"Arrest  that  man!"  he  howled.  But  it  was  too  late. 
\ndre  was  gone,  leaving  nothing  behind  hut  the  wrecked 
nervous  system  of  the  King's  Lieutenant. 

A  diversion  in  the  crowd  drew  his  attention.  ( )n  the 
outskirts  a  soldier  leveled  his  musket,  and  as  the  smoke 
blew  on  the  light  hreeze,  the  student  on  the  statue  toppled, 
clutched  at  empty  air.  and  fell  to  the  stones,  dead. 

A  hundred  set  on  the  soldier.  He  was  beaten,  bat- 
tered, nearly  killed.  Andre  leaped  to  the  statue.  At  last 
it  was  his.  the  opportunity  to  carry  on  the  work  of  his 
first  and  finest  friend.  Philippe  de  Yilmorin.  His  voice 
ran  out  across  that  roaring  market  place. 

"Citizens  of  Rennes.  the  motherland  is  in  danger!" 

Swift  silence  fell.  The  rest  of  that  speech  is  garbled, 
unknown,  forgotten.  But  long  after  its  words  were  lost, 
its  spirit  went  the  width  of  that 
long  land  of  France,  roared  thru 
rough  countryside  and  coppice, 
roared  thru  the  sun-baked  streets 
oi  old  Marseilles,  roared  a  song  in 
the  ears  of  Rouget  de  Lisle,  roared 
down  King,  and  camp  and  cour- 
tiers. And  all  on  account  of  a 
country  lawyer  from  Gavrillac ! 

A  shot  did  not  stop  him.  The 
crowd  raved,  rose,  rioted.  Stones 
flung  sharp  against  the  Palais. 
The  King's  Lieutenant  sought 
himself  a  screen,  and  sent  for  the 
dragoons.  They  came  galloping. 
a  half  a  hundred  of  them,  swirl- 
ing dust  and  swinging  sabres.  The 
square  turned  shambles,  the  mob 
turned  tail.  And  as  Andre  was 
about  to  mount  his  horse,  a  thin, 
ascetic  -  looking  man  pressed  a 
pistol  in  his  hand. 

"My  name  is  Chapelier,'"  he  said 
simply.     "I  like  your  courage !" 

Life  was  duller  at  the  Chateau. 
But  it  was  full  none  the  less,  for 
this  night  the  mighty  Marquis 
came  to  press  his  suit,  and  that 
astute  chaperon.  Monsieur  de  Ker- 
cadiou,  slept  noisily,  with  a  fine 
blowing  out  of  his  lips,  as  his- 
niece  played  on  a  polished  harpsi- 
chord for  the  finer  pleasure  of 
Monsieur  the  Marquis. 

He  had  just  asked  her  for 
"Papillons,"  the  newest  piece  from 
Paris,    when    she   chanced    to 


From  within  came  the  tinkle  and 
clang  of  crossed  rapiers,  the  thud 
of  feet,  a  mutter  of  voices,  then 
dead  silence.  The  iron  door  opened 
and  out  of  it  staggered  the  Marquis 


glance  thru  the  great  door      I  here  fumbling  at  a  window 
fastening  was    \ndre\  a  pistol  m  his  hand      1 1 «- r 
worked  fast,  jn  a  moment  she  had  mad.-  hei  i 
"Papillons,"  was  in  her  room  ihe  would  go  for  it 

and    she    swirled   out,   SWUng    to   the   he.o.'.    n\r 
behind  her.  and  nut   Andie  on  thl  ild  h.v.i 

pushed  her  away,  hut  she  clung  to  him,  and  in  a  mon 

they   were  in  ca<  h  other's  .urn 

Then  came  the  dragoons,  drumming  up  the  long  dri 

In  a  second,  she  SWUTlg  him  thru  a  dour,  slammed 

with   her  hack  to  it  as  the  horsemen  broke  into  the  hall. 

The  sergeant  was  desolated  hut  he  must  search  tin-  ho 
And    he    did    while    Monsieur    the    Marquis    and    Made 
moiselle  looked  on.      Last  of  all  they  swung  open  the  little 
door,  and   lo.  beyond   it   was  an   open    window.      Too   late 
had  the  law  gotten  the  measure  of  Monsieur  Moreau. 

It  was  early  in  the  morning  when  that  gentleman  awoke 
atop  a  haystack,  with  rough  voices  battering  in  his  ear- 
lie  peered  over  carefully  and  behold  a  young  girl,  and 
what  appeared  to  be  her  lover,  trembling  in  fear,  a-  a 
mountain  of  a  man  clambered  over  a  hedge,  and  started 
for  them  with  a  cudgel  like  a  club.  The  lovers  cow 
together,  the  angry  father  advanced,  and  Andre-Louis 
calmly  slid  down  the  haystack  and  landed  on  that  gentle- 
man's neck. 

"<  Hi.''  cried  the  girl  in  dismay,  "how  you've  gone  and 
spoiled  it  all !" 

Too  late  Andre  realized  that  he  had  disturbed  a  re- 
hearsal of  a  band  of  traveling  actors.  Their  carts  were 
about,  their  breakfast  was  smoking  hot.     And  the  gentle- 


( Thirty-one  J 


mmmm 


man  upon  whose  neck  Andre  had  alighted  was  hot  too, 
with  rage.  But  as  he  raised  his  voice  in  denunciation  he 
also  raised  his  eyes,  and  beheld,  trooping  into  the  meadow, 
a  company  of  dragoons.  That  they  were  about  all  to  be 
arrested  for  trespass  was  his  thought,  but  Andre's  wits 
were  working  overtime.  He  ran  forward  and  stood  at 
the  sergeant's  stirrup.  Well  out  of  earshot  of  the  stroll- 
ing players,  he  confessed  that  the  large  gentleman  was  his 
father,  that  he  was  a  member  of  the  company,  and  that 
(here  a  broad  piece  of  silver  changed  hands)  possibly  the 
sergeant  might  care  to  drink  someone's  health  so  early  in 
the  morning.  The  silver  piece  proved  satisfactory,  but 
the  sergeant  had  a  last  word  as  he  rode  away. 

"There  is  a  reward  out,"  he  called,  "for  a  villainous 
vagabond  named  Moreau.     Look  sharp  for  him !" 

Andre  turned  back  triumphant,  and  once  again  his  wits 
worked  hastily  as  the  big  man  said,  "You  have  the  thanks 
of  Challefeu  Binet.     How  can  we  repay  you?'' 

Like  a  flash  Andre  answered,  "Make  me  a  member  of 
vour  company !"  Binet  rolled  his  eyes  and  met  those  of 
Climene,  his  daughter  on  stage  and  off.  She  winked. 
And  so  Andre-Louis  became  Scaramouche,  the  jester. 

It  would  be  tiresome  to  tell  of  his  exploits  in  the  prov- 
inces, of  how  he  practically  wrote  Binet's  plays  and  ran 
the  company,  of  how  with  their  new  Scaramouche,  their 
success  became  greater  and  greater,  and  finally  led  them 
to  the  gates  of  Paris,  and  the  famous  Theatre  Freydau 
itself. 

And  there, 
who  should  be 
visiting  her 
patron,  Ma- 
dame de  Plou- 
gastel,  but 
Aline  ?  So  it 
was  not  re- 
ma  rkable  in 
the  least  that 
when  the  cur- 
t  a  i  n  Went 
down  on  the 
last  scene, 
leaving  Scara- 
mouche and 
Climene  on  the 
stage,  Andre 
saw  Aline  in  a 
stage  box  with 
the  Marquis 
d  e  la  Tour 
d'Azyr,  and 
Aline  gasped 
as  he  un- 
masked. For 
once  the  Mar- 
quis saw  noth- 
ing ;  he  was  all 
eyes  for  the 
fair  Climene. 

But  she,  for 
her  part,  had 
eyes  alone  for 
A  ndre,    and 

that  night,  terribly  piqued  by  the  appearance  of  Aline 
with  the  Marquis,  he  asked  her  to  marry  him.  She  con- 
sented gladly,  and  her  father  glumly  agreed,  and  then  got 
drunk  on  a  bottle  of  his  son-in-law's  Burgundy. 

The  next  day  saw  many  things.  Aline  came  to  Andre 
in  the  inn  where  he  lodged,  and  in  a  burst  of  rage,  he  de- 
manded how  she  could  marry  such  a  man  as  the  Marquis. 

She  said  mockingly,  "He  will  make  me  a  great  lady." 

And  for  once  Andre  dropped  his  cynical,  sardonic 
mask,  and  said,  "God  made  you  that,  Aline!" 


Madame  Plougastel  gasped  to  the  Marquis,  "He 


CLASSIC 

Xot  so  easily  was  peace  to  be  made.  Argument  waxed 
fierce  and  strong,  and  at  last,  upon  Aline's  speaking 
slightingly  of  Climene,  Andre  told  her  of  their  engage- 
ment. With  an  exclamation  of  disgust,  she  swept  out. 
But  worse  yet  was  to  happen.  That  night  Climene  could 
not  be  found ;  she  had  driven  away,  it  seemed,  with  the 
Marquis  de  la  Tour  d'Azyr.  Midnight  came,  and  morn- 
ing, and  still  Andre  waited  for  her  to  return.  '  With 
dawn  she  appeared,  shamefaced,  but  with  a  glittering 
jewel  on  her  hand. 

Andre's  tone  was  more  sardonic  than  ever :  "Would  it 
be  impertinent,  mademoiselle,  to  ask  what  price  you  paid 
for  that  stone?" 

Angrily  she  replied,  raging  like  a  little  gutter  rat. 
angrily  her  father  seconded  her,  and  that  was  the  end  of 
Scaramouche  as  a  suitor.  But  fortune  favored  him. 
Aline,  driving  in  one  coach,  had  seen  the  Marquis  and 
Climene  in  another,  and  when  La  Tour,  ventured  to  call, 
she  promptly  showed  him  the  door.  Whereupon  he 
sought  Madame  de  Plougastel  and  whispered  of  an  old 
scandal  to  be  unearthed  unless  she  smoothed  matters  out. 
That  night  Scaramouche  appeared  for  the  last  time  on 
any  stage.  Sitting  curtained  in  one  box  was  Aline :  in  an- 
other the  Marquis.  And  upon  this  night,  Andre  stepped 
forward  to  reap  his  revenge.  At  his  first  speech  he  tore 
off  his  mask,  and  burst  into  a  revolutionary  oration.  All 
the  old  fire  of  Rennes  still  held  good,  the  pit  applauded, 

the  nobles 
hissed.  Chairs 
began  to  fly, 
the  great  chan- 
delier snapped 
off.  Andre 
shouted, 
"There  he 
skulks  behind 
the  curtains. 
Show  your- 
self, Monsieur 
d  e  la  Tour 
d'Azyr!" 

Now     the 
Marquis    was 
no   coward. 
His    naked 
sword   swept 
the   rabble   be- 
fore  him,   and 
when    a    burly 
ruffian  burst  in 
Aline's  box,  he 
w  a  s  there  to 
save  her.    And 
so   the   last 
thing   Scara- 
mouche saw  as 
he  fled  the 
theater  was 
Aline  in  the 
Marquis  arms. 
It   made   him 
more    bitter 
than  ever. 
Paris    seethed    and    smoldered.      Sporadic    flowers   of 
revolt   flowered  and   fell :   Jean-Paul   Marat   was   writing 
revolutionary  tracts  in  an  attic ;  Robespierre  was  boring 
his  hearers  to  tears ;  burly  Danton  was  roaring  and  rag- 
ing at  the  aristocrats  in  the  National  Assembly.     And  the 
aristocrats  of  the  Assembly  were  indulging  in  a  merry 
little  sport  that  went  something  like  this.     A  deputy  of 
the  lower  classes  would  make  a  furious  speech  ;   forth- 
with an  aristocrat  would  challenge  him  to  a  duel,  and  as 
(  Continued  on  page  80) 


he  is  your  son!" 


(Thirty-twoj 


'1 


% 


THE   "GOLD    GIRL"    OF    "THE    FOLLIES" 
Catherine    Stoneburn    poses    for    Richard    Southall    Grant 


rty-three) 


■w 


*f 

4| 

^^c 

y^-. 


Right  is  the 
left  wing 
entrance  from 
the  driveway. 
Below  is  Mr. 
De  Mille's  pri- 
vate study  with 
a  pronounced 
Gothic  influ- 
ence 


Below  is  one 
of  the  several 
dressing- 
rooms  with  its 
desk  and  hand- 
some day-bed 
and  Windsor 
chair  all  done 
in  antique  ma- 
hogany 


This  is  per- 
haps the  state- 
liest and  most 
beautiful  home 
in  Hollywood. 
It  is  fitting 
that  the  labors 
of  Cecil  B.  De 
Mille  should 
find  surcease 
here.  The 
home  is  char- 
acterized thru- 
out  by  a  rich 
simplicity  and 
an  almost 
monastic 
severity 


The  mantle 
above  is  Ital- 
ian in  design. 
The  walls  are 
a  light  brown, 
the  woodwork 
a  deeper  tone, 
and  the  up- 
holstered fur- 
niture a  dull 
red,  making  a 
rare  and  au- 
tumnal har- 
mony of  this 
room 


Left  is  the 
drawing-room 
done  in  a  soft 
French  blue 
and  dull  grey. 
The  walls  are 
paneled  in 
gold.  The 
woodwork  is 
cream  and  the 
furniture 
mahogany,  the 
rugs     Oriental 


(Thirty-four) 


. 


Left  is  the 
long  grey  hall 
that  connects 
the  right  and 
the  left  wings. 
Right  is  Mr. 
DeMille's  desk 
in  his  Gothic 
study,  over 
which  he  and 
his  right-hand 
man,  Jeanie 
Macpherson, 
decide  on  the 
famous  De 
Mille  produc- 
tions 


Hollywood  Homes 

No.  XIV 
Exclusive  Views  of  the   Palatial   Home  of  Cecil  B.   DeMille 

All  photographs  by  Donald   Biddle  Keyes 


This     is     a     rear 

view  and  part  of 

the    grounds 


This   is    our   idea 
of  a  noble  back- 
yard! 


(Thirty-five) 


Homer   Croy   writing  his  opinion   of  the   boy  who   is   to   star   in   his   story;   and 
"when  Homer  smote  'is  bloomin'  lyre    ..."  it  sang   Glenn   Hunter's  praise 

Glenn  Hunter— On  and  Off 

By  HOMER  CROY 
(Author  of  "West  of  the  Water  Tower") 


THE  other  day  I  was  in  Long  Island  City,  in  the 
Paramount  picture  plant,  and  saw  Glenn  Hunter, 
all  covered  with  grease  paint  and  enthusiasm,  playing 
the  leading  part  in  the  filming  of  my  novel,  "West  of 
the  Water  Tower."  I  watched  him  awhile  and  the  only 
difference  between  us  was  that  he  had  more  grease  paint. 
The  first  time  I  saw  Glenn  Hunter  was  a  few  years 
ago,  back  stage,  at  one  of  the  New  York  theaters.  The 
play  was  "Clarence."  I  went  to  see  him  in  his  little 
cramped  dressing-room  which  he  had  to  share  with  an- 
other. The  room  was  just  about  big  enough  to  fill  a 
fountain  pen  in.  Glenn,  on  this  particular  occasion,  was 
in  his  B.V.D.'s  and  was  going  thru  the  process  of  dress- 
ing for  his  part.  He  had  a  happy  and  rapt  expression 
on  his  face.  At  last,  a  job.  It  had  not  always  been  thus 
with  him.  No,  indeed !  A  few  years  before  he  had  come 
to  New  York  from  a  small  town  to  set  the  city  on  fire. 
But  the  city  was  asbestos.  The  fire  department  knew 
nothing  about  the  danger  that  hovered  over  the  city.  The 
firemen  smoked  and  played  checkers  just  the  same.  There 
was  no  conflagration.  In  fact,  things  got  so  bad  for 
Glenn  that  he  had  to  patronize  the  park  benches.  Here 
for  several  nights  he  lay  down  to  sleep  with  the  calm 
heavens  above  and  a  somewhat  disturbed  policeman  be- 
ginning to  prowl  nearer  and  nearer. 

As  he  talked  he  rubbed  on  the  grease  paint,  climbed  into 
his  trousers,  made  himself  ready.  He  was  happy — he  had 
a  iob — the  world  was  a  rosy  place. 


Time  passed.  When  next  I  saw  him,  he  was  in  hi* 
dressing-room  at  "Merton  of  the  Movies,"  the  highh 
successful  play  in  New  York  in  which  he  is  the  star 
What  a  change  had  come  over  him.  Money  in  his  pocket! 
Why,  he  had  money  in  the  bank.  I  know,  because  while 
I  was  there  three  persons  came  in  to  collect.  Glenn  \va- 
seated  in  front  of  his  mirror  smearing  on  grease  paitr 
when  the  doorman  popped  in  his  head — a  tailor  had  com* 
for  money.  Glenn  got  out  his  check-book.  Glenn  starter 
in  again  on  the  grease  paint ;  again  the  doorman  poppec 
in  his  head — another  check.  Glenn  now  began  to  worl 
on  his  eyebrows.  Another  knock  .  .  .  another  check- 
He  was  being  disturbed  oftener  than  he  had  been  by  tli< 
policeman  in  the  park. 

Other  people  came  to  see  him.  Mr.  Murray,  his  secre 
tary,  met  them  at  the  door.  I  could  hear  soft  diplomatic 
words  being  spoken  .  .  .  then  footsteps  sounded  dowi 
the  cement  court.  A  dozen  people  in  all  came  to  have  ; 
word  with  him.  The  time  before,  when  I  had  seen  hin 
in  his  dressing-room,  the  only  person  who  knew  that  hi 
was  there  was  the  call-boy.  Glenn  talked  to  his  secretary 
They  spoke  of  a  car,  of  a  chauffeur.  When  would  Mi 
Hunter  order  his  car? — a  few  short  years  ago  all  he  coul< 
have  ordered  was  the  motorman  to  stop. 

And  also  in  his  room  on  this  occasion  was  his  "dresser. 
He  was  an  able-bodied  man  and  all  he  had  to  do  was  ti 
hold  Glenn's  pants  while  Glenn  climbed  into  them.    Y\  ha 
{Continued  on  page  76  ) 


(Thirty-si.\ 


Below  is  Rollin 
Sturgeon,  who 
will  direct  this 
interesting  story. 
Right  is  a  roman- 
tic moment  with 
Glenn  Hunter  as 
Guy  Plummer  and 
May  McAvoy  as 
Beatrice  Chew 


Below  is  Glenn 
Hunter,  about  the 
most  successful 
young  man  of  his 
generation.  In 
this  picture  he 
is  courageously 
competing  with 
"picture  stealers" 
like  Ernest  Tor- 
rence  and  George 
Fawcett 


THE  DIRECTOR 


THE    HERO    AND    THE    HEROINE 


Below  is*  part  of  the  staff  that  is 
necessary  to  the  making  of  a  picture. 
They  are:  W.  J.  Scully,  assistant  di- 
rector; Harry  Harris,  cameraman, 
Bill  Johnson,  props;  W.  C.  Smith, 
assistant  cameraman;  Anna  Mc- 
Knight,  script  clerk.  Rollin  Sturgeon 
is  in  the  center,  May  McAvoy  in  the 
foreground  and  Glenn  Hunter  left 


THE  STAFF 


THE  STAR 


(Thirty-seven) 


Photograph  by  Moffatt,  Chicago 


THE  INESCAPABLE  RUSSIANS 


Mile.  Elisins  is  one  of  the  solo  dancers  of  the  really  remarkable  Pavley-Oukrainsky 
Ballet  Russe,  which  augments  and  ornaments  the  San  Carlo  Opera  Company 


(Thirty-eight) 


Fathers  are,  from 
all  apparent  indi- 
cations, an  ex- 
tinct species  like 
the  Dodo.  No  one 
ever  speaks  of 
them  or  ever 
hears  of  them. 
Only  mothers 
have  their  day. 
One  reads  vol- 
umes  about 
"movie  mammas" 
but  never  a  line 
about  papas.  We 
have  dragged  a 
few  of  them  into 
view,  more  o  r 
less  famous 


Left:  In  lieu  of 
walking  the  floor 
o'  nights,  this  is 
what  Pat  O'Mal- 
ley  does  for  his 
infant  daughter, 
Patricia.  We  call 
your  attention  to 
the  utterly  ab- 
sorbed admiration 
registered 
on  young  Miss 
O'Malley's  coun- 
tenance. Below: 
Tom  Mix  and 
little  Thomasina, 
the  rose  of  the 
rancho 


Above:  An- 
other mutual 
admiration  so- 
ciety. Gloria 
Swanson  and 
Joseph  T. 
Swanson,  Inc. 
Gloria's  father 
is  a  Captain  in 
the  United 
States  Army. 
Wonder  if  he 
tries  to  disci- 
pline her? 


Fathers 
and 


Daughters 


-  ▼(  If 


< 


Lef  t  :  This 
little  girl  is 
named  Doro- 
thy Sills  and 
her  father  is 
named  Milton. 
But  it  should 
be  "Mike  and 
Ike  .  .  they 
look  alike!" 


(Thirty-nine  ) 


A  Lover  of  Life 


EULALIE  JENSEN  suggests 
all  the  infinite  resources  of 
woman!  As  I  watched  her, 
vivid,  spirited,  with  a  smile  on 
her  lips  and  a  hint  of  tragedy  in 
her  eyes,  she  typified  her  sex — 
there  seemed  nothing  she  could 
not  comprehend. 

Miss  Jensen  intrigued  my  inter- 
est more  than  anyone  I  have  met 
for  many  moons,  yet  I  do  not  be- 
lieve you  could  ever  feel  that  you 
really  knew  her ;  there  would  al- 
ways be  depths  she  would  not  re- 
veal. 

Not   that   this   would  be   inten- 
tional.    She  loves  friends  and  in- 
sists that  they  bring  the  greatest 
beauty  and  fragrance  to  life,  that 
they  mean  more  to  her  than  any 
thing  else ;   and   she   still   has 
faith    in    this    frail    thing, 
friendship ! 

Perhaps  it  is  just  this  abil- 
ity to  retain  her  illusions  that 

sets  her  a  little  apart 

I  mentioned  the  subject  of 
many     roles.       She     laughed, 
"That  is  where  I  have  made 
a  mistake,"  she  said.    "There 
is   no   place    for   a    feminine    Lou 
Chaney — and  if  I  had  it  all  to  do 
over    again     1     would    always    be 
Eulalie  Jensen  at  her  best,   wear 
pretty  clothes  and  win  fame.     As 
it  is,  I   have  lost  my  identity  in  a 
number    of     character     roles.       I 
have  no  personality  the  fans  can 
recall.      Sometimes    I    am   blonde, 
sometimes    brunette,    sometimes 
voting  and  the  heroine,  sometimes 


\ 


\ 


By 
MAUDE   CHEATHAM 


Eulalie  Jensen  comes  from  a  colorful  line.  There 
are  fascinating  strains  of  French,  Spanish  and 
Italian  in  her  blood,  and  romance  and  adventure 
ran  riot  among  her  ancestors.  They  have  left 
their  trace  on   her 


Photograph    (left)   by    Freulich 

Photograph    fbelow)   by   William  A.    F  raker 


.—-*<«■  i  •  i  m  ■ 


(Forty) 


^d 


i-|    \sM. 


the  mother,  or  the  vamp 

yi  ui  sec  li.iu  it  is 
and    she    -> p r t- a*l    hei 
hands  in  mock  despaii 
"<  m'  course,  there's  the 

tlirill  I  gel  "in  of  these 
different   poop'1'   '    pl*J 
I  would  hate  to  give  thai 
up  even  for  a  big  salarj 
and  an  electric  sign. 

"( )ne  of  the  first  films 
I  made  after  coming 
back  t<>  pictures  from  a 
long  absence  \\  as  '  1  he 
Passion  Flower,'  with 
Norma  Talmadge.  I 
played  Raimunda,  the 
mother,  and  that  sent 
me  mothering  thru  sc\ 
eral  films." 

Miss  Jensen  has  jusl 
completed  two  highly 
colorful  roles:  that  of 
Madame  Gaudin,  in 
George  D.  Baker's  "The 
Magic  Skin,"  a  sweet 
and  gentle  street  singer, 
mother  of  Bessie  Love; 
and  Marie,  a  Gypsy 
(1  a  n  c  e  r  in  Wallace 
Worsley's  "The  Hunch- 
hack  of  Xotre  Dame." 
where  she  is  companion 
of  the  heroine.  Patsy 
Ruth  Miller. 

"I  haven't  danced  for 
a  long,  long  time,"  Miss 
Jensen  said,  "and  I  en- 
joyed it.  I  felt  the  old 
intoxication.  We  were 
six  months  making  'The 
[hmchhack,*  and  it  was 
a  delightful  experience 
and  a  very  wonderful 
company.  Three  fourths 
o\  the  scenes  were  made 
at  night  and  during  the 
coldest  weather,  yet  we 
always  found  a  joke 
rather  than  a  kick  and  I 
believe  we  formed 
friendships  that  will  en- 
dure." 

Miss  Jensen  is  a  real 
motion-picture  pioneer. 
She  was  playing  in  stage 
productions  of  Henry 
Dixon  when  her  curios- 
ity led  her  to  defy  the 
rule  set  down  by  pro- 
ducers that  no  stage  player  could  remain  in  the  cast  after 
acting  in  pictures,  and  went  to  the  Cameraphone  Com- 
pany. They  were  experimenting  with  a  method  of  syn- 
chronizing voice  and  movement,  and  she  acted  and  sang 
thru  "The  Lakes  of  Killarney,"  disguised  as  Helen 
Johnson. 

"They  paid  us  ten  dollars  a  minute,  imagine  it  I"  laughed 
Eulalie.  "and  days  I  worked  1  would  make  several  hun- . 
dred  dollars.     I   would  give  anything  for  one, of  those 
early  stills,  they  must  have  been  marvelous." 

Several  high  lights  marked  Miss  Jensen's  first  efforts 
toward  a  dramatic  career.  She  was  an  orphan  at  six- 
teen,   a    high-strung,    spirited    girl,    full    of    confidence 


Eulalie  Jensen  as  Marie, 
Her  last  role 


Photograph    by    Freulich 

a  Gypsy  dancer  in  "The   Hunchback  of  Notre  Dame." 
is  Madame  Gaudin  in  "Slaves  of  Desire" 


and  imbued  with   the   ambition   to  become  a  great  star. 

Her  first  opportunity  came  when  Sarah  Bernhardt'* 
company,  en  route  to  her  native  city.  St.  Louis,  advertised 
for  extras.  She  recalls,  humorously,  how  she  stood  in 
line  waiting  for  hours  and  nearly  died  of  joy  when  she 
was  among  the  seven  selected.  For  a  week  they  were 
drilled  in  the  simple  matter  of  walking  across  the  stage. 

On  the  opening  night  at  the  Olympic  Theater,  Eulalie, 
fearfully  made-up  and  trembling  in  anticipation  of  her 
coming  triumph,  saw  the  great  actress  chatting  in  the 
wings  with  friends  and  crept  close  to  behold  her  idol. 
Receiving  her  cue.  Bernhardt  turned  suddenly  to  find  this 
(Continued  on  page  77 


(Forty-one) 


Photograph  by  Rabinovitch 


RABINDRANATH  TAGORE 

A  sympathetic  and  beautiful  portrait  study  of  the  great  oracle  of  India.    Poet,  novelist, 

teacher,   prophet   and   pacifist,   this   mystic   Hindoo  has   solved   the  cosmic   scheme   of 

things  to  the  satisfaction  of  millions  of  followers 


(Forty-two) 


A 


Photograph  l>y  Apeda 


The  Photographer  Takes  the  Stage 


Photograph  by 
Pach    Brothers 


Photograph   hy 
Maurice  Goldberg 


«* 


Across  the  top  of 
the  page  is  the 
opening  number 
of  the  third  an- 
nual "Music  Box 
Revue."  Left  is 
Irene  Bordoni  in 
the  title-role  of 
"Little  Miss  Blue- 
beard," in  which 
she  sings  her  own 
type  of  songs  as 
only  she  can  sing 
them.  Right  is 
Adele  Klaer  in 
"Artists  And 
Models,"  the  re- 
vue staged  by  our 
prominent  illus- 
trators. Quite  the 
most  daring  show 
in  New  York 


Forty-three  i 


Classic's 

Monthly  Department 

of  the  Theater 


Photograph  \ 

by   Apeda 


Above  is  Emily  Stevens  in  "A 
Lesson  In  Love,"  in  which  she  co- 
stars  with  William  Faversham. 
Right  is  a  scene  from  one  of  odd- 
est and  most  interesting  plays 
of  the  season,  "Children  of  the 
Moon."  The  people  are  Paul  Gor- 
don, Florence  Johns,  who  scores, 
and    Grant    Stewart 


I  'hotogtap 


Left  is  a  scene 
from  another  in- 
teresting psycho- 
logical drama, 
"Chains."  Left  to 
right:  Maude 
Turner  Gordon, 
William  Morris, 
Paul  Kelley,  Hel- 
en Gahagan  and 
Gilbert  Emory 


(Forty-four) 


Scenes  From 

the  Late 
Fall  Openings 


Right  is  the  Tunis 
scene  from  "Lulla- 
by," Florence  Reed's 
newest  play.  The 
action  takes  place 
over  a  period  of 
seventy-five  unsavo- 
ry years  in  the  life 
of  a  femme  de  joie. 
Above,  in  pleasant 
contrast,  is  a  scene 
from  "Tweedles," 
with  Ruth  Gordon 
and  Gregory  Kelley. 
Gre-gory  is  the 
Tweedle 


(Forty-five) 


Photograph   hy   Tornello,   N.  V, 


Above  is  a  scene  from  that  popular  key-note,  "We've  Got  To 
Have  Money!"  The  little  wanters  in  the  picture  are  (left  to 
right)  Louise  Segal,  Milton  Nobles,  Jr.,  Marie  Louise  Walker, 
Jerome  Cowan  and  Robert  Ames.  Below  is  a  bit  from  "The 
Nifties  of  1923."  an  unpretentious  revue  "glorifying  the  American 
sense  of  humor."  Sam  Bernard  is  telling  Ray  Dooley  not  to 
listen  to  Willie  Collier.     He's  a  ! 


Photograph  hy 
White  Studios- 


Above  is  Daphne 
Pollard  (wonder  if 
she  is  any  relation 
to  Snub?),  who  in- 
troduces English 
comics  in  the  new 
"Greenwich  Village 
Follies,"  our  only 
"highbrow"  revue. 
Her  "Quota  Song" 
is  uproariously  funny 


(Forty-six) 


The  Celluloid  Critic 

Laurence  Reid  Reviews  the  Latest  Picture  Plavs 


T 


HE  parade  of  big  pictures  across  the  New  York 
screen  goes  on  apace.  It  begins  to  look  like  a  cellu- 
loid landslide  and  the  season  has  hardly  begun. 
Marion  Da  vies  and  George  Arliss  have  had  their  innings 
with  "Little  Old  New  York"  and  "The  Green  Goddess" 
respectively,  and  now  comes  Mary  Pickford 
in  "Rosita."  Lillian  Gish  in  "The  White 
Sister."  and  Lon  Chaney  in  "The  Hunch- 
back of  Notre  Dame."  And  as  we  record 
these  achievements  "Scaramouche"  and  "A 
Woman  of  Paris"  have  gained  admittance 
to  the  select  circle. 

In  looking  over  "Rosita"  (United  Art- 
ists) we  claim  it  is  entitled  to  first  honors 
because  of  its  skilful  treatment,  its  color 
and  background,  its  dash  and  adventure, 
and  the  fact  that  it  is  seasoned  with  all  the 
necessary  elements  for  success. 

This  adaptation  of  "Don  Caesar  de 
Bazan"  thrusts  Man,-  Pickford  into  a  ro- 
mance of  old  Seville — a  radical  departure 
for  her.  Her  transition  from  shy  girlhood 
to  womanhood  is  accomplished  deftly  with 
a  surety  of  touch  and  poise.  Lubitsch,  the  German 
charge  d'affaires,  has  made  the  pattern  so  technically  per- 
fect that  Mary,  gifted  actress  that  she  is,  never  carries 
the  entire  burden  of  the  story.  She  becomes  a  composite 
part  of  the  dramatic  scheme  instead  of  earning  the  tale 
by  herself.     Which  of  course  gives  the  picture  balance 

(Forty-seven) 


The  Best  Play 

of 

The  Month 

Is 

"ROSITA" 

With 
Mary  Pickford 


and  color.  It  is  peopled  with  so  many  figures  and  detail 
that  one  has  time  to  catch  the  star  in  a  new  light.  And 
she  shines  radiantly  in  scenes  of  exquisite  charm  and  also 
in  scenes  which  call  for  a  flash  of  sophisticated  comedy 
and  emotional  display.     A  different  Mary,  surely. 

If  you  think  that  Lubitsch  has  explored 
new  channels  you  will  be  disappointed.  He 
doesn't  depart  from  the  regulation  Amer- 
ican methods,  but  he  does  incorporate  a 
( ierman  thoroness  to  the  execution  of  his 
scenes  which  gives  them  more  breadth  of 
outline.  He  doesn't  get  out  of  sympathy 
with  the  author's  design.  A  stickler  for 
detail  and  color,  he  handles  crowds  in  a  way 
that  eliminates  the  usual  orthodox  arrange- 
ment. He  makes  "Rosita"  a  dashing  tale 
of  a  little  capricious  dancer  who  sways  the 
carnival  crowds  with  her  banjo  and  "a  few 
songs  against  her  king.  If  Lubitsch  is  suc- 
cessful with  Mary  Pickford  he  is  equally 
successful  with  all  his  players.  He  seem- 
ingly understands  their  capabilities.  He  has 
made  Holbrook  Blinn  act  the  picturesque 
monarch  after  the  manner  of  Emil  Jannings — with  a  sug- 
gestion of  blunt  humor. 

A  slender  plot  this  picture  carries,  but  its  slenderness 
and  simplicity  furnish  its  appeal — an  appeal  which  would 
be  lost  if  it  were  woven  with  threads  of  intricate  drama. 
We  put  it  down  as  an  artistic  and  colorful  production. 


CLASSIC 


The  same  story  has  been  picturized  for  Pola  Negri 
and  is  called  "The  Spanish  Dancer."  We  are  curious  to 
see  how  the  Polish  actress'  version  compares  with  Mary 
Pickford's.  Pola  must  come  thru  this  time  or  suffer 
oblivion. 


defined  you  will  like  the  picture.  It  has  Hugo's  atmos- 
phere and  settings  and  the  handling  of  the  crowds  is 
highly  interesting. 


T 


Hunchback 


has 


HE 
is 

some, 
carried  out  this 


of    Notre    Dame"     (Universal) 
made  so  by  Lon  Chaney's  fear- 
frightful    portrayal    of    the    title-role.      He 
design  without  the  least  semblance 


T; 


unforgetable 


of  restraint 
—  and  his 
ape-like  bell- 
ringer  of  the 
famed  cathe- 
dral will  be 
cataloged  as 
the  most 
hideous 
sketch  ever 
shown  on 
screen  and 
stage. 

Universal 
sets  forth  in 
the  program : 
"We  find  it 
necessary  to 
eliminate  a 
great  deal  of 
gore."  Yet 
here  is 
C  h  a  n  ey    in 

his  uncanny  study  to  counter- 
act that  statement.  It  seems 
to  be  a  picture  of  all  the  tor- 
tures which  can  be  inflicted 
upon  a  human  being.  It  out- 
Hugos  Hugo  in  this  respect. 
These  gruesome  details  could 
have  been  softened  a  bit  and 
the  vigor  of 
the  story 
would  have 
remained 
just  the 
same. 

Technically 
it  is  finely  ex- 
ecuted. Its 
views  of  the 
cathedral  are 
impressive 
and  carry  the 
suggestion  of 
solidity  and 
massiveness. 
Also  the 
streets  of 
Paris  of  yes- 
teryear are 
well  de- 
signed, t  h  o 
they  should  have 
realism.     A 


"Potash  and  Perlmutter' 


Mary  Astor 

in    "Spring 

Magic" 


HERE  is  a  lyric  quality  to  Lillian  Gish's  acting  in 
"The  White  Sister"  ( Inspiration)  which  has  never 
been  recognized  before.  In  that  respect  Henry  King 
who  directed  this  tragic  story  of  broken  romance  has 
brought  forth  a  talent  which  Griffith  neglected  in  order 
to  create  an  emotional  outburst,  of  pent-up  floods  of  pas- 

s  i  o  n  s  and 
fear.  As  the 
frail,  tender 
m  i  sguided 
child  of  fate, 
Miss  Gish 
makes  poig- 
nant appeal. 
It  is  heart- 
rending to 
see  this  tor- 
mented soul 
taking  her 
sepa  ration 
from  her 
lover  with 
such  courage 
and  when 
learning  of 
his  death, 
turning  her 
back  on  the 
world  and 
and    sanctuarv 


"The  White  Sister" 


Gloria 

Swanson  in 

"Zaza" 


Bert  Lytell 
and  Blanche 
Sweet  in 
"The  Mean- 
est Man  in 
the  World" 


good 


been 
deal 


"dirtied"  up 
of  the  story 


a  bit  to 
has  been 


bring  more 
buried  be- 
neath solid  masonry — so  much  so  that  the  romantic  part 
is  lightly  considered. 

To  us  the  most  picturesque  personage  is  Clopin,  the 
king  of  the  beggars,  played  in  a  commanding  manner  by 
Ernest  Torrence.  This  actor  is  in  the  best  scene  which 
shows  him  leading  the  half-starved  mob  against  the 
cathedral. 

If    you    dont    mind    a    grotesque    figure    too    sharply 


finding   peace 
in  the  Church. 

There  is  a  splendid  clash  of 
emotions  when  the  girl  takes 
the   veil — an   unforgetable 
scene — and  daring  in  its  ex- 
ecution.   Then  when  the  lover 
returns  to  find  his  sweetheart 
a   nun    the 
story  releases 
a    deeper 
poignant 
note.  Here  is 
Lillian  Gish 
of  wistful 
charm    and 
poise,    suffer- 
ing the  an- 
guish   which 
comes  from 
conflict     in 
her  heart. 

There  are 
some  irrele- 
vant touches 
and  the  cli- 
max is  too 
orthodox  to 
ring  genuine. 
We  have  the 
play  of  elements  from  all  sides — nature  releasing  its  un- 
bounded fury,  and  the  human  puppets  are  swept  aside 
like  so  many  toy  figures.  The  finish  is  regulation  movie 
stuff.  But  the  picture  earns  respect  because  of  its  spiri- 
tual quality — its  poignant  touches — its  sweep  of  passion. 
It  strikes  deep  with  its  conflict  of  distressed  souls  and 
one  emerges  from  the  theater  with  a  feeling  of  exhaus- 
tion— the  tensity  of  scene  when  the  girl  takes  the  veil 
and  when  her  soldier-lover  returns  to  claim  her,  holding 
one  in  a  tight  embrace.     A  newcomer  is  Ronald  Colman 


( Forty-eight  I 


CLASSIC 


who  plays  the  broken  hearted  lovei  and  he  gives  a  pei 
[ormance  of  quiet   force  end  dignity.     He  nevei   seems 
to  be  acting,  which  makes  ins  expression  all  the  more 
natural  and  genuine. 

NO  sooner  is   fames  Cruze  finished   with  one  sue 
cess,  than  he  fares  forth  with  another.    "The  (  "\ 
ered  Wagon"  was  followed  b)  "Hollywood,"  and 
tin-  rollicking  romantic  comedj  gives  way  t.>  "Ruggles  of 
Red   Cap"    (Paramount).     Judging    from    his   skill    in 
fashioning   pictures   which   call 
tor  humor  we  would  say  that 
comedy  is  his  fortr.     He  treats 
this  new  screen  version   I  it  has 
been  done  before)  with  a  deft- 
ness  of  touch,  pointing  his  in- 
cident ami  enriching  his  char- 
acterisation    by     giving     each 
important  figure  a  well-planted 
reason    for  being  present.      He 
makes    the    crude    Cousin    Eg- 
bert,  the   meek    Ruggles.    Effie 
and    the    Honorable   George — . 
jolly  figures  all — stand  out  like 
cameos.     Rut  he  was  fortunate 
in    having 
players  who 
could    color 
these    char- 
acters    so 
well. 

You'll  re- 
member that 
Cousin  Eg- 
bert, the  cow- 
puncher  of 
Red  Gap , 
embarrassed 
his  wife  with 
his  bad  man- 
ners after 
they  had  be- 
come society 
leaders.  So 
she  lugs  him 
over  to  Paris 
to  polish  him 

up  and  employs  a  nobleman  s 
valet  to  teach  him  deportment. 

The  antics  of  these  figures 
so  admirably  limned  by  Er- 
nest Torrence,  as  Egbert,  and 
Edward  Horton,  as  Ruggles. 
makes  this  picture  a  comedy 
gem.  Torrence's  facial  ex- 
pressions— his  manner  of 
making  little  details  important 
— stamps  him  as  a  superior 
actor.  Horton  is  an  ideal 
valet — a  meek,  humble  ser- 
vant to  the  life.  A  spirited 
picture   thoroly   enjoyable. 

HAROLD  LLOYD'S  latest  essay.  'Why  Worry T 
(Pathe),  carries  the  bespectacled  comedian  back 
to  the  style  of  comedy  which  introduced  him  as  a 
star.  It  is  a  rollicking  farce,  filled  with  absurdly  funny- 
hits  of  business — "gags"  you  might  call  them.  A  radical 
departure,  we  might  add.  from  "Dr.  Jack"  and  "Grand- 
ma's Boy."  But  he  has  the  faculty  of  making  anything 
he  touches  genuinely  novel. 

This  is  the  tale — an  old  one,  incidentally,  of  a  hypo- 
chondriac who  journeys  to  a  South  American  republic  to 


WU1   hark    In-    health,   hut    l.loyl   dl  with   new    il 

and  brightens  it  with  the  most  uproarious!)  funny  ind 

dent  that  has  been  Hashed  m  a  year.      He  steps  right  into 
a    wild    revolution,   not    knowing   what    it's  all   about      He 

sees  these  foreigners  bowing  right  and  lefl     as  if  to  wel 

come    him.      So   In-    boWS   in    return    with  I  reinom 

when  a  native  is  shot   thru  the  stomach  and  doubll 

in  jack-knife   fashion.      lust  a   return  of  the  compliment. 

Such    clever    touches    as    this    mark    the    entire    pictWl 
Highly  mirthful,  too  is  the  scene  when  the  (..median  and 

his  faithful  army  of  two 

a  huge  giant,  the  other,  the  girl 

—  defend    themselves    on    the 
battlement   againsl   the  ap 

proaching  bandits     An  extra. .1 

dinan    comedy   this—  on* 
ceptionally    original    in    its 
"gags"    and    incident.     Th< 
no   Stopping   this   Lloyd    per 
He  turns  them  out  good  ever) 
time.     Our  advice  for  the  pa- 
trons is  a  paraphrase  on  the  tin 
warning — "Walk,   do   not    Run 
to  the   Nearest   Entrance.      I  )• 
not  Try  and   Beat  your  Neigh- 
bor to  his 
Seat." 


Above:  Ernest 
Torrence  in 
"Ruggles  of  Red 
Gap."  Left: 
Corinne  Griffith 
in  "Six  Days." 
Right:  Harold 
Lloyd  in  "Why 
Worry?"  Below: 
Patsy  Ruth 
Miller  in  "The 
Hunchback  of 
Notre  Dame" 


CA< 


RRV- 
1  X  G 
on  its 
abundant 
humor  and 
satire  that 
marked  th'e 
stage  play. 
"Potash  and 
Perlmutter" 
(First  Na- 
tional), comes 
close  to  being 
the  brightest 
sober  com- 
edy-drama of 
the  season. 
Superlatives 
have  been 
paid  this  picture  during  pro- 
duction and  we  might  add 
that  it  merits  them.  It  is  a 
richly  humorous  story  of  a 
cross-section  of  life,  showing 
as  it  does  a  zestful  spirit  of 
Jewish  initiative  in  conduct- 
ing a  cloak  and  suit  business 
The  sparkle  of  the  original  is 
retained  —  the  same  sparkle 
which  Montague  Glass  incor- 
porated into  his  yarn  and  in 
the  play  which  he  wrote  in 
collaboration  with  Charles 
Klein. 
There  is  an  enjoyable  vein 
of  friendly  antagonism  which  releases  a  quota  of  laughs 
— and  at  the  same  time,  it  is  dovetailed  with  tender 
strokes  of  pathos.  The  unfortunate  Potash  has  enough 
business  acumen  to  spot  a  live,  "go-getter"  when  he  sees 
one.  So  he  takes  the  aggressive  Perlmutter  as  a  partner. 
Once  they  are  associated  we  follow  their  "ups  and  downs" 
with  unabated  interest. 

Intimate    details    are    sharply    defined — and    lend    suf- 
ficient color  to  the  story.     There  is  much  satire  and  here 
(  Continued  on  paac 


(Forty-nine) 


Lament  (After 
the  Greek) 

WEEP,    all    ye 
Muses    and 
true    lovers    of 
Art.    They  have  put 
wig  on  Farina. 

They   have   put   Farina 
in  a  wig.   They  have  gilded 
the  lily  and  brought  a  ton 
of  egg  to  Newcastle.     They 
have     carried     cows     to 
Moscow. 

Farina,   who    was   perfec- 
tion, who  was  the  Darling  of  the 
Gods,  has  been  mutilated.   Weep 
for  the  disgrace,  all  ye  Muses. 

No  more  shall  I  gaze  upon 
the  classic  simplicity  of  the 
countenance  of  Farina.  My 
eyes  are  blinded  with  tears  of 
rage  ;  my  body  shaken  with  sobs 
of  disappointment.  Yes,  they 
have  no  discernment. 

O  mighty  Roach,  O  bluff 
Prince  Hal,  take  off  Farina's 
wig  and  let  us  rejoice  again ! 
Hear  my  prayer.     Heed  my  lamentation 

•b         +         + 

The  schrecklichkeit  that  prompted  the  above  has  eaten 
into  our  soul  and  led  us  to  compose  a  fantasy,  or  whimsy, 
or  fable,  as  it  were.  It  is  just  crawling  with  symbolism 
and   is   called   "What   Makes   the   Movies   So   Terrible." 

Cinema  is  the  questionable  illegitimate  offspring  of  Proteus,  the 
God  of  things  as  They  are  not.  Her  mother  was  Mazuma,  way- 
ward daughter  of  Mammon.  When  Proteus  saw  little  Cinema  for 
the  first  time,  being  a  crabby  sort  of  an  old  goof,  he  cursed  her. 

"May  you  always  strive  for  perfection,"  said  Proteus,  "and 
never  attain  it.  If  by  any  mischance  perfection  shall  be  within 
reach,  may  you  be  so  blinded  by  your  futile  efforts  that  you  will 
never  know  how  close  you  have  come  to  it,  but  will  spoil  every- 
thing with  your  next  attempt." 

And  so  far  as  we  can  make  out,  the  curse  is  still  holding. 

4*         +         + 

Gloria  Swanson  endowed  Zaza  with  a  volcanic  tem- 
perament, but  for  Slavish  outlay  of  emotion,  Pola  Negri 
leads  all  the  rest. 

+         +         + 

If,  however.  "The  Spanish  Dancer"  turns  out  to  be 
at   Hollywood   as   "Bella   Donna"   and    "The   Cheat,"   it 


W-H-MANf-nANN 


Poor  Fish  ! 


would    look   as   if 
there  were  going  to  be 
a  total   extinction  of   the 
Pola  system. 

+         +         + 

We  are  just  childish  enough 
to    wonder    if 
movie  star? 
could     enjoy     a 
formal  dinner  if 
the  host  did  not 
provide  paper  caps   or  toy  bal- 
loons  to   bat   about.     Person- 
ally, we  wouldn't  take  the 
l.  chance. 

•f"         +         + 

The  general  histrionic 
ability  of  the  profession  has 
put  a  new  interpretation  on 
the  old  saw,  "Be  good  and 
you  will  be  lonesome." 

-r*         4-         + 

Nevertheless,  and  in  the 
face  of  all  tradition,  we  are 
going  to  come  right  out  and 
lead  a  cheer  for  Edward 
Horton.  "Ruggles  of  Red 
Gap"  is  conceded  to  be  a  gen- 
eral disappointment,  yet  it 
does  show  that  Mr.  Horton 
has  all  the  promise  of  a  unique 
gift.  He  is  a  quiet  actor.  His  is  not  the  Reubens 
sandwich  style  of  technique,  wherein  you  are  offered  far 
more  than  can  be  digested — ham  on  top  of  Swiss  cheese 
surmounted  by  sliced  tomatoes,  cole-slaw  and  Russian 
dressing.  "For  this  relief,  much  thanks."  Jetta  Goudal 
is  another  person  who  takes  her  talent  much  the  same 
way.  And  we  certainly  hope  they  will  both  win  the 
renown  they  deserve  for  their  daring  unconventionality. 

+        "b        •%• 

Every  so  often  the  movie  magnates  explain  that  as  yet 
they  have  hardly  scratched  the  surface  of  the  Great  Art. 

Hardly  scratched  the  surface,  our  eye !  They  have 
gouged,  gored,  mined,  stabbed,  punched,  riddled,  reamed, 
ripped  and  all  but  staved  it  in. 

■i"         +         •b 

"I  doubt,"  says  Carl  Laemmle  in  a  foreword  in_the  pro- 
gram of  "The  Hunchback  of  Notre  Dame."  "if  Victor 
Hugo  ever  heard  of  Hollywood."  If  he  had,  Mr. 
Laemmle,  it's  a  certified  Grade  A  cinch  that  he  would 
never  have  given  you  the  picture  rights  to  his  novel. 
(Continued  on  page  92) 

(Fifty) 


Photograph    by    Aide 


A  Daughter  of  Tragedy 


Ida    Rubenstcin,    the    great    Russian     tragedienne,    as    she     appears    in     D'Annunzio's 

"Phaedre."     The  costume  is  by   Bakst.      She   will  be   in   the   United   States   this   winter 

with  the   1924  Folies   Bergere,  the  well-known   French   revue.     We  trust   that   we   may 

be  privileged   to  see   it   unexpurgated.    .    .    . 


(Fifty-one) 


Flashes  From 


ALTHO  it  does  not  properly  belong  here,  we 
cannot  forbear  comment  on  Charlie  Chap- 
lin's picture,  "A  Woman  of  Paris."  The 
sophisticated,  and  it  must  be  admitted  conde- 
scending New  York  critics,  took  off  their  hats 
as  one  man  to  this  picture.  The  most  distin- 
guished New  Yorkers  have  written  voluntary 
and  gracious  tributes  to  Charlie.  We  say  with- 
out any  hesitation  it  is  the  best  picture  we  ever 
saw — the  most  interesting  and  original  and,  men- 
tally stimulating  thing  ever  put  on  the  screen. 

The  direction  is  superb.  There  is  not  a  wasted 
gesture.^  Simplicity  is  the  key-note,  humanness, 
the  harmony.  It  will  doubtless  start  a  revolu- 
tion in  picture-making,  and  it  should.  Charlie 
has  been  feted  and  wined  and  dined  like  a  prince. 
He  sat  in  a  box  all  by  himself  on  the  opening 
night,  but  the  lobby  was  packed  with  flowers  the 
most  conspicuous  of  which,  bore  a  card  that  said 
simply:  "Mary  and  Doug." 


Definite  arrangements  have  been  com- 
pleted for  the  tour  of  the  Theatre  Guild 
Repertory  Company,  carrying  out  their 
long-cherished  plans  to  make  it  possible 
to  present  to  playgoers  outside  of  New 
York  noteworthy  productions  that  here- 
tofore have  been  confined  to  this  city. 
Basil  Sydney  will  head  the  repertory 
company.  Three  of  the  plays  produced 
by  the  Guild  will  be  presented  on  tour. 
These  are:  "He  Who  Gets  Slapped,"  by 
Leonid  Andreyev;  Ibsen's  "Peer  Gynt," 
and  "The  Devil's  Disciple."  the  George 
Bernard  Shaw  play  now  at  the  Garrick 
Theater,  which  has  been  running  all 
summer  and  in  which  Mr.  Sydney,  as 
Richard  Dudgeon,  plays  the  principal 
role.  The  tour  will  embrace  Boston, 
Philadelphia,  Baltimore,  Washington, 
Pittsburgh,  Buffalo.  Cleveland,  Chicago 
and  other  leading  cities. 


Of  the  Stage 

Caught  by 


decided  as  yet  whether  she  will  accept  the  part.  Her  latent 
vehicle  "Chu  Chin  Chow"  has  opened  at  Albert  Hall. 
London. 


Immediately  upon  her  return  to  the 
United  States  last  week  from  an  exten- 
sive European  production  trip,  Betty 
Blythe  was  sought  out  by  an  American 
producer  for  a  starring  role  in  a  big  film 
spectacle.      Miss    Blythe    has    not    quite 


Elmer  Clifton,  director  of  "Down  to  the  Sea  in  Ships," 
and  other  pictures  plans  to  leave  New  York  City  for 
Virginia  in  the  very  near  future.  He  will  film  several  ex- 
teriors for  his  new  picture  "The  Warrens  of   Virginia"  at 


At  the  top  of  the 
page  is  Remo 
Bufano  with  two 
of  the  leading 
players  from  his 
own  marionette 
theater.  Left  is 
Grace  Divine,  a 
young  mezzo- 
soprano  with  the 
San  Carlo  Opera 
Company,  which 
has  improved  in 
properties,  pro- 
duction and  per- 
sonnel. Below  is 
a  Fifth  Avenue 
bus  at  Fifty- 
second  Street  and 
Fifth  Avenue  be- 
ing shot  by  Sam 
Wood  for  "His 
Children's 
Children" 


PhfitoKr:i|ih   liv    Campbell    Studios 


(Fifty-  two  ) 


The  Eastern  Stars 

On   the  Screen 


tlk'  Editor 


tin-  actual  locations  referred  to  in  the  play.     Martha  Man! 
field  aiid  Harlan  Knight  are  the  principals. 


It  is  now  certain  that  Richard  Bennett  will  star  under  the 
Shubert  management  tins  season  in  Gerald  Du  Maurier's 
London  success,  "The  Dancers." 


Dr  Daniel  (.'arson  Goodman  starts  work  next  week  on  his 


At  the  top  of  the 
page  is  another 
pleasant  anachro- 
nism from  "Yo- 
landa,"  Marion 
Davies'  newest 
picture.  D  o  n  t 
miss  the  ZR-1 
above  the  set 
Right  is  Yvonne 
Hughes,  another 
Brewster  Contest 
winner  who  is 
making  good.  She 
may  be  seen  with 
Gloria  Swanson 
in  "Za*a."  Below 
is  Vera  Gordon 
and  her  family: 
mother,  daughter 
Nadya  and  son 
William  in  their. 
New  York  apart- 
ment 


raph  l>>    Ball 


Photograph   by    Edward   Thayer   Monroe 


new  screen  production  "Week-end  Husbands.'' 
lie  is  now  busily  engaged  casting  the  picture 
which  will  be  made  in  the  East.  Dr.  Goodman's 
most  recent  picture  has  been  released  under  tin- 
title  of  ''The  Daring  Years.' 


Florenz  Ziegfeld  announces  the  engagement 
of  Mile.  Paulette  Duval  of  Parisian  music-hall 
fame,  for  the  forthcoming  "Follies,"  Mile  Du- 
val arrived  under  an  assumed  name  and  has 
passed  the  intervening  time  in  New  York  un- 
known to  all  the  wiseacres.  She  speaks,  sings 
and  dances  in  French.  Our  own  Fannie  Brice 
will  share  the  honors  with  her. 


After  Lillian  Gish  completes  her  work 
on  "Romola,"  her  next  picture  for  In- 
spiration Picture,  Inc..  she  will  begin 
making  "Joan  of  Arc."  The  play  will 
be  pictured  in  France.  "The  White 
Sister"  is  still  playing  to  crowded  houses 
in  Xew  York. 


"The  Gift,"  by  Julia  Chandler  and 
Alethea  Luce,  will  have  Doris  Kenyon  in 
its  leading  role.  Anna  Lambert  Stewart 
is  producer. 


"America"  is  the  title  selected  for  D. 
W.  Griffith's  Revolutionary  film,  which 
he  is  making  at  the  suggestion  of  the 
Daughters  of  the  American  Revolution. 
This  is  the  first  instance  where  a  film  has 
been  requested  directly  by  a  public  or- 
ganization The  title  was  selected  after 
a  poll  of  six  universities,  six  grade 
schools,  six  clubs,  and  six  sporting  places 
where  slang  is  most  prevalent,  including 
a  prize-fighter's  camp,  a  race-track,  a 
pool-room,  a  dance-hall  and  a  boy's  play- 
ground. More  than  ninety  per  cent,  of 
{Continued  on  page  100) 


(Fifty-three) 


Photograph  ©  by  E.  O.  Hopp£,   Londc 


A  STUDY  IN  SYMMETRY 


Anna  Pavlowa  and  her  new  dancing  partner,  Laurent  Novikoff,  in  their  Egyptian 
number,    with    which    they    will    inaugurate    their    American    tour 


(Fifty-four) 


The  Slave  of  Desire 

"The  Magic  Skin"  Rewritten  in  Short-Story  Form  by  Grace  I  mib 


The   antiquarian,   in   great   exci 
Raphael    Valentin,    that    he    is 


AND  SO," 
said  the 
L  p  i)  e  i 
Raphael  con 
eluding  his 
story  with  the 
smile  that  had 
won  him  al- 
most a»  much 
lame  as  his 
famous  vi 
"and  so,  with 
in>  last  wish. 
I  w  0  n  n  o  t 
only  my  H  fc 
but  my  love 
as  well.  Hap- 
piness ever- 
lasting." 

The  little 
gathering  in 
the  sumptu- 
ous studio  of 
the  feted 
poet  Raphael 
looked  at  each 

other  in  a  blurred  perplexity.  Palpably,  they  did  not 
understand  the  story  with  which  their  charming  host  had 
been  regaling  them,  faintly,  bemusedly  smiling  the  while 
he  told  of  events  as  richly  embroidered  as  an  Arabian 
\ight"s  tale,  as  fabulous  as  legends  of  Ali  Baba. 

Some  of  them  present  were  old  friends  of  Raphael's. 
They  had  seen  him  in  his  struggle  for  existence,  they  had 
watched  him  go  wretchedly  from  hopelessness  to  hope- 
lessness. They  had  caught  glimpses  of  the  intricacies 
of  his  fortunes  after  he  had  found  the  Magic  Skin. 

In  these  enlightened  days  magic  skins  were  not  to 
be  believed  in,  and  these  men.  artists,  poets,  painters, 
dilettantes  and  darlings  of 
society,  were  skeptics, 
every  one  of  them.  Still, 
they  could  not  but  believe 
that  magic  skin, or  mere  prey 
of  variant  fortune  the 
young  Raphael  had  come 
thru  some  amazing  haps 
and  mishaps.  They  had,  per- 
force, to  take  his  word  for 
the  explanation  thereof.  But 
now   they    were   perplexed. 

"If  I  follow  you  right- 
ly." said  one  of  the  listen- 
ing friends,  "your  friend 
the  antiquarian  told  you 
when  he  gave  you  the  magic- 
skin  that  with  each  wish 
you  might  wish  your  life 
would  dwindle  bv  so  much." 


teraent,  tells 
entitled    to 


the 
the 


young  poet, 
magic    skin 


THE  SLAVE  OF  DESIRE 

Fictionized  by  permission  from  the  Goldwyn  pro- 
duction of  the  adaptation  by  Charles  Whittaker  of 
the  novel  by  Honore  de  Balzac,  "La  Peau  de 
Chagrin."     Directed  by  George  D.  Baker.     The  cast: 

Raphael   Valentin George  Walsh 

Pauline   Gaudin Bessie   Love 

Countess    Fedora Carmel    Myers 

Rastignac   Wally  Van 

Antiquarian Edward    Connolly 

Mrs.  Gaudin Eulalie  Jensen 

Mr.   Gaudin Herbert   Prior 

Champrose William  Orlamond 

Tallifer X icholas  de   Ruiz 

The   General William  von   Hardenburg 

Emilc Harmon    McGregor 

The    Duke George    Periolat 

Finot Harry    Lorraine 

Major    Dome Calvert    Carter 


'•  Exa 
ment,"  smiled 

Raphael. 

'  '  \  n  d  .  *  ' 
pu  rsiwd  the 
inquiring  one, 
"the  wish  you 
w  i  sh  e,d 
Bave  Pauline 
from  t  h  e 
ra u  rderous 
machinations 
of  F  e  d  o  r  a 
was  the  last 
r  e  m  a  i  n  i  n  '^ 
wish  left  to 
you.  With 
that  last  wish 
your  life  was 
at  an  end." 

"I  If   a  cer- 
tainty," again 
smiled    the 
wilfully   enig- 
ma t  i  c    Ra- 
phael. 
"But    .    .    ."  said  the  friend,  and  he  looked  at  the  other 
friends  in  the  circle  about  the  cheerfully  open  grate,  and 
spread  his  ringers  apart  in  a  gesture  of  giving  the  situa- 
tion and  the  problem  up  once  and  for  all. 

Raphael  was  quoting,  "  'He  who  loses  his  life  shall 
gain  it,'"  he  was  .saving;  "that  was  my  last  wish.  With 
the  making  of  that  wish  I  was  to  pass  into  the  Great 
Beyond.  And  yet  you  see  me  here  tonight,  in  splendid 
health,  in  excellent  spirits,  in  the  full  possession  of  my 
negligible  but  happily  recognized  talent  and  in  the  proud- 
est possession  of  all.  that  of  Pauline,  my  beloved  wife." 
"You  speak  in  paradoxes."  said  one  of  the  school  of 

Futuristic  painting. 

"Ah,  said  Raphael,  "I 
have  tried  your  several 
patiences  long  enough.  You 
have  dined  at  my  table, 
sipped  of  my  wine,  looked 
upon  the  incomparable  love- 
liness of  my  Pauline.  Now 
you  shall  hear  my  story. 
The  story  of  the  magic 
skin,  as  it  really  happened, 
coherently,  and  not  as  you 
have  had  it  by  word  of 
mouth  from  this  friend  or 
that  foe. 

"You      remember     when 

father,     the     Marquis 

and 

was 

left  penniless  but  with  a  pot 


my 

died.     YeS.     hh    bicti 
you    remember   how 


(Fifty-five) 


of   gold  at   the   rainbow   end   of   my  heated  imagination. 

"You  recall  how  I  took  an  attic  near  Montmartre  as 
many  a  better  poet  has  done  before  me.  and  how  I  literally 
drank  the  midnight  oil  composing  sonnets  to  a  Lesbia  that 
never  lived. 

"But  did  you  know  that  I  knew  Pauline  in  those  days? 
Vraimcnt.  Pauline  was  the  daughter  of  Madame  and 
Monsieur  Gaudin  in  whose  attic  I  finally  took  up  my  abode 
when  the  life  of  the  Quarter,  unexacting  as  it  was,  be- 
came too  much  for  even  my  ambitious  strivings. 

"Madame  Gaudin  alone  did  not  storm  in  upon  me  when 
the  week's 
rent  was  due 
.  .  .  and  was 
not  forthcom- 
ing, as  it  was, 
h  e  I  a s  ,  so 
m  any  times 
not. 

And 


If 


Paul- 
you 


me ! 

had  not  seen 
her  here  to- 
night, still  the 
m  i  nistering 
angel,  still 
mild  and 
magnificent, 
beautiful  and 
ben  ef  icent. 
then  I  should 
be  called  upon 
to  explain  her 
to  you  in 
dithyramb 
and  madrigal. 
in  canzonet 
and  monody, 
in  strophe 
and  antistro- 
phe.  There- 
fore. I  may 
leave  Pauline 
to  speak  for 
herself.  For 
none  can  do 
it  better. 

"Ah.  back 
in  those  days, 
how  kind  she 
was     to     me ! 

She  brought  me  food,  secretly  and  sweetly,  so  that  none, 
not  even  I  might  see  her  and  be  ashamed.  She  kept  my 
poor,  bare  room  spotless  and  with  her  own  hands  and 
even  placed  flowers  here  and  there  that  it  might  not  be  so 
bare  a  shrine  of  poverty.  Words  cannot  tell  you  the 
thousand  and  one  ways  in  which  Pauline  sought  to  make 
my  thorny  path  a  flowery  one.  And  I.  I  never  saw  it!  I 
seem  to  recall  that  I  did  not  even  see  her.  altho,  now  in 
the  late  light  of  my  great  love,  I  cannot  believe  that  the 
eyes  I  am  pleased  to  call  a  poet's,  that  the  heart  I  am 
charmed  to  believe  is  sensitive  and  lyric-strung,  could 
have  been  so  blind. 

"You  see,  I  was  enamored  of  Fedora. 

"To  go  into  that  would  be  to  go  into  the  cheap  and 
claptrap  folly  of  many  another  misguided  young  man, 
no  better  than  he  might  be. 

"I  had  lived  long  within  my  secret  soul.  I  had.  I  had 
really  fasted  on  Parnassus.  I  had  thrown  off  the  warm, 
hot  touch  of  hands  and  the  absorption  of  lips. 

"Thus  it  was  when  I  met  Rastignac  and  the  gay,  dear 
soulless  idler  took  me  to  the  Salon  of  the  Countess  Fedora, 
in  the  benevolent  hope  that  she  might  advance  my  prestige 


The    poor    penniless    poet    gives    up 

everything 


CLASSIC 

as  a  poet,  I  cared  nothing  for  the  advancement  and  every- 
thing for  the  hope  of  an  amour. 

"Fedora!  Gay  and  gaudy,  fated  and  frivolous!  But 
she  was  a  glittering  snare  and  a  delirious  delusion  to  me. 
The  scent  of  her  hair,  the  shimmer  of  her  arms,  the  scorn- 
ful red  trap  of  her  mouth,  these  things  remained  with 
me  by  day  and  made  painful  my  slumbers  at  night. 

"She  cared  nothing  for  me  other  than  to  exploit  me. 
Which  she  did,  in  her  fitful  fashion.  She  herself  read 
my  poems  aloud  at  one  of  her  soirees  and  it  might  have 
done  me  some  little  good  had  I  not  been  more  enthralled 

with  the  tex- 
ture of  her 
mouth  than  I 
was  with  the 
technique  of 
my  own 
verses. 

'  '  I  made 
the  mistake 
of  so  express- 
ing myself.  A 
mistake  be- 
cause the 
most  influen- 
tial man  there 
that  night  in 
my  direction 
was  also 
enamored  of 
Fedora,  and 
was  not  dis- 
posed to  look- 
kindly  upon  a 
young  man 
likewise 
affected. 

"Fedora 
played  with 
me.  As  such 
women  have 
played  with 
such  young 
men  since  the 
mad  world 
first  went 
mad. 

"She   made 

appointments 

with  me  only 

to  break  them 

if  it  pleased  her  caprices.     She  took  her  hot  red  roses  I 

starved  to  buy  for  her  only  to  watch  me  bleed  upon  the 

thorns.     Ah.  it  was  a  cruel  time ! 

"And  as  I  grew  poorer  and  poorer,  more  and  more 
bereft  of  hope,  less  and  less  desirous  of  prolonging  a 
life  made  up  only  of  hungers,  of  one  sort  or  another, 
Pauline  grew  more  silently  solicitous,  Fedora  more  openly 
derisive. 

"The  day  came  when  I  walked  toward  the  Seine,  with 
that  look  in  my  eyes  and  that  stride  to  my  tired  feet,  that 
have  so  many  times  before  wooed  the  Seine  in  the  same 
manner. 

"I  was  about  to  throw  myself  over  when .  a  poor 
wretch  of  the  streets  deterred  me. 

"Her  hand,  all  emaciated  and  blunted,  held  fast  to  my 
sleeve. 

"The  ruined  beauty  of  her  face,  ruined  so  long  ago, 
God  knows,  besought  me.  ; 

"  'No  woman  is  worth  dying  for,'  she  said,  and  I 
paused,  arrested  that  she  should  have  guessed  my  guilty, 
secret  motive.  I  looked  at  her  again.  She  was  a  woman, 
too.     Doubtless,   from  the  broken  contours  of  her   face, 

(Fifty-six) 


in    despair,    and    his    creditors    take 
that  he  has 


CI  ASSli  • 


the  tired  weight  of  her  faded  hair,  doubtless  she,  too, 
had  been  once  as  beautiful  and  brilliant  as  Fedora.  God. 
that  a  man  should  have  given  up  his  life  for  that    .    .    .    ! 

"I  shrugged  her  hand  away,  not  unkindly,  but  signifi- 
cantly, and  she  knew  that  I  had  understood  her  message 
to  me.  and  I  knew  that  she  knew.  She  smiled.  It  was  a 
pitiful  enough  smile.  And  she  drifted  off  into  the  flotsam 
of  the  streets,  a  Magdalene  who  had  paused  for  a  moment 
to  dash  some  precious  ointment  at  my  feet.    .    .    . 

"Well,  and  then  I  happened  to  go  into  the  anti- 
quarian's. 

"I  had  one  thing  left.  One  thing  of  value  that  had  not 
gone  to  buy  the  hot 
red  roses  for 
Fedora.  It  was  a 
scarab  belonging  to 
my  father. 

"I  was  desultory 
enough  when  I 
went  into  the  odd- 
appearing  shop.  1 
had  scant  hope  of 
more  return  than 
enough  to  buy  a 
supper,  a  dash  of 
absinthe,  perhaps 
.  .  .  Judge,  then. 
0  f  my  surprise 
when  the  old  man 
turned  several 
shades  of  green 
and  yellow,  began 
muttering     in     the 


Above:  A  bit  of  the 
riotous  good  time 
Raphael  asked  for 
as  the  first  wish 
granted  by  the 
magic  skin 


most   mystic   and   agitated   terms   and   finally   begged   my 
leave  for  him  to' take  it  into  his    Master.' 

"Shortly  thereafter  the  Master  himself  emerged,  slowly. 
and  with  effort,  from  an  inner  chamber.  He  made  obscure 
signs  to  me.  which  I  took  to  mean  to  follow  him,  and  not 
caring  much  whether  1  was  being  lured  into  a  den  of 
thieves  and  cutthroats  or  merely  in  the  private  asylum 
of  some  addled  brain,  1   walked  after  the  old  man. 

"Oh,  my  friends,  there  was  a  great  deal  of  talk,  back 
in  that  illy  lit.  evilly  smelling,  unearthly  chamber.  Mystic 
talk  of  ancient  things  and  lost  keys  and  rites  long  buried 
in   antiquity.      But   the  gist  of   the   whole   was   that   the 

scarab  I  possessed 
was  'the  key'  to  the 
Magic  Skin.  This 
splotched  and  un- 
lovely affair  hung 
upon  a  wall, 
secreted  under  a 
sliding  panel.  It 
hung  directly  be- 
neath a  painting  of 
the  Christ  and  had 
been  so  hanging, 
my  friend  the  anti- 
quarian told  me. 
for  age  after 
long  gone  to  dust. 

"On  the  skin  was 
traced  in  hiero- 
glyphics which  the 
Ancient  made  out 
for  me.  these  words  : 


Left:  With  each 
wish  the  magic  skin 
shrinks  and  when  it 
has  shriveled  away 
to  nothing,  its  own- 
er dies 


(Fifty-seven) 


CLASSIC 


Pauline's  father  comes  home  from  Russia  unexpectedly  and   unaccountably 
laden  with  rare  and  costly  jewels 


Possess  me  and  thou  shalt  possess  all  things 
Wish  and  thy  wishes  shall  be  fulfilled, 

But    measure    thy    desires 
For  with  each  wish  I  must  shrink 

And  in  like  measure 
Each   wish  shortens  thy   life 

Wilt  thou  have  me 

Take  me 

So  he  it. 

"Of  course,  mcs  amis,  I  did  not  believe  all  this,  that  is, 
not  wholly.  Perhaps  I  believed  it  rather  more  than  some 
men  would,  for  I  was  a  poet  and  a  starving  one.  Still 
more,  I  was  a  starving  poet  in  love,  than  which  there  is 
no  more  receptive  mind  ! 

"At  any  rate,  I  uttered  the  first  wish  that  came  to  my 
mind  as  I  dashed  out  into  the  street  again,  which  was  that 
I  might  meet  with  my  old  cronies  and  have  a  rousing  good 
evening  for  once  again ;  music,  rich  food,  fine  wine, 
women,  song ! 

''No  sooner  said  than  done.  .  .  .  Emil,  here,  is  the 
only  one  ,of  you  who  shared  that  marvelous  evening  with 


me  He  was  coming  along 
with  some  four  or  five  of  the 
other  fellows  in  a  hansom  cab 
and  they  nearly  ran  over  me. 
in  my  pitiful  excitation, 
clutching  my  magic  skin  and 
looking,  or  so  they  thought, 
very  drunk  indeed ! 

"Ah,  but  we  had  an  evening, 
eh,  Emil  ?" 

Emil,  smoking  in  his  cor- 
ner, smiled  and  nodded,  fires 
of  reminiscence  lit  in  his  deep- 
set  eyes. 

"Well,  that  began  it,"  Ra- 
phael continued,  "surely  a 
'Strange  Story'  and  with  no 
respects,  either,  to  Bulwer- 
Lytton. 

"I  cant  say  that  I  was 
happy.  One  is  never,  I  think, 
happy  in  such  abnormal  fash- 
ion. Besides,  I  found  my- 
self constantly  making  wishes 
and,  resultantly,  with  each 
wish  the  miserable  rag  of  a 
skin  would  shrink  and,  as  I 
knew,  my  life  shrank  with  it. 
"It  was  this  very  phase  of 
the  whole  strange  matter  that 
made  me  know  that  the  whole 
affair  was  strange,  indeed,  but 
alarmingly  true.  For.  with 
each  wish  that  I  made,  and 
which  was  inevitably  and  in- 
stantaneously granted,  my 
own  vitality  ebbed.  My  grow- 
ing weakness  was  a  more 
grisly  fact  to  me  than  any  of 
the  benefits  accruing  from  my 
wishes,  prodigal  enough  at 
first,  but  gradually  matters  of 
the  most  miserly  calculation. 

"Most  of  you  remember  the 
incident  of  my  uncle's  death. 
Some  of  the  details  of  that 
sordid  event  are  not,  perhaps, 
clear  to  you.  As  you  may 
have  heard,  Fedora  asked  to 
meet  him.  I  brought  him  to 
her  home  and  he,  poor  moth, 
was.  like  most  men,  attracted 
to  the  brightness  of  her  flame. 
What  I  suffered !  What  torments !  The  final  and  cul- 
minating one  being  an  evening  when,  reflected  in  a  mirror, 
I  beheld  the  woman  I  desired  above  all  fleshly  things,  iti 
his  arms. 

"That  night,  that  very  night,  he  was  attacked  by  ruffians 
and  staggered  into  my  presence,  dying.  His  vast  fortune 
descended  to  me.  And  when  I  saw  the  magic  skin,  and 
saw  that  it  had  shrunk  to  less  than  the  size  of  a  bank- 
note, I  realized  with  a  sick  throb  that  I  had  wished  for 
just  such  an  eventuality.  Yes,  yes,  my  friends,  subcon- 
sciously, perhaps,  and  then  again,  perhaps  not,  I  had 
wished  for  the  Duke's  death.  I  had  wished  for  it  for 
two  reasons :  first  because  he  coveted  Fedora  and  next 
because  I  knew  that  I  was  the  heir  to  his  estates. 

"Oh,  well,  then  I  took  the  house  in  Paris  to  which 
all  of  you  have  at  one  time  or  another,  been  the  guests. 
"It  was  in  this  house  of  mine,  too,  that  I  again  saw 
Pauline,  whom  I  had  not  seen  in  all  the  months  that  had 
transpired  between  my  leaving  my  garret  the  night  I 
went  toward  the  Seine  bent  upon  death,  up  to  the  time 


(Fifty-eight) 


i  i  kSSIC 


.u  tin  end  "i  .1  devioui  mountain  trail     There  I  would 
kneel  and  praj  le  hou  Dicu  to  restore  to  m<-  m>  manhi 
t>>  remove  from  me  the  devilment  under  which  I  lived 
and  under  which  l  was  10  toon  to  die.    On  one  of  I 
days  I  looked  down  the  trail  and  was  a^h,-i-.i  to  lee  two 
figures  clambering  toward  me,  the  one  a  trifle  in  advance 


of  tm    receiving   in   lavish   splendor   in   m)    own   home 

"Pauline  was  glorious  that  night.  I  remember  ho*  I 
stood  back  to  watch  lui  descending  m)  stairway,  how  I 
turned  to  .t  friend  of  mine  and  said,  'Here  comes  the  mosl 
perfeel  woman  in  the  world,'  and  how  mj  friend,  quia 
rically,  said,  'Mure  beautiful  than  Fedora,  men,  Raphael 
and  how  I  answered,  tranced,  'Ah,  infinite!}  more  beau 
t i ful  than  Fedora  !' 

"Then  and  there,  one  evil  spell  was  broken  for  me, 
["he  evil  spell  of  Fedora      \nd  when  I  realized  thai  the     one,  also  a  woman,  a  woman  with  •  imething  horrible  in 
beautiful  fad}   was  Pauline,  little  Pauline  Gaudin,  who     her  walk,  in  her  attitude,  the  second  was  Fedora,     in 

stantly,  1  was  sick  with  a  morbid  terror,    For  well  I  knew 

that  no  such  altruistic  motive  as  anxiets    had  sent    Fedora 

alter  me  into  the  Swiss  Alps. 

"As   you   know,   and   as    I    know,    hedora   hail    noised    it 
venomously  abroad,  that   my   friendship   for  her  had 
(  Continufd  on  page  W ) 


of  the  other,    The  first,  so  I  saw.  was  Pauline     Faithful, 

deal     I'. inline,    who.    it    transpired,    had    followed    me    into 

my  retreat  oul  of  her  loving  anxiety,     I'm  the  second 


had  attended  me  in  mv   povert)  stricken  garret,    1    was 

more  than  ever  'ma/ed  and  joyed.  No  father,  she  told 
me,  had  made  a  vast  fortune  in  Russia  and  the\  no  longer 
kept  a  rooming-house   for  impecunious  artists. 

That  night,  mtS  amis,  my  lust  was  killed  and  mv 
love  was  born.  They  are  different,  1  tell  you  that  now. 
they  are  very  different,  love 

and  lust.  .  .  . 

"We  began  to  sec  one  an- 
other every  day  and  to  make 
plans  for  our  future.  With 
the  birth  of  love  there  came, 
also,  of  a  natural  conse 
quence,  the  spontaneous 
birth  of  many,  many  more 
wishes.  I  found  myself 
wishing  this  for  us  and  that 
for  us,  I  wished  to  perfect  a 
happiness  more  glowing  and 
glorious  than  ever  before  ex- 
perienced by  man  and  wom- 
an. And  with  each  wish  1 
grew  weaker  and  more  mis- 
erable. There  was  I.  with 
happiness  in  my  two  hands, 
and  all  the  while,  my  two 
hands  growing  more  feeble 
and  more  futile. 

"I  was  in  despair,  then. 
Happiness,  and  I  could  not 
taste  it !  The  wine  was  at 
my  mouth  and  the  sparkle 
had  died  down.  I  tried  in 
every  way  to  destroy  that 
accursed  skin.  It  would  not 
be  destroyed.  It  would 
shrink  only  of  its  own  ac- 
cord, in  its  own  manner,  and 
with  its  shrinkage  it  drank 
my  life-blood  from  out  my 
impoverished  veins. 

"I  became  melancholic, 
and  in  order  to  attempt  to  re- 
gain some  degree  of  health 
before  our  marriage,  I  made 
a  journey  into  the  Swiss 
Alps. 

"There,  I  thought,  away 
from  Paris,  away  from  Paul- 
ine, away  from  Fedora,  who. 
after  the  fashion  of  women 
of  her  sort,  had  become 
malicious  and  passionate  now 
that  she  had  lost  the  thing 
she  had  despised,  away  from 
all  of  this,  I  might  not  have 
the  urge  to  make  any  wishes. 
I  might  grow  stronger. 

"The  end  of  it  all  came 
there  in  the  Swiss  Alps. 

"It  was  my  wont  to  go. 
every  day,  to  a  little  shrine 


Here  is  the  course  of  true  love  not  running  smoothly  as  is  its  custom, 
poet  leaves  his  garret    .    .    .    and  his  sweetheart 


The 


(Fifty-tune) 


Abandon 


Ira  L.  Hill's  vivid  study  of  Gilda  Gray  in  her  Voodoo  dance,  in  which  she  interprets 

all  the  mysterious  and  incomprehensible  rites  of  conjury,  snake  worship,  witchcraft, 

haunts  and  so  forth.     It  is  an  amazing  performance — of  utter  abandon.     You  really 

shouldn't  miss  it.    It  happens  nightly  at  the  Rendezvous 


(Sixty) 


Classic  Considers- 


CAMBARELLI 
Because  she  is  premiere  danaeuac 
of  that  excellent  ballet  which 
adorna  the  Capitol  Motion  Pic- 
ture Theater  in  New  York  City 
Becauae  she  has  performed  the 
prodigious  feat  of  dancing  at 
eight  thousand  —  yes,  we  mean 
thousand,  not  hundred— consec- 
utive   performances 


Photograph  b>    Han  ook,   I.     \ 


HAROLD  BELL  WRIGHT 
Because  he  is  the  most  widely  read  author  in  the  world,  beyond  any  question. 
Not  one  of  his  books  has  sold  less  than  a  half  million  copies;  and  when  one 
figures  five  readers  to  each  book  and  there  are  nine  in  all,  the  number  of 
readers  is  tremendous.  Principle  Pictures  intends  to  film  all  nine,  starting 
with    "When    a    Man's    a    Man."      This    record    is    absolutely    unparalleled 


WILLA  SIBERT  CATHER 
Because,  in  a  recent  poll  of  the  five  greatest  American  authors 
she  was  the  only  woman.  Because  her  novel,  "One  Of  Ours," 
won  the  Pulitzer  price  for  1922,  which  awards  $1,000.00  to  the 
American  novel  that  presents  the  most  wholesome  atmos- 
phere and  approximates  the  highest  standard  of  manners  and 
morals.  And  last,  because  her  latest  book,  "A  Lost  Lady." 
is    better    than    any    of    her    others 


rhotogr.iph   by   K;ulel  and   Herbert 


1  1  -^  #    "f 

n 

Six 

■  ii   **  ^HJ 

Li 

IfcL. 

i  ■ 

-  \ 

™ 

TL~  - 

Hk    -4 

wmA 

* 

TONY  SARG 
Because  of  all  the  puppets  and  marionettes  in  the  world,  his  are  the  most 
unique  and  interesting.  They  are  good  enough  for  Victor  Herbert  to  com- 
pose special  music  to  their  antics.  The  one  above  is  from  "The  Chinese 
Willow  Plate  Story."  which  will  have  its  premiere  in  December  at  the 
Belasco  Theater.  They  say  it  is  colored  so  gorgeously  that  it  looks  like  a 
huge   animated    stained-glass    window 


Sixly-one) 


Photograph  by  Alfred  Cheney  Johnston 

BEING  a  confirmed  bachelor,  I'm  merely  an  onlooker 
in  this  game  of  marriage.  It  is  perhaps  incongru- 
ous for  me  to  speak  of  divorces  at  all.  However, 
sometimes  those  who  stand  on  the  sidelines  get  a  more 
detached  perspective  than  the  players. 

Perhaps  if  marriage  wasn't  such  an  easy  proposition, 
the  success  would  be  greater.  But  then  the  whole  thing 
is  a  strange  business.  Getting  married  is  easy,  trying  to 
get  unmarried  is  where  the  rub  comes  in.  Two  people 
can  meet  one  day,  get  a  marriage  license  the  next  and  go 
before  a  minister  or  a  justice  of  the  peace  or  a  ship's 
captain  and,  unquestioned,  be  married.  The  mariner,  for 
instance,  would  not  think  of  setting  out  on  a  long  voyage 
without  charting  out  his  course  with  due  regard  for  ad- 
verse winds  and  currents.  But  less  wisely  he  will  cast  two 
people  adrift  upon  the  seas  of  matrimony  that  are  infinitely 
more  uncertain  than  the  storm-swept  ocean. 

Then,  if  the  hapless  couple  strike  shoals  and  foresee 
ahead  rocky  coasts  threatening  to  wreck  their  happiness 
and  decide  to  turn  back  to  the  port  of  departure,  people 
begin  to  ask  questions. 


Getting 
Married 
and  Un- 
married! 


By 

LEW  CODY 


Mr.  Cody  and  Miss 
Chadwick  are  playing 
together  in  a  Goldwyn 
picture  by  Rupert 
Hughes,  called  "Law 
Against  Law,"  which 
deals  with  the  evils  of 
divorce — not  because 
of  divorce  itself  but 
the  unhappiness  that 
results  from  the  arbi- 
trary and  conflicting 
laws  to  which  it  is 
subject.  We  thought 
it  fitting,  therefore, 
that  they  be  given  an 
opportunity  to  have 
their  say.  It  makes 
interesting  reading 


If  you  take  out  a  driver's  license  for  an  automobile, 
you  have  to  fill  out  a  questionnaire.  But  they  give  you  a 
marriage  license  unquestioningly. 

By  all  of  which  I  mean  that  our  present  system  seems 
in  some  respects  fundamentally  wrong.  They  never  ask 
why  you  want  to  get  married,  but  they  ask  a  lot  of  ques- 
tions and  make  much  fuss  over  your  trying  to  get  un- 
married. The  point  is,  getting  married  is  a  far  more 
dangerous  business  and  should  not  be  entered  into  lightly. 
But  when  people  want  to  get  unmarried,  it  is  a  pretty  safe 
bet  they  have  real  reasons.  They  have  tried  out  the 
thing,  and  know.  Not  that  I  am  an  advocate  of  easy  and 
many  divorces.  Far  from  it.  I  regard  marriage  as  the 
most  sacred  of  human  relations.  But  people  do  make 
mistakes. 

I  never  before  bothered  a  great  deal  about  divorce, 
but  when  I  was  cast  in  Rupert  Hughes'  new  picture, 
"Law  Against  Law,"  and  discovered  that  in  one  state  I 
might  be  thoroly  divorced  and  in  another  state  have  three 
wives,  simultaneously  and  all  legally,  the  thing  took  on 
(Continued  on  page  88) 


(Sixty-two) 


Why  Do 

People 

Get 

Divorces? 

By 

HELENE  CHADW1CK 


Mr.  Cody  says:  A 
man  is  most  easily 
managed  when  he  is 
managed  unwittingly. 
A  man  should  not 
hide  all  his  faults  and 
deny  his  IVlfe  the 
pleasure  of  reforming 
him.  Miss  Chodwick 
says:  Men  are  strange 
creatures.  For  all 
their  being  men  and 
strong,  they  are  like 
little  boysl  On  the 
other  hand,  they  like 
women  to  ask  advice 
of  them  .  .  .  for  man 
does  feel  that  he  is  a 
superior  being 


DIVORCES  seem  necessary.  Xot  every  marriage,  as 
we  know,  can  be  a  happy  one,  and  certainly  it  is 
better  that  a  couple,  discovering  they  have  made  a 
mistake,  be  given  a  chance  to  start  over  again  and  have 
some  hope  of  happiness. 

But  when  the  number  of  divorces  each  year  reaches  the 
alarming  number  they  have  in  America  at  present,  it  is 
patent  that  something  is  wrong  somewhere.  It  is  always 
interesting  to  consider  reasons,  and  certainly  there  must 
be  reasons  for  this  untoward  condition  that  sees  tens  of 
thousands  of  homes  broken  up  yearly. 

Faults  very  often  lie  at  home.  I  think  many  matri- 
monial difficulties  might  be  averted  if  the  husband  and 
wife  understood  each  other  not  simply  as  such,  but  as 
man  and  woman.  There  are  certain  things,  call  them 
psychological  or  what  you  will,  that  are  inherent  in  the 
relations  between  man  and  woman  that  must  not  be  over- 
looked. A  realization  of  these  facts,  and  the  practice  of 
a  certain  tolerance,  would,  I  feel  sure,  result  in  a  mutual 
understanding  that  would  in  some  degree,  at  least,  lower 
the  number  of  divorce  suits  taken  into  court. 


Photograph  by  Clarence  S.  Bull 

Consider  how  many  couples,  on  the  verge  of  divorce, 
have  been  reconciled  in  court  by  an  understanding  judge 
who  opened  their  eyes  to  things  to  which  they  had  been 
blind.  But  not  all  judges  can  weigh  all  cases,  therefore  it 
becomes  necessary  for  the  principals  in  the  case  to  take 
on  themselves  the  responsibility  of  sound  judgment. 

First,  every  woman  should  consider  the  qualities  a 
man  demands  in  a  wife,  and  sincerely  endeavor  to  culti- 
vate those  qualities.  Men  are  much  the  same  in  this 
respect ;  in  their  eyes  a  wife  is  a  wife,  and  she  must  strive 
to  be  that. 

Men  are  strange  creatures.  For  all  their  being  men 
and  strong,  they  are  much  like  little  boys,  and  like  to  be 
petted.  But  too  much  petting  palls.  On  the  other  hand, 
they  like  a  woman  to  ask  advice  of  them,  that  they,  the 
men,  may  look  down  from  the  magnificent  heights  of 
their  superiority.  F"or  man  does  feel  he  is  a  superior 
being. 

So.  a  wife  should  learn  that  her  husband  is  not  always 
in  the  same  mood  :  she  should  consider  when  he  wishes  to 
(Continued  on  page  88) 


(Sixty-three) 


(Sixty-four) 


A  Happy  Youn^  Man 


Bv  FAITH  SERVICE 


Yo{'  N>>  seldom  meet  ■ 
happy  young  man.  You 
so  seldom  meet  peo- 
ple admittedl)  happy,  who 
can  tell  you  win  they  are 
happ)  and  expect  to  con 
tinue  to  l>e  happ)  even  in  the 
face  of  the  fact  that  they 
know   they  may  not. 

There  seems  to  be,  In  this 
.ration,  a  sort  of  cru- 
sade  against  happiness.  It 
isn't  the  style.  It  is  what 
the  dictionaries  might  refer 
to  ,i<  "disuse."  It  just  isn't 
being  done.  It  has  come  to 
be  considered  as  "interest- 
ing" to  be  morose  and  mel- 
ancholic, skeptical,  cynical, 
super-Russian,  thickly  iron- 
ical. God  and  laughter  and 
Santa  Claus  and  Holy  Mat- 
rimony, babies  and  blue 
skies  and  kind  hearts  and 
simple  faiths  .  .  .  these  are 
the  dethroned  idols  of  a  van- 
ished Yesterday. 

But  Alfred  Lunt,  on  the 
day   I   talked  with  him.  was 

a  very  happy  young  man — by  my  observation  and  by  his 
admission. 

Happy  for  many  excellent  and  solid  reasons,  such  as 
the  fact  that  he  is  in  love  with  his  wife,  in  love  with  his 
work,  was  having  his  first  vacation  in  many  years,  had 
just  finished  a  picture  be  thought  was  good,  and  enjoys 
his  mother  rather  more  than  any  other  woman  he  knows. 
Not  because  his  mother  happens,  by  a  fortuitous  ac- 
cident'of  biology,  to  be  his  mother,  but  because  she  is.  by 
herself  and  in  herself,  a  personage. 

He  told  me  sympathetic  and  delightfully  appreciative 
things  about  her.     How  that  he  is  the  child  of  her  first 
marriage,  the  only  child.     How  she  married 
again,  a  Scandinavian  gentleman,  I  be- 
lieve, and  has  two  or  three  other 
children ;    two    girls    among 
them.     How    she   always 
longed  for  one  of  her 
children,  all  of  them  jZA 

if  possible,  to  go  on 
the  stage.  How  de- 
lighted she  is  be- 
cause he,  Alfred. 
did    go.     How    she 


Above  is 
young  M  r . 
Lunt  living 
up  to  the 
title  ,  and 
right,  as  he 
appears  in 
''Second 
Youth,"  a 
Distinctive 
Picture 


Photograph  by  Pach   Brothers 


still  tries  to  urge  the  \!\\ 

140    and     i-     milled 

the)      K'lu  i-     and     an-     ada 

mantly  disin<  lined.   Vnd  how 

she    would    have    liked    to    go 

on  tin-  itage  herself 

I  le  told  iih    something  "i 

his     former     home,     -till     his 

mother's,  in  a  mid  Western 

tow n.  of  how  she  makes  h<-r 
lips  sen  1,1  because  it  ami 
her  and  arranges  hei  1" 

t i fill    hair    into    an    intricate 

and  interesting  coiffure,  "to 

charm,"   her    fond    son    said. 
"the  potato  buj^s.  I  suppos 

Mr.  Lunt  believes  with 
some  of  the  perhaps  less 
popular  moderns  in  the 
theory  that  a  child  owe- 
rather  less  to  the  parent  than 
the  parent  to  the  child.  That 
if  there  be  a  bond  of  sym- 
pathy and  congeniality,  well 
and  good.  But  if  the  bond 
does  exist  it  is  not  because 
they  are  mother  and  child. 
of  necessity,  but  simply  be- 
cause they  are  two  per 
with  a  common  point  of  view  and  a  respect,  the  one  for 
the  other.  At  any  rate,  and  theories  aside,  it  is  obviously 
enough  a  very  delightful  relationship  between  them. 
Well,  his  mother,  then,  is  one  reason  for  his  happi; 
and  I  can  think  of  no  more  basic,  no  better  reason. 

Secondly,  not  necessarily  in  the  order  of  importance 
but  in  the  order  of  my  paragraphic  tendencies,  is  his  wife. 
Lynn  Fontanne.  who  made  the  play  and  name  and  char- 
acter of  "Dulcy"  famous. 

Alfred  fell  in  love  with  Lynn  ''at  first  sight."     Yes.  an 

authentic  case  of  the  old  poetic,  cardiac  collapse.     I  have 

heard  people  say  that  there  is  "no  such  thing.''     There  is 

such  a  thing.     Mr.  Lunt  did  it.     It  happened 

in  this  wise: 

Mr.  Lunt  and  Miss  Fontanne  were 
to  rehearse  in  the  same  play, 
the    name    of    which    es- 
capes me,  and  doesn't 
matter.     Mr.   Lunt 
was    first    upon    the 
stage,    a    w  h  o  1  e  - 
hearted,  emotionally 
comfortable  enough 
l  Cont'd  on  paii, 


Alfred  Lunt 
is  happy  be- 
cause he  is 
in  love  with 
his  wife  and 
in  love  with 
his  work; 
two  very  ex- 
c  e  1  1  e  n  t 
reasons 


(Sixty-five  > 


s 


Our  ! 

Boulevardier 
Steps  Out 


'INCE  the  collapse  of  her  romance 
with  Charlie  Chaplin,  the  fair  and 
fascinating  Pola  Negri  seems  to  have 
forsworn  masculine  society  altogether. 
Her  inseparable  companion  now  is 
Kathleen  Williams  who,  in  private  life, 
is  the  wife  of  Charles  Eyton,  manager 
of  the  Lasky  studio.  You  never  see  Pola 
but  that  her  pal,  Miss  Williams,  is  some- 
where upon  the  horizon. 


^V 


Top  of  the  page:  Neither  a  funeral 
nor  a  wedding,  but  merely  extras  from 
"The  Judge  and  the  Woman.1'  Above: 
Off-stage  entertainment  by  two  of  the 
cast  of  "Tiger  Rose."  Right:  John 
Bowers  and  Marguerite  de  la  Motte. 
who  are  playing  in  Harold  Bell 
Wright's  "When  A  Man's  A  Man." 
Below:  A  recent  wedding  party,  Lila 
Lee  and  her  husband,  James  Kirkwood 


Pola  is  just  beginning  work  on  a  new  picture,  "My  Man,"  in  which 
she  plays  the  part  of  a  rough  lady  from  the  apache  districts  of  Paris. 
In  this,  she  will  get  back  to  the  kind  of  stuff  she  did  in  "Passion,"  upon 
which  her  reputation  was  built.     Her  leading  man  is  to  be  Charles  de 

Roche,  the  French  actor ;  Hunt- 
ley Gordon  is  also  to  play  a  lead- 
ing part. 


Hollywood  is  consumed  with 
excitement  as  to  whether  Pola 
was  able  to  put  it  over  Mary 
Pickford;  their  two  pictures, 
"Rosita"  and  "The  Spanish 
Dancer,"  being  the  identical  story 
and  handled  in  much  the  same 
way.  Neither  picture  has,  at  this 
writing,  been  shown  in  Holly- 
wood. Pola's  admirers  say  she 
didn't  have  Mary's  chance  be- 
cause "The  Spanish  Dancer" 
wasn't  a  star  picture  and  Pola 
had  to  take  her  chances  with  the 
other  boys  and  girls. 


Mary  is  just  beginning  work 
on  "Dorothy  Vernon  of  Haddon 
Hall"  with  her  old  friend,  Mar- 
shall Neilan,  as  director.  They 
started  in  pictures  at  about  the 
same  time  years  ago  in  the  old 
Biography  days,  and  "Mickie"  has  directed  some 
of  Mary's  finest  work.  But  you  know  how  it  is 
with  Mickie;  he  just  cant  get  anywhere  on  time. 
So  for  the  discipline  of  his  soul,  Mary  has  made 
certain  important  preparations.  One  is  to  teach 
her  parrot  to  screech  out,  "Well,  you're  late 
again,  Mickie."  As  a  re-enforcement,  she  dug  up 
an  old  phonograph  record  of  a  once  popular  song ; 
so  the  first  time  Mons.  Neilan  wanders  in  late, 
he  will  be  greeted  by  the  old  song,  "I've  Waited, 
Honey,  WTaited  Long  For  You."  None  of  which 
will  worry  Mickie  in  the  least,  you  can  be  sure. 


All  the  celebrities  in  Hollywood  turned  out  the 
other  night  for  the  big  opening  of  "Little  Old 
New  York,"  in  which  Marion  Davies  scored  a 
triumph.    Among  them  was  Mary  Pickford,  also 


(Sixty-six) 


And  Reports 

The  Hollywood 

Gossip  To 

Harrv  Carr 


Doug.    They  slipped  in  as  unobtrusively 

as  possible,  hoping  not  to  be  noticed.    At 

the    first    intermission,   a    fond    mamma 

came  galloping  up  the  aisle  with  a  cherub 

child  and  announced  in  a  good  strident 

voice,  "My  little  girl  wants  to  kiss  you." 

Whereupon     Mary    got    smacked.      This 

spread    the    wild    alarm.       All    over    the 

house,  other  fond  mammas  leaped  to  their 

feet  and  started  down  the  aisle  dragging 

other   angel   cherubs   presumably    to   he 

ki-sed.     Happily  for  Mary,  the  first  fond 

mamma  had  no  intention  of  letting  anybody  jump  her  claim.     She  seen 

Mary  hrst  b'  gosh;  so,  to  the  intense  indignation  of  all  the  rest  of  the 

mothers,    she    staved    right    on    the    job    and    monopolized    Mary    until 

the  intermission  was  over. 


They  are  having  the  time  of 
their  lives  out  at  Mary  and 
Doug's  studio.  Mary  has  got 
hold  of  some  seventy  old  Bio- 
graph  pictures  made  in  1913. 
Mary  took  us  in  the  projecting- 
room  and  showed  us  one  in 
which  she  appeared  as  a  little 
page  boy  in  tights.  She  was  as 
fat  as  a  partridge,  so  fat  she 
could  hardly  show  her  eyes  when 
she  desired  to  emote. 


Bill  Hart  seems  to  have  come 
back  to  the  fillums  full  of  pep 
and  excitement.  His  first  pic- 
ture based  upon  the  life  of  Wild 
Bill  Hickok  was  made  in  the 
almost  unprecedented  time  of 
thirty  days.  And  at  that,  he  was 
much  of  the  time  on  location  out 
at  Victorville  where  work  is 
ordinarily  slow.  Among  other 
things,  Bill  would  seem  to  have 
scooped  all  the  studios  with  the 
first  Abraham  Lincoln  of  the  season.  Everybody 
is  making  pictures  with  Civil  War  atmosphere 
and  Abe  Lincolns.  possibly  fired  by  the  example 
of  the  Rockett  boys  in  filming  the  life  of  Lincoln. 
Ince  is  making  Barbara  Frietchie  with  a  Lincoln 
in  it ;  somebody  else  is  making  "The  Warrens  of 
\  irginia"  and  so  on.  Just  by  way  of.  good  meas- 
ure. Bill  also  has  General  Custer,  General  Sheri- 
dan. P,at  Masterson  and  the  Earpes  and  other 
historical  characters  in  his. 

Bill's  second  picture  is  going  to  be  one  that  he 
wrote  himself — a  story  of  the  West  of  about 
twenty  years  ago  called  "Singer  Jim  MeKee." 


Theodore,  Roberts  has  been  living  a  very 
strenuous  life  of  late.  He  has  been  appearing  in 
vaudeville    during    the    evening    hours    in    Los 


Top  of  the  page:  Spring  Magic  from 
"Maytime."  Above:  Two  little  chil- 
dren from  "The  Light  That  Failed." 
Left,  reading  from  top  to  bottom: 
Charlie  Chaplin,  Manuel  Alonzo,  Bill 
Tilden  and  Douglas  Fairbanks;  the 
best  in  their  professions,  screen  and 
net.  Below:  Victor  Seastrom,  the 
great  Swedish  director,  with  his  wife 
and   children 


(Sixty-seven) 


CLASSIC 


Bert  Lytell,  Blanche  Sweet  and 
Bryant  Washburn,  between  scenes 
from  "The  Meanest  Man  in  the 
World."  Did  you  ever  try  this  on 
your  piano?  Below:  An  interesting 
view  from  "Law  Against  Law"  es- 
pecially posed  for  Classic  by  Paul 
Ivy  and  Richard  De  Vilbiss.  Below: 
Madge  Bellamy  in  "No  More 
Women."     Plenty  of  men,  tho 


Mabel  Normand  in  her  endearing 
role.   The   Extra   Girl 


Angeles    and    putting    in    his    daylight 
hours  at  the  Lasky  studio. 

*  *         * 

Ambitious  near  stars  will  have  to  find 
another  friendly  angel  in  Hollywood. 
L.  M.  Goodstadt,  the  casting  director 
who  has  discovered  so  many  of  them, 
has  moved  on  to  another  job.  From 
now  on,  he  will  be  the  business  manager 
of  Cecil  De  Mille's  producing  company. 
Before  going  into  pictures  he  managed 
De  Mille's  theatrical  interests.  Since 
1916  he  has  been  in  charge  of  the  cast- 
ing for  Lasky.  During  that  time  he  has 
seen  Bebe  Daniels,  Jack  Holt,  Agnes 
Ayres,  Gloria  Swanson,  Wally  Reid, 
Wanda  Hawley,  Constance  Wilson, 
and  many  other  people  now  famous 
have  peeked  in  thru  his  little  window 
looking  for  movie  jobs, 

*  *         * 

Bebe,  by  the  way,  is  back  from  New 
York,  about  twenty  pounds  less  fat  than 
when  she  left  this  salubrious  climate. 
Her  first  picture  in  California  since 
her  return  will  be  "The  Heritage 
of  the  Desert''  by  Zane  Grey. 


Norma  Talmadge  has  a  more 
than  academic  interest  in  the 
weather  reports  just  now. 
She  is  making  the  night 
scenes  of  an  Arab  picture 
yet  to  be  named.  And  her 
garb  is  not  of  the  Arctic. 
She  is  an  Arab  dancing 
girl,  and  it  seems  that  Arab 
girls  dont  wear.  .  .  .  Oh 
well,  the  director  wants 
Norma  to  seem  languid  and 
tropical  and  warm ;  and  the 
California  climate  has  sudden- 
ly gone  upon  a  most  unusual 
rampage  and  the  gooseflesh 
comes  out  on  Norma,  and  the  next 
time  she  makes  an  Arab  pic- 
ture she  says  it  is  going  to  be 
in  a  baker's  oven. 


The  cold  wave  is  probably  the  result  of 
the  eclipse.  And  while  we  are  on — or 
under — that  eclipse  .  .  .  The  most  favored 
spot  in  the  United  States  from  which  to 
view  it  was  a  point  on  the  Coast  about  a 
hundred  miles  south  of  Los  Angeles. 
Everybody  who  could  get  hold  of  a  day 
off  and  an  auto  went  dashing  madly  to  the 
scene ;  but  the  studio  people  had  to  work. 
So  to  appease  their  disappointment,  the 
management  of  the  big  United  Studios 
rigged  up  a  regular  theater  of  chairs  on 
top  of  the  largest  studio.  The  players 
were  excused  and  ranged  themselves  with 
awed  anticipation.  And  then  a  darned  old 
cloud  came  humping  along  and  got  in  the 
way  and 'so  they  couldn't  see  the  eclipse 
after  all.  Yes,  it's  a  hard  life,  mates.  Es- 
pecially if  you  live  in  sunny  (  ?)  California, 
and  are  a  poor  hard-working  movie  star. 
(Continued  on  page  72) 


(Sixty-eight) 


Put  them  on  your  Christmas  List 

Everyone  lilus  to  lime  lovely  nails 


i 


PRICES  and  SIZES 

I  OR  l  VEM 

CHRISTMAS  NEED 

(jO)  Christmas  packages  .;/  the 
right  range  oi  prices 

POR  the  fastidious  dressing 
»  table  the  fascinating  Botidoir 
Set  with  its  cunning  little  rum 
partments  tor  cotton,  buffer, 
Cuticle  Remover,  Nail  White, 
Cuticle  Cream  (Comfort)  and 
three  different  Polishes,  includ- 
ing the  marvelous  new  Liquid 
Polish.  This  makes  a  substantial 
gift  or  worth  and  distinction. 
The  huffier,  stick  and  file  alone 
seem  almost  worth  the  whole 
price,  only #3.00.  For $5. 00  there 
is  the  still  more  elegant  De  Luxe 
set.  The  Cutex  Ivory  Case  at 
#7.50  is  luxuriously  packed  in  a 
charming  box  of  fine  quality 
imitation  Ivory. 

Cutcx  Boudoir  Set 


C"OR  the  greeting  that  must  he 
*■  more  personal  than  a  card — 
the  square  little  box  at  the  bot- 
tom contains  half  sizes  of  every- 
thing essential  for  the  nicest 
manicure.  The  Cuticle  Remover, 
Cake  Polish,  Paste  Polish  h  ith 
the  fashionable  new  rose  tint), 
Nail  White,  emery  board  and 
the  daintiest  little  orange  stick, 
all  gay  and  cordial  in  their  little 
black  and  rose  boxes.  This  com- 
pact set  is  almost  indispensable 
for  the  week-end,  the  over-night 
visit  or  the  office  toilet  kit,  and 
it  costs  only  60c. 

Cutex  Compact  Set 


CUTEX  TRAVELING  SET.  £1.50 


CUTEX  BOUDOIR  SET,  £3.00 


CUTEX  FIVE  MINUTE  SET,  £1.00 


l  A<  H  WITH  A  SPECIAL 
l  IOLIDAY  WRAPl'l  R 

C*OR  the  friend  who  is  always 
*■  dashing  off  somewhere  the 
ill  Cutex  Traveling  Set  at 
the  top  slips  in  the  dressing  case. 
I  he  Cuticle  Remover,  the  cake 
oi  white  Polish,  the  jar  of  pink 
Paste  Polish  and  the  convenient 
Nail  White  are  tucked  in  se- 
curely with  a  separate  pocket  for 
the  steel  file,  the  emery  boards 
and  the  orange  sticks.  This 
handsome  lasting  set  is  only 
£1.50. 

Cutex  Traveling  Set 


'  I  'HE  third  set,  for  convenient 
*~  use  at  the  dressing  table. 
How  trim  and  complete  it  is. 
And  it  contains  the  Cuticle  Re- 
mover, of  course,  absorbent  cot- 
ton, emery  boards, and  manicure 
stick,  and  both  the  wonderful 
new  Cutex  Polishes,  the  Liquid 
Polish  for  speed  and  brilliance, 
the  Powder  Polish  for  a  delicate 
rose-pearl  lustre — all  so  conven- 
iently arranged  not  a  moment 
is  lost  in  using  it.     $1.00. 

Cutex  Five  Minute  Set 


You  can  get  these  Cutex  Manicure 
Sets  with  the  special  holiday  wrappers 
M  Mly  druji  or  department  store  in 
the  United  States  and  Canada  and  at 
chemist  shops  in  England.  Northam 
Warren.  1  1  4  V.  I  7th  St..  New  York. 


(Sixty-nine) 


\  IbelDvieLnc^clopdecli 


Pauline. — Better  to  have  than  to  wish,  so  here  is  your  answer. 
Richard  Dix  is  not  married  and  is  playing  in  "The  Call  of  the 
Canyon"  with  Lois  Wilson.  Yes,  Ramon  Novarro  and  Alice 
Terry  are  playing  together.     By  all  means  write  again. 

Helen  M. — Too  bad,  too  bad,  but  since  misfortunes  cannot  be 
avoided,  let  them  be  graciously  borne.  No,  Ramon  Novarro  is 
not  married.  He  is  twenty-four  and  has  played  on  the  stage.  Af- 
ter "The  Spanish  Dancer,"  the  fiery  Pola  Negri  will  play  in 
"My  Man." 

Alice  Admirer. — Dont  forget  that  a  good  thing  is  all  the 
sweeter  when  won  with  pains.  Hoot  Gibson  in  "The  Pony 
Express."  Always  send  twenty-five  cents  when  requesting  a  pic- 
ture from  a  player.  Address  him  at  Metro,  1025  Lillian  Way, 
Los  Angeles,  Cal.     You're  welcome. 

Frances  Ann. — No,  I  dont  get  much  money,  but  I  have  a  lot 
of  fun.  It  is  not  what  we  possess  that  makes  us  happy,  but 
what  we  enjoy.  If  you  live  according  to  nature,  you  will  seldom 
be  poor ;  if  according  to  opinion,  never  rich.  You  refer  to  Edward 
Phillips.  He  was  with  Warner  Bros,  in  "George  Washington, 
Jr."  last,  and  he  played  in  "Sawdust."  Jack  Mower  was  the 
chauffeur. 

Eleanor  G.  C. — So  you  dont  believe  that  I  am  an  old  man,  but 
you  think  I  am  young  and  handsome.  Well  you  keep  right  on 
thinking,  yon  wont  be  violating  the  laws.  Yes,  of  course  I  like 
May  McAvoy.  Lila  Lee  is  eighteen,  stands  five  feet  three.  Not 
married — for  Richard   Dix. 

A  Flapper's  Dream. — Page  Mr.  Freud.  Dont  think  Craig 
Ward  is  doing  anything  right  now.  Reginald  Denny  in  "The 
Leather  Pushers."  Why  Priscilla  Dean  in  "The  Storm  Daughter." 
Harrison  Ford  is  married  to  Beatrice  Prentice,  and  Mary  Pickford 
has  hazel  eyes. 

Ching. — So  you  think  I  ought  to  have  my  whiskers  bobbed. 
Whewu !  It's  too  cold.  I  usually  retire  about  eleven.  One  hour's 
sleep  before  midnight  is  worth  two  hours  after.  Yes,  Malcolm 
McGregor  is  married.  Boy,  oh  boy  !  You  say  it  was  so  hot  where 
you  were  that  when  it  rains,  it  dries  up  before  it  hits  the  ground. 
Tell  me,  did  you  have  many  playmates? 

Hector. — Well,  I  wont  say  it.  It  wasn't  a  nice  thought.  I  was 
reading  in  a  little  book  I  have  which  is  over  one  hundred  and 
thirteen  years  old  that  modesty  is  sure  the  chiefest  ornament  of 
our  sex,  and  cannot  be  blamable  in  the  men ;  it  is  one  of  the 
most  amiable  qualities  that  either  man  or  woman  can  possess. 
You  wouldn't  think  so  today.  Niles  Welch  was  Roy  in  "The 
Cup  of  Life."     Clever  letter  yours. 

Movie  Fan.— Why  worry  for  something  you  cannot  get ;  usually 
it  is  not  a  want  but  merely  a  desire.  George  O'Hara  is  with 
Robertson-Cole,  also  Mary  Beth  Mil  ford.  Reginald  Denny  with 
Universal.  Rex  Ingram  and  his  wife,  Alice  Terry,  are  touring 
Europe  for  three  months  where  the  director  is  doing  some  research 
work  for  his  next  production,  "The  World's  Illusion." 

Oklahoma  City. — The  player  you  mention  was  said  to  be 
very  much  attached  to  his  wife,  nevertheless  he  went  to  court 
and  got  detached.  Edward  Burns 
is  thirty-one,  and  Robert  Frazer  in 
"Jazzmania."  Nita  Naldi  was  born 
in  Italy  and  she  is  playing  in 
"Everyday  Love."  No,  indeed,  I 
dont  mind   answering  questions. 

R.  Valentino  Fan. — Well  you 
wont  see  Valentino  on  the  screen 
before  February  1925.  Monte  Blue 
is  thirty-three,  and.  he  and  Irene 
Rich  are  playing  in  "Loveless  Mar- 
riages." 

Lillums. — You  say  you  would 
like  to  have  a  picture  of  me  eating 
green  corn  on  the  cob.  All  right, 
that's  a  go,  provided  you  will  give 
me    a    picture    of    yourself    eating 


This  department  is  for  information  of  ■  general  interest 
only.  Those  who  desire  answers  by  mail,  or  a  list  of 
film  manufacturers,  with  addresses,  must  enclose  a 
stamped,  self-addressed  envelope.  Address  all  in- 
quiries: The  An-wer  Man.  Classic,  Brewster  Build- 
ings, Brooklyn,  N.  Y.  Use  separate  sheets  for  matters 
intended  for  other  departments  of  tHis  magazine.  Each 
inquiry  must  contain  the  correct  name  and  address 
of  the  inquirer  at  the  end  of  the  letter,  which  will  not 
be  printed.  At  the  top  of  the  letter  write  the  name 
you  wish  to  appear,  also  the  name  of  the  magazine  you 
wish  your  inquiry  to  appear-  in.  Those  desiring  imme- 
diate replies  or  information  requiring  research,  should 
enclose  additional  stamp  or  other  small  fee;  otherwise 
all  inquiries  must  wait  their  turn.       Let  us  hear  from  you! 


spaghetti.  Marion  Davies  at  the  Cosmopolitan  Studios,  New  York 
Brown-Eyed  Sue. — No,  I  do  more  writing  than  I  do  talking 
Talking  and  eloquence  are  not  the  same ;  to  speak,  and  to  speak 
well,  are  two  things.  Lloyd  Hughes  is  twenty-four  and  that  is 
his  real  name.  Address  him  at  lnce,  Culver  City,  Cal.  That 
was  George  Nichols  in  "Children  of  Dust." 

Sunshine  and  Moon. — You  bet,  the  life  of  love  is  better  than 
the  love  of  life.  Thomas  Meighan  is  thirty-nine.  Ray  McKee  is 
starring  in  a  series  of  comedies,  also  in  "Forgive  and  Forget." 
Gaston  Glass  is  twenty-five. 

Bill. — All  right,  here  are  your  addresses.  Kenneth  Harlan  at 
the  Schulberg  Productions,  3800  Mission  Road,  Los  Angeles,  Cal. 
Tom  Mix  with  Fox.  Pauline  Garon  in  "The  Turmoil"  and  she 
has  blue  eyes. 

Adeline  Z. — Marjorie  Rambeau  is  playing  on  the  stage  right 
now.  And,  by  the  way,  she  is  playing  in  the  same  show  with 
Maude  Leone,  who  was  the  first  wife  of  Willard  Mack,  and  Miss 
Rambeau  was  his  last.  Irene  Castle  is  playing  in  a  concert  tour 
right  now.  Why  yes,  Mae  Marsh  and  May  McAvoy  both  wear 
glasses  when  not  taking  pictures. 

Alice  R. — Good-bye,  but  not  forever.  Charles  Ray  is  going 
to  play  on  the  stage  in  "The  Girl  I  Loved."  Then  there  is  Ruth 
Roland,  Nazimova,  Theodore  Roberts,  and  many  others  who  are 
going  on  the  stage.  Lloyd  Hughes  is  married  to  Gloria  Hope, 
and  he  is  twenty-four,  six  feet  tall.  Green  eyes  and  dark-brown 
hair. 

Juanita. — D.  W.  Griffith  is  producing  a  patriotic  film  called 
"America."  The  title  was  decided  upon  after  a  canvass  of  six 
universities,  schools,  clubs  and  sporting  clubs.  "America"  won 
by  a  narrow  margin  over  "The  Spirit  of  76."  Bessie  Love  is  to 
play  in  "Gentle  Julia"  for  Fox.  Yes,  Mae  Murray  is  with  Metro. 
E.  H. — Yes,  it  is  all  settled.  Joseph  Schenck  has  announced 
that  he  is  going  to  produce  "Romeo  and  Juliet"  with  Norma  Tal- 
madge  and  either  Joseph  Schildkraut  or  Conway  Tearle.  I'm 
betting  on  Conway.  Dorothy  Dalton  is  twenty-nine ;  Lillian  Gish 
twenty-seven  ;  Dorothy  Gish  twenty-five ;  Bebe  Daniels  twenty-two 
and  Viola  Dana  twenty-five. 

Red  Tex. — Thanks  for  the  sketch,  it  was  a  good  likeness. 
Carl  C.  W. — Why  the  first  cattle  ever  brought  to  America  are 
said  to  have  been  introduced  by  Columbus  in  his  second  voyage 
in  1493.  In  1553  cattle  were  carried  by  the  Portuguese  to  Nova 
Scotia  and  Newfoundland,  and  are  said  to  have  increased  there 
very  rapidly.  Thanks  for  the  suggestion.  Address  Rodolph  Val- 
entino at  50  West  Sixty-seventh  Street,  New  York  City.  Yes,  I 
think  the  majority  of  players  were  born  in  America.  Garreth 
Hughes   was  born   in   Llanelly,   Wales,   in   1897. 

Another  Vamp. — I  suppose  you  have  just  graduated  from  the 
vamp  school.  Well  the  trouble  with  exercise  is  that  the  more 
you  exercise,  the  more  you  will  eat  and  drink,  and  therefore  you 
cannot  hope  to  reduce  much  except  by  dieting.  Remember  your 
calories — about  2,500  for  you.  No,  Mary  Astor  is  not  married ; 
she  is  about  eighteen.     Gaston  Glass  and  Clara  Bow  in  "Poisoned 

Paradise." 

Hanover.  Pa. — Thanks  for  send- 
ing me  the  pictures.  Last  I  heard 
of  Lillian  Walker  she  was  in  vaude- 
ville. Leah  Baird  is  playing  in  her 
own  pictures.  Yale  Boss  is  back  in 
pictures,  but  I  dont  know  what 
happened  to  Mary  Fuller.  King 
Baggott  is  directing  Baby  Peggy, 
you  know.  Audrey  Berry  played 
in  "Java  Head." 

Dorothy  Van  D. — Well  the  best 
rule  I  know  of  is  this :  Try  to  keep 
your  body  comfortable,  and  when  it 
becomes  uncomfortable  seek  an  in- 
telligent readjustment  of  your  habit. 
(Continued  on  page  73) 


(Seventy) 


Do  You  Know  Flapper  Psychology? 


f^\v.v/   GdTUh    ills  mis  lain,  as  if  by  a  sixth   sense. 
■IS to  uncover  the  headlong   code  of   the  adolescent 
youth   of  today.    She  knows   -why  they  are  "(io  i/et 
ters"  and  "Stand-patters."  and  she  has  turned  the 
X-ray   on  all  the  little   (juirks   in   their  emotions 
that    they    keep    so    well    hidden    from    prying 
maiden  aunts  and  teasing  uncles,  to  say  nothing 
of  overanxious  mothers  and  severe  fathers. 


7'oui 
wit) 


THFfl      PASSION,     MISS     GATI.IN     DEPICTS 

ith  a  thrill  that  burns  and  laughs  in  a 
breath.      Her  stories   appear   in    "  1 1  arper's 
Bazar,"  the  "Cosmopolitan  Magazine ."  the 
"Saturday  Evening  Post,"  and  other  of  the 
best  magazines. 

TT'OR    MOTION   PICTURE   MAGAZINE,   Dana    G(lt- 

*■    lin  has  prepared  a  six-part  serial  "Thistle- 
down," a  story  of  young  love  that  will  delight 
those  who  know  fiapperism,  those  who  dont  know 
it.  and  those  who  want  to  know  it.    The  story  is  full 
of  mystery,  suspense,  surprise,  situations  that  throb, 
characters  who  are  like  your  intimate  neighbors;  and 
thru  it  winds  the  lure  of  the  silversheet  and  the  glamon 
of  romance. 


"THISTLEDOWN 


** 


By  DANA  GATLIN 


Beginning  in  the  January 

MOTION  PICTURE  MAGAZINE 


IT  IS  THE  OLD  STORY  OF  THE  CHASE 

A  SON  OF  THE  IDLE  RICH— A  LOVELY  WAITRESS 

"The  waitress  was  new  on  the  job  at  ThiebaucTs — the  young  men  being  of  the  type  that 
notes  such  things,  noted  that  at  once;  they  postponed  their  order  to  eye  the  waitress 
appraisingly.  She  was  worth  looking  at,  she  had  the  singular  delicate  loveliness  one 
sometimes  sees  in  unexpected  places." 

BUT  CAP  AND  APRON  ARE  A  MASQUERADE 

AND  FATE  STAGES  A  SHOCK  FOR  THE  GILDED  YOUTH 


"He  wanted  to  hold  my  hand  a  while  ago,"  the  girl  said  demurely.  The  old  Alsatian 
made  as  if  to  heave  his  unwieldy  frame  over  the  bar.  "He  insult  you,  the  dog?  Wait, 
I  fix  him.    I  tell  him  who  you  are! — then  I   throw  him " 

On  the  news-stand  December  first 


(Seventy-one) 


u 


IMs  Book  Supplies  all 
the  FamilySWinterNeeds! 

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house  of  bargains  for  every  one  of  our  3^2 
million  customers.  It  contains  all  the  latest  Paris  and 
New  York  Styles  at  the  lowest  prices  ever  quoted.  Use 
it  right  along — from  now  until  January — for 
all  the  family  shopping,  including  Xmas  gifts. 

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history!    Our  New  and  Improved  Mail  Order 
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Book  constantly — and  profit  by  the  tig  savings! 

oOtherPHHIPSBORN 

Catalog  will  Reissued 
Our  January 
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LO 

Yout 

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Catalog-orifYou 
liave  none  BORROW 
one  fromYouTNeighbor! 


sMabthisa^ 

p  HAPPIER H., 

fcCHRISTMASi 

f  3y  Giving-  Practical  Presents  * 
H  .from  the  Phil  ipsborn's  Catalog!!^. 


PHILIPSBORNS 

DEPARTMENT-  ESS  -CHICAGO^ 


Photograph   by   Edwards   Hesteller 


Our  Boulevardier  Steps  Out 

(Continued  from  page  68) 


A  whole  city  is  to  co-operate  in  the 
making  of  "Her  Temporary  Hus- 
band," which  John  McDermott  is 
directing  for  First  National.  The 
city  fire  department,  the  entire  police 
force,  and  two  thousand  five  hundred 
residents  of  Long  Beach,  California, 
have  volunteered. 

*         *         * 

Conway  Tearle  and  his  wife — 
Adele  Rowland  of  vaudeville  fame — 
have  decided  to  make  their  home  per- 
manently in  Hollywood  and  have 
moved  the  furnishing  of  their  Long 
Island  home  out  here.  They  gave  an 
elaborate  house-warming  the  other 
night  at  which  Ethel  Barrymore,  Mrs. 
Leslie  Carter  and  Mr.  and  Mrs. 
Frank  Lloyd  were  the  guests  of 
honor. 


Helene    Chadwick 
has  the  real-estate 
bug.   She  has  an- 
nounced that,  at 
the    conclusion 
of  her  present 


Top  of  the 
page:  Myrtle 
S  t  e  a  d  m  an 
and  her  son, 
Lincoln,  an- 
other second 
g  eneration 
movie  team 


contract  with  Goldwyn,  she  intends 
to  retire  from  the  screen  and  open  a 
real-estate  office.  Art  and  all  that  is 
all  right,  says  the  fair  Helene,  but 
there  never  will  come  another  easy- 
money  period  like  this  in  the  history 
of  the  world  and — well  somebody 
else  can  take  care  of  art. 


After  he  finishes  "Black  Oxen" 
with  Corinne  Griffith,  Frank  Lloyd  is 
to  produce  "The  Sea  Hawk"  ;  cast  not 
stated.  In  connection  with  "Black 
Oxen,"  Lloyd  says  that  he  has  found 
in  Little  Clara  Bow,  who  was  a  prize 
winner  in  one  of  the  Brewster  "Fame 
and  Fortune"  contests,  one  of  the 
real  "discoveries"  of  his  career. 


Nearly   all    the   Hollywood 
studios    have    shut    down 
hard  on  visitors.    One 
of  the  big  producers 
has  estimated  that 
every    visitor 
costs  his  studio 
(Continued   on 
page  78) 


Hoot  Gibson, 
who  will 
soon  have  his 
own  compa- 
ny to  make 
pictures  for 
Universal  re- 
lease 


Photograph 


by  Freulich 


(Sevcnty-t'.vo) 


The  Movie  Encyclopaedia 

i  {.  onlintitd  from  pagt  70) 

Win  George  Htckathorn  is  five  feel  seven 

.md  is  i>l.i\  ing  in  "  rhe  runnofl"  whh 
Eileen     Percy.       You     bettei      \\  rite     in 

English 

Hi-  ki  y  F  Bettei  go  back  than  ro 
wrong  Yes,  (Catherine  MacDonald  li 
married  to  John  Schoen  Johnson  Antonio 
Moreno  is  thirtj  So  you  want  me  to 
call  on  you  when  1  n>>  South.  Thanks, 
\Vi<h  I  could  accept  .ill  the  invitations  1 
have  Barbara  Bedford  and  Lloyd 
Hughes  i"  "The  Whipping   Boss." 

..n        1     cant     say     when     Eugene 

O'Brien    will    return    to    the    screen 

Clyde  The  best  doctor  1  know  q{ 
recommends  rubbing  vaseline  or  olive-oil 
into  the  scalp  even    night   for  preventing 

the  hair  from  falling  out.  Look  at  tn\ 
picture   and    tell    me    if    you    are    willing    to 

take  my  advice  on  how  to  prevent  baldness. 

Yt  >.  that  was  Kenneth  Harlan  in  "Beauti- 
ful and  Damned."  1  attended  the  opening 
ot  "Little  Old  New  York."  The  Lee 
children  have  gone  to  London  to  play. 

Miss  Tiielma. —  Madge  Kennedy  in 
"Three  Miles  Out."  Sounds  as  tho  it 
might  be  interesting.  Eddie  Burns  is  with 
Metro.  Little  Priscilla  Dean  Moran, 
Jackie  Coogan's  adopted  sister,  is  playing 
one  of  the  children  in  "Daddies"  starring 
Mac    Marsh. 

Mildred  A.  —  Good  words  cool  more 
than  cold  water.  Yes,  Joyce  Fair  is  a 
child.  Yes,  Mary  Pickford  married  Owen 
Moore  twice.  Once  by  a  preacher  and 
again  by  a  priest.  Shirley  Mason  and 
Viola  Dana  are  sisters. 

Louisa. — So  you  have  a  fliwer.  As 
Bugs  Baer  says,  "anything  that  happens 
to  them  is  bound  to  be  an  improvement." 
You  refer  to  "De  Luxe  Annie."  It  was 
released  some  time  ago.  Write  to  Metro 
for  a  picture  of  Rex  Ingram.  John 
Bowers,  Frankie  Lee,  Sylvia  Breamer  and 
Marjorie  Daw  in  "The  Barefoot  Boy." 

So. — Is  that  so?  Of  course  Lila  Lee 
and  Bebe  Daniels  arc  friends.  Bebe  is 
twenty-two,  and  is  playing  in  "His  Chil- 
dren's Children."  Doris  May  and  William 
Farnum  in  "The  Gun  Fighter."  House 
Peters  and  Evelyn  Brent  in  "Held  to 
Answer." 

Me  for  J.  Warren. — No.  I  dont  use 
my  beard  as  a  coffee  strainer.  What  next ! 
Of  course  I  live  in  a  hall  room  and  love 
buttermilk.  \'o  Warren  Kerrigan  isn't 
married.  I  bet  many  a  girl  wishes  he  was. 
Yes,  Dorothy  Dalton  has  been  in  musical 
comedy.  You  know  she  was  the  original 
Aphrodite. 

M.  R.  V. — They  do  say  that  Natalie 
Talmadge  is  expecting  the  stork  any  day 
now.  Mae  Murray  is  twenty-seven. 
Gloria  Swanson  is  at  the  Astoria  studio  in 
Long  Island.  Anna  Q.  Nilsson  is  married 
to   John    Gunnison. 

Frank. — Frank  you  are.  Yes,  why 
dont  you  try  writing  to  your  favorite. 
They  like  to  receive  letters  of  criticism 
of  their  work.  How  did  you  like  the 
cover  of  Strongheart  last  month?  You 
know  that  dog  certainly  has  a  happy  time 
of  it,  he  lives  on  three  pounds  of  porter- 
house steak  every  night,  and  doesn't  have 
to   worry  about   reducing. 

Julia  J.  H. — William  Duncan  is  play- 
ing in  "The  Fast  Express"  for  Universal. 
Edith  Johnson  opposite  him.  Well  if  you 
pay  nothing ;  dont  grumble  about  the 
score.  Yes.  there  is  Nita  Naldi.  As  long 
as  your  eyes  are  not  too  deep-set,  you're 
all   right. 

Bobbie. — Of  two  evils,  choose  the  least. 
Why  Taylor  Holmes  has  been  playing  on 
the  stage,  but  right  now  he  is  working 
on  a  picture.     That  was  quite  some  list  of 


BEFORE  USING 

Evtn  though  the  tttth  it  perfectly  formed 
and  regular  thty  cannot  he  atlractivt 
and  charming  if  stained  with  tartar  and 
discoloration,  and  dull  with  lacklustre 


AFTER  USING 

A  three  minute  application  of  Rename!, 
after  tht  morning  toolh-hruihlng,  leavei 
tht  tttth  pearly  white  and  ilisttnint ; 
tvtry  tooth    a    tooth    of  gleaming   Ivory 


WewViscovcr^ 
Makes  Dull  TeethPearly  White 

Beautiful  white  teeth  may  now  be  every  woman's  possession.  Re- 
markable new  liquid  removes  all  dullness  and  discoloration  in  few 
minutes— imparting  gleamy  whiteness  and  sparkle  to  any  set  of  teeth 


The  Woman  Who  Dared  Not  Smile 

By  Richard  Somners 

EVERY  man  fell  head-over-heels  in  love  With 
Henrietta  Blaine— until  she  smiled.  Then 
the  charm  was  broken. 

Everybody  agreed  she  would  he  absolutely 
irresistible  if  it  only  were  not  for  her  unsightly, 
discolored  teeth. 

Then,  one  day  a  miracle  happened! 

Henrietta  appeared  at  May  Osborne's  dinner 
party  and  was  seated  at  the  tableopposite  George 
Gould.  In  the  midst  of  a  humorous  anecdote 
George  stopped  suddenly  and  stared  in  disbelief 
at  Henrietta  whose  lips  were  parted  in  a  smile. 

There  followed  an  awkward  pause  at  the  table. 
All  eyes  were  turned  in  the  direction  of  George's 
stare  and  at  once  everybody  knew:  a  wonderful 
thing  had  happened  to  Henrietta.  Vanished 
was  the  ugly,  yellowish  stain  that  had  for  so 
long  marred  her  teeth.  Now  they  were  white 
and  radiant  as  oriental  pearls — beautiful  in 
their  gleaming  lustre  and  evenness. 

And  this  is  the  story  as  Henrietta  later  told 
it  to  May  in  the  privacy  of  her  boudoir: 

"Since  childhood,  I  have  been  a  chum  of 
Martha  Ryerson's,  whose  father  is  head  of  the 
famous  Centurv  Chemists.  One  night  at  the 
Ryerson  home  I  told  Mr.  Ryerson  frankly  the 
tragedy  of  my  awful-looking  teeth  and  begged 
him  to  find  a  way  to  help  me  out.  After  months 
of  experimenting  this  is  the  result." 

Pearly  Teeth  for  Every  Woman 

Ryerson's  Renamel  for  the  teeth  is  the  most 
important  beauty  discovery  in  ages.  There 
have  been  tonics,  lotions,  dyes  and  creams 
galore  for  the  skin,  the  h:iir,  the  figure,  but  until 
now  the  woman  with  dull,  decolored,  yellow 
teeth  has  had  no  assistance  beyond  the  ordinary 
"tooth  washes"  which  merely  remove  dirt 
without  relieving  dullness  or  stain. 

The  application  of  this  wonderful  new  dental 
discovery  is  simplicity  itself.  Any  woman  can 
apply  it  in  her  own  home  with  lovely  and 
immediate  results.  Merely  apply  a  thin  coat  of 
Renamel  (with  soft  camel's  hair  brush  pro- 
vided)— just  after  the  morning  tooth-brushing. 
Allow  to  remain  on  the  teeth  for  two  or  three 


minutes — then  wipe  off  with  a  dry  cloth.  And 
lo!  a  miracle  has  been  performed.  Every  tooth 
is  gleaming  ivory — as  white  as  virgin  pearls — 
with  all  tartar  and  stain  vanished  completelv. 

Guaranteed  Pure  and  Harmless 

Renamel  is  not  only  harmless,  but  it  is  posi- 
tivelv  beneficial  to  the  teeth.  Your  dentist  will 
endorse  its  purity.  I  t  is  pleasantly,  but  potently, 
antiseptic — destroying  the  tiny  bacteria  that 
often  lurk  in  the  crevices  of  the  teeth. 

If  you  really  take  pride  in  your  personal 
appearance,  read  this  wonderful  trial  offer,  and 
maii  the  coupon  today. 


No  Profit  Distribution 
of  $3.50  Boitles 

(ONLY    ONE    BOTTLE    TO    A    FAM1IVI 

THE  first  bottles  of  Renamrl  we  made  up  for 
my  personal  friends  and  patrons  at  JS'.SO  the 
bottle,  but  to  introduce  this  delightful  product 
quickly  to  a  few  thousand  women  throughout 
America  (thus  paving  the  way  for  drug  store  sale), 
I  have  decided  to  distribute  a  few  thousand  intro- 
ductory bottles  direct  by  mail,  at  the  .ictua  1  co«t  of 
production  —  including  the  bare  expense  of  com- 
pounding, shipping  and  the  printed  announcements 
— which  we  have  figured  down  to  8 1.87. 

You  need  send  no  money:  simply  mail  the  eou- 

r>n.  Do  not  delay.  This  offer  may  never  be  repeated 
cannot  afford  to  accept  over  a  few  thousand  cou- 
pons on  this  "no-profit  basis."  In  the  interest  of 
good  looks  and  self-respect,  ACT  NOW.  Send  the 
coupon  today.  \yu.  Ryerson,  Chief  Chemist 

Send  No  Money  —  Merely  Mail  Coupon! 


Century    Chemists,    Dept.    455, 

710  W.  Jackson  Blvd..  Chicago 
Please  send  me,  in  plain  wrapper,  one  full-size 
bottle  ($3.50  size)  of  Mr.  Ryerson's  Renamel  for 
five  days'  free  trial.  I  will  pay  postman  the  actua  I 
cost  priceofS1.87 — plus  a  tew  cents  postage  —  with 
the  understanding  that  if  I  am  not  fully  satisfied.  I 
may  return  unused  portion  of  Renamrl  at  the  end 
of  five  days,  and  you  will  refund  my  money  in  full. 


Address 

I  f  apt  to  be  out  when  postman  callr.  enclose  X2  wittl 
coupon,  and  Renamel  will  be  sent  to  you  postpaid 


(Seventy-three) 


I 


say Morri/Xwas 


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643AD    Premier  644AD— En 

KmK.  Blue-white  ed Preinierwi 

quality  Diamond,  fine  Diamond 
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649AD-1'remier  650AD-Cypsy 
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monds.   .  $73.50  monds    $87.50 


f\ 


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favorites  you  have.  Enid  Bennett  with 
Metro  in  "The  Living  Past"  with  Harri- 
son Ford.  No,  I  dont  mind.  And  so  near 
Christmas    too. 

That  Red-Head  Gal. — Yes,  the  Classic 
was  formerly  called  the  "Supplement"  and 
then  "The  Motion  Picture  Classic"  and 
now  it  is  called  just  plain  Classic.  Can 
you  suggest  a  better  name?  No,  dont  be 
bashful.  And  you  want  to  see  more  of 
Johnnie  Walker  and  Cullen  Landis.  No, 
not  much  to  offer  you. 

Margaret  C. — You  will  have  to  wait 
until  February  1925  to  see  Rcdolph  Val- 
entino on  the  screen.  Yes,  Thomas 
Meighan ;  and  Gordon  Griffith  was  Sam. 
Norman  Kerry  has  been  signed  to  play 
opposite  Mabel  Forrest  in  "The  Satin 
Girl." 

A  Pair  of  Cats. — I  dont  believe  it. 
Anyway  a  pair  is  better  than  three  of  a 
kind.  That  is.  speaking  of  cats.  Jack 
Holt  is  six  feet  arid  weighs  one  hundred 
and  seventy-five.  That  is  his  right  name, 
and  he  has  been  playing  for  about  six- 
years.     All   right,  stop  in  again  sometime. 

Sister  Sue. — Well  I  did  not  know  that 
business  was  as  bad  as  you  say  it  is,  but 
I  have  often  noted  that  the  man  who  is 
always  talking  about  the  poor  business 
outlook  is  usually  the  one  who  has  a  poor 
way  of  looking  out  for  his  business.  Yes, 
that  is  Mae  Murray  in  "Fashion  Row." 
Lloyd  Hughes  is  twenty-four.  No  of- 
fense, and  I  hope  to  hear  from  you  soon 
again. 

Gloria  V. — Jane  and  Eva  Novak  have 
been  signed  to  play  sister  roles  in  Fox's 
"The  Man  Whom  Life  Passed  By."  Percy 
Marmont  opposite  Jane  and  Cullen  Landis 
opposite  Eva.  Yes,  Mary  Pickford  is 
thirty,  but  she  doesn't  look  it.  I'm  sorry. 
Gloria,  but  I  cannot  tell  you  how  you  can 
get  a  screen  test   for  yourself. 

Margaret  B. — Well  you  will  find  that 
most  people  love  you  most  for  what  you 
have  and  not  for  what  you  are.  And 
dont  forget,  money  talks.  Yes,  Franklyn 
Farnum  is  with  Fox.  Better  give  up  the 
idea  for  a  while.     Write  me  again. 

Morgan  A. — Well  there's  no  watch  on 
me.  I  cant  afford  one.  The  word  "watch" 
comes  from  the  Saxon  "waeccan"  signi- 
fying to  wake,  to  excite,  and  is  the  name 
applied  to  the  numerous  species  of  time- 
makers  which  have  sprung  legitimately 
from  what  old  stirps,  or  stock — the  clock, 
the  earliest  history  of  which  is  lost  in 
the  night  of  the  past,  but  which  has  played 
so  wondrous  a  part  in  the  civilization 
of  the  world ;  and  who  knows  but  in  bar- 
barism too,  for  the  meaning  of  the  term 
originally  was  "bell"  and  is  still  retained 
in  the  French  cloche.  My,  I  didn't  mean 
to  say  so  much.  Viola  Dana  at  the  Metro 
Studios.  Bebe  Daniels  was  born  in  Dallas. 
Texas.  So  you  dont  agree  with  me,  and 
you  say  love  is  life,  and  that  is  what  you 
make  it.  Well  I  agree  with'  you.  So 
much  for  that. 

Margaret,  Aurora. — Norma  Talmadge 
is  twentv-eight,  and  she  was  born  on  May 
2nd. 

May  Mc. — So  you  think  I  look  like 
Father  Time.  Time  does  not  bow  to  you, 
you  must  bow  to  time.  Just  write  to  J. 
Warren  Kerrigan  at  the  Vitagraph  Studio, 
Hollywood,  Cal. 

Merrylegs. — I  should  say  Betty  Blythe 
is  back.  I  am  most  anxious  to  see  her 
in  "Chu  Chin  Chow."  Betty  Compson 
in  "The  Royal  Oak."  Yes,  Metro  pro- 
duced "The  Promise"  in  1917  with  Mae 
Allison  and  Harold  Lockwood.  Yes,  you 
did  right.     And  you  sure  did  write. 

Desmond. — That    may    be   true,    but    we 

ought  not  to  judge  a  man's  merits  but  his 

qualifications,  but  by  the  use  he  makes  of 

them.      Gloria    Swanson    is   your    sapphire 

(Continued  on  page  89) 


I  Seventy-four) 


No  Wonder  RougeNever  Gave 
a  Natural  Color! 

But  at  last  Science  has  solved  the 
baffling  Secret  of  Nature's  own    ^ 
lovely  flush  / 


|C1EX\  H    now  discloses  that  no   known 
shade  of  purplish  red  --the  familiar  color 
of  rouge  —  can  ever  duplicate  Nature's 
perfect  artistry.  No  matter  how  skil 
fully  rouge  is  applied,  the  task  is  impossible. 

In  creating  the  wonderful  new 
Princess  Pat  Natural  Tint,  the  great 
handicap  of  rouge  came  to  light!  The 
startling  discovery  was  made  that  to 
obtain  perfect  results,  such  as  Nature 
gives,  the  color  used  must  positively 
change  upoi\  the  skin  after  it  is  applied. 
No  wonder,  then,  that  rouge  never 
gave  a  natural  color! 

No  more  amazing  development  has 
ever  been  accomplished  in  beauty's 
name  than  the  finding  of  Princess  Pat 
Tint.  No  more  fascinating  story  has 
ever  been  told  than  the  long  search 
by  a  famous  English  Scientist  for  the 
mysterious  "X-Tint"  which  should 
duplicate  Nature. 

Like  many  great  discoveries,  chance  gave 
the  inspiration  and  a  happy  accident  brought 
about  the  final  triumph.     Chance  led  the 
famous  creator  of  Princess  Pat  Tint  to  ban- 
teringly  critici:e  the  tell-tale  rouge  upon  the , 
cheeks  of  a  feminine  acquaintance.    She 
in  turn  challenged  her  critic  to  use  his 
vast  store    of   knowledge  to  produce 
something  better.     Thus    a  scientist    ^ 
turned  his  hand  to  a  task  which  had     'i 
baffled   the  cosmetician  since  rouge  „  ML 
was  first  used. 

Search  was  made   first  for 
some    actual,  definite    color, 
which    would   simulate   the 
marvelous  beauty  of  Nature's 
handiwork  when  the  cheek  is 
divinely    mantled   with    soft 
pink  and  creamy  white. 
Time  after  time  the  at-     JM 
tempt  was  made  to  perfect    1| 
ordinary  rouge,  to  so  mod-     ■ 
ify  the  familiar  purplish  red 
that  it  would  appear  natural, 
with    every  resource  of 


The  Amazing  Million  Dollar  'Beauty  Secret  Had  at  Last  'Been  Discovered 


were  used.    Many  were  an  improvement, but 
none  perfect. 

Then  accident  stepped   in,   and  by  sheer 
chance  a  rare  and  costly  ingredient  was  used. 
The  result  was  an  unknown  shade  of  deli- 
cate orange,  beautiful  indeed,  but   not  the 
color  one  would  ordinarily  select  to  match 
Nature's   perfect   complexion.  Idly  enough, 
this  new  shade  was  tried  upon  the  assistant's 
cheeks.  And  then  a  wonderful  thing 
happened.  Instantly  the  coloring  un- 
derwent a  subtle  alteration.The  orange 
tint  changed  upon  the  skin ! 

The  scientist  exclaimed  in  amaze- 
ment! For  beneath  his  startled 
gaze  there  had  appeared  the 
absolute  perfection  of  Nature's 
own  coloring,  the  blending 
of  delicate  pink  and  white 
thatmarks  the  transparent 
beauty  of  the  famous  Eng- 
lish complexion.The  amaz- 
ing"Million  DollarBeauty 
Secret,"  Princess  Pat  Tint, 
had  at  last  been  dis- 
•»,        covered. 


coloring.  Princess  Pat  Tint  on  the  cheeks 
simply  will  not  run  or  streak.  Perspiration 
does  not  affect  it.  Yet  Princess  PatTint  van- 
ishes instantly  beneath  a  touch  of  cream  or 
the  use  of  soap. 

Princess  Pat  Tint  comes  in  only  one 
shade,  of  course;  for  the  one  shade  blends 
perfectly  with  every  complexion!  It  is  as  per- 
fect in  daylight  as  under  artificial  light.  So 
it  is  no  wonder  that  Princess  Pat  Tint  has 
become  a  sensation— the 
demand  in  New  York,  Chi- 
cago, and  other  large  cities 
has  been  simply  overwhelm- 
ing. Dealers  every- 
where are  being  sup- 
plied as  fast  as  possible. 

Meanwhile,  however,^ 
we  will  be  glad  to  send 
Princess  Pat  Tint  Free  to  every 
woman  who  reads  this  advertisement. 


But 


"At  the  Dance — 
Serenely  Sure  of  Your  Color' 


Princess  Pat  Tint 
Is  Waterproof 


science  available,  the  effort  proved  futile. 
But  the  scientist  worked  on,  with  his 
assistant  the  subject  for  experimentation. 
Casting  aside  red  tints  as  impossible,  hun- 
dreds of  different  shadings  of  delicate  color 


Still  the  scientist  was  not  satisfied.  He 
determined  to  make  this  new  tint  water- 
proof. And  wonderful  success  attended  his 
efforts.  Now,  one  may  actually  enjoy  surf 
bathing  without  the  slightest  impairment  of 


PRINCESS  PAT,  Ltd.,  Chicago,  U.  S.  A. 

Princess  Pat  Creams— Ice  Astringent — Princess  Pat  Tint — Lip  Stick— Princess  Pat  Perfume 


FREE! 

Until  the  shops  have  been  sufficiently 
stocked  with  Princess  Pat  Tint  to  meet 
all  calls  for  it,  we  shall  take  pleasure  in 
sending  to  individuals  a  week's  supply 
— without  charge. 

PRINCESS  PAT,  Ltd. 
2701  S.Park  Ave., Dept.  412.  Chicago 
Entirely  FREE,  please  forward  me 
postpaid,  a   complimentary  supply  of 
the  new  Princess  Pat  Tint. 

Name  (Print) 

Street 

City 

State 


(Sezenty-fi-'e) 


Crossroads  of  Conversation 

Could  the  telephone  directory  in  the  hands  of  each 
subscriber  be  revised  from  hour  to  hour,  there  would  be 
no  need  for  the  information  operator.  But  even  during 
its  printing  and  binding,  thousands  of  changes  take 
place  in  the  telephone  community.  New  subscribers 
are  added  to  the  list.  Old  ones  move  their  places  of 
business  or  of  residence. 

Though  their  names  are  not  listed  on  the  directory, 
these  subscribers  must  be  connected  by  the  highways  of 
speech  with  all  others  in  the  community.  To  supplement 
the  printed  page,  there  must  be  guides  at  the  crossroads 
of  conversation. 

Such  are  the  information  operators,  selected  for  their 
task  because  of  quickness  and  accuracy,  courtesy  and 
intelligence.  At  their  desks,  connected  with  the  switch- 
boards in  central  offices,  they  relieve  the  regular  opera- 
tors from  answering  thousands  of  questions  about 
telephone  numbers  that  would  otherwise  impede  the 
rendering  of  service.  If  they  are  unnecessarily  asked 
for  numbers  already  in  the  directory,  service  is  retarded. 

"Information"  stands  for  the  most  complete  utilization 
of  telephone  facilities. 

"BELL  SYSTEM" 

American  Telephone  and  Telegraph  Company 
And  Associated  Companies 

One  Policy,  One  System,  Universal  Service, 
and    all    directed    toward    Better    Service 


Youth-Ami  Skin  Peel 

A  New  Scientific  Discovery 

which  painlessly  and  harmlessly  replaces  the 
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Blemishes,  Pimples,  Blackheads,  Discolora- 
tion^, Sunburns,  Eczema,  Acne,  Birthmarks, etc.  Anon-acid, 
invisible  liquid.  Produces  a  healthy  new  skin,  beautiful  as  a 
baby's.  Results  astounding.  Booklet  "The  Magic  of  a  New 
Skin"  free  in  plain  sealed  envelope. 
Youth-Ami  Laboratories.  Dept-KB  ,  30  E.  2fUh  St..  New  York 


BECOME  A  PROFESSIONAL 
PHOTOGRAPHER 

EARNING  J35TO  SISS  A  WEEK 

Three  to  six  months'  course. 
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N.  Y.  INSTITUTE  of  PHOTOGRAPHY 

NEW  YORK  CHICAGO  BROOKLYN 

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Keep  your  skin  soft  with  softened,  perfumed  water 

Fastidious  women  have  Ions  realized  that  to  keep  the  skin  soft  and  sweet   and  dainty  as  nature 
intended  it  must  be  bathed  in  only  softest  water.     Bathasweet  gives  water  a  limpid,  silky  soft- 
ness that  tells  you  by  its  very  feel  how  good  it  is  for  the  skin.    Imparts  a  delicate  perfume, 
too — the  height  of  luxury.     If  you  are  not  now  using  it  a  lovely  treat  is  in  store  for 
you.     Get   Bathasweet  at  your  drug  or  department  store,    25c,    50c,   or  $1.00. 
Or  send  us  10c  for  miniature  can. 
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Glenn  Hunter — On  and  Off 

(Continued  from  page  36) 

a  change — a  private  secretary,  a 
chauffeur,  and  an  able-bodied  man  to 
hold  his  pants. 

But  I  was  glad  of  it.  Glenn  knows 
what  it  is  to  be  poor  and  to  rise  in 
life.  So  it  was  with  Guy  Plumrher 
in  "West  of  the  Water  Tower."  And 
that  is  one  reason,  when  I  visited 
him  at  the  studio,  that  he  was  put- 
ting so  much  feeling  into  the  part  of 
Guy.  In  the  story  Guy  was  at  the 
bottom ;  he  rose ;  he  became  some- 
body.    And  so  had  Glenn. 

One  day  Glenn  told  me  a  little 
story  that  made  me  hopeful.  When 
first  he  left  his  small  native  village 
and  came  to  New  York  to  be  an  actor, 
it  was  the  town  joke.  "Goin'-to  New 
York  to  be  an  actor." — it  was  simply 
too  funny  for  anything.  An  Actor? 
Ha-Ha !  When  he  walked  down  the 
street  they  made  fun  of  him,  made 
cat-calls,  squealed  from  behind  win- 
dows, taunted  him,  mocked  him.  It 
was  funny,  they  said — Glenn  Hunter 
that  everybody  knew  thinkin'  he 
could  be  an  actor  in  New  York.  Then 
they  squealed  at  him  again.  It  was 
the  same  way  with  Guy  in  Junction 
City  in  "West  of  the  Water  Tower." 
The  town  "came  down"  on  him. 
Time  passed,  in  Glenn's  case  .  .  . 
he  had  the  real  spark — and  now  when 
he  goes  back  with  his  car  and  chauf- 
feur he  is  the  most  welcome  person 
in  town.  Some  of  the  persons  who 
used  to  give  the  cat-calls  are  now 
proud  to  shake  hands  with  him. 

It  is  by  reason  of  these  things  that 
I  think  Glenn  Hunter  is  such  an 
admirable  selection.  He  has  run  the 
gamut ;  he  knows  what  it  is  to  be 
down  and  he  knows  what  it  is  to  be 
up.  I  know  of  no  one  on  the  Ameri- 
can stage  so  fitted  for  the  part.  Glenn 
has  the  goods. 


FLORIDA 
By    Margaret    Mayfield 

Florida  in  February ! 

Where   roses  bloom 

And  lilies  raise 

White  cups   skyward, 

Where   violets   peep 

Purple-eyed  behind  their  leaves; 

And  yellow  oranges 

Hang  like  golden  fruit 

Upon  the  shining-leafed  trees ; 

Where  motors  unroll 

Grey  ribbons  in  the  hard  sand, 

A  road  that  nature  fashioned ; 

Where  Spain  laid  her  iron  heel 

Upon  the  tropic  soil 

And  left  a  medieval  fortress, 

Eternal  memorial  of  her  pride; 

Where  Spanish  moss 

Beards  the  trees  in  grey ; 

Where  azaleas  burst  into  pink  stars, 

Against  a  white  porch ; 

Where  palmettos  wave  their  fans 

In  the  soft  breeze 

This  is  Florida  in  February! 


(Seventy-six) 


A  Lover  of  Life 

ntinitcJ  from   page    1 1  ) 

wild-eyed  girl  firmlj  planted  on  her 
eous  C(  'in  I  train. 
\  moment  of  wild  confusion,  a 
voile)  ol  explosiv<  s,  and  Eulalie  Bed 
for  safet)  t>>  tin-  flies  from  which 
she  onlj  ventured  forth  when  the 
janitor  close. I  the  theater  at  mid- 
night. 

I  his  didn't  dampen  her  ardor. 
With  persistence  and  the  cherished 
slogan,  "Xever  say  cant.'"  in  her 
heart,  -he  forged  thru  several  minor 
igements  and  landed  on  Broad- 
way a-  a  prima  donna  while  -till  in 
her  teens,  appearing  in  such  favor- 
ite- a-  "The  Wizard  of  <  >/."  "The 
Time.  The  Place  and  The  *iirl."  and 
others  of  this  type. 

Miss  Jensen  grinned:  "I  must 
have  been  a  difficult  star — I  thought 
being  temperamental  a  part  of  the 
game  and  I  wanted  to  play  the  game 
tt  the  limit.  I'm  a  fighter — 1  like  the 
battle,  ami  there  were  some  spectacu- 
lar encounters!"  She  laughed  with 
relish  at  the  memory. 

She  comes  from  a  colorful  line. 
There  are  fascinating  strains  of 
French,  Spanish  and  Italian  in  her 
veins  and  romance  and  adventure 
ran  riot  among  her  ancestors.  They 
have  left  their  trace  on  her.  One 
can  readily  picture  her  with  a  rose 
between  her  lips  dancing  the  heart 
out  of  the  victorious  matador  under 
flaming  Spanish  skies,  or  mounted 
en  a  white  charger  leading  her  down- 
trodden people  to  glory! 

Sorrow  has  touched  this  woman 
too  She  say-  she  was  left  dumb  for 
a  time  and  the  song  and  -mile  died 
from  her  heart.  But  her  spirit 
couldn't  be  downed.  Leah  Beard 
senl  for  her  to  come  to  Hollywood 
and  in  her  work  she  has  found  con- 
tentment. 

"It  takes  heartaches,  disappoint- 
ments and  bitter  tears  to  teach  one 
how  to  act.  to  understand  another 
woman's  emotional  reactions,"  said 
Miss  Jensen.  "I  do  not  say  that  an 
actress  must  pass  thru,  person- 
ally, the  exact  experiences  she  por- 
trays in  her  roles.  For  instance,  she 
doe-  not  have  to  commit  murder  in 
order  to  enact  such  a  scene.  But 
having  touched  tragic  depths  create- 
in  her  a  perfect  comprehension.  No 
woman  has  the  right  to  grow  hard — 
no  matter  what  her  griefs. 

"I  love  my  work,  I  love  my  people 
— tho-e  who  speak  my  language.  I 
Jove  life — its  struggles,  its  successe-. 
its  failure-.  It  gives  us  tears  but  it 
also,  gives  us  smiles. 

'There  it  is "  she  looked  at  me 

hopelessly.     "You  see.   I'm  destined 
to  play  many   parts!*' 

Anyway,  that  is  Eulalie  Jensen — 


Teeth  Like  Pearls 

Don't  leave  that  film-coat  on  them 


Wherever  dair  ty  people  meet,  you 
see  prettier  teeth  today. 

In  old  days  rr  ost  teeth  were  film- 
coated.  Now  mi. lions  use  a  new-type 
tooth  paste  whicn  fights  film. 

Make  this  free  test,  if  only  for 
beauty's  sake.  Ten  days  will  show 
you  what  it  means  to  you. 

Those  cloudy  coats 

Your  teeth  are  coated  with  a  viscous 
film.  You  can  feel  it.  Much  of  it  clings 
and  stays  under  old-way  methods. 

Soon  that  film  discolors,  then  forms 
dingy   coats.    That's 
how  teeth  lose  luster. 

Film  also  causes 
most  tooth  troubles, 
and  very  few  escape 
them.  It  holds  food 
substance  which 
ferments  and  forms 
acid.  It  holds  the 
acid  in  contact  with 
the  teeth  to  cause  decay.  Germs  breed 
by  millions  in  it.  They,  with  tartar, 
are  the  chief  cause  of  pyorrhea. 

The  new-day  method 

Dental  science  has  found  two  effec- 
tive ways  to  daily  fight  that  film.  One 
acts  to  disintegrate  the  film  at  all 
stages  of  formation.  The  other  re- 
moves   it    without    harmful    scouring. 

After  many  careful  tests  these  meth- 
ods   were    embodied    in    a    new-type 


Protect  the  Enamel 

Pepso<|pn<  ili-intt  i.-raI<slliolilili 

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tar  softer  than  enuneL  Never 
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tooth  paste.  The  name  is  Pepsodent. 
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And  to  millions  of  homes  it  is  bring- 
ing a  new  dental  situation. 

Other  discoveries 

A  way  was  also  found  to  multiply 
the  alkalinity  of  the  saliva  as  well  as 
its  starch  digestant.  Those  are  Nature's 
agents  for  neutralizing  acid  and  di- 
gesting starch  deposits.  Pepsodentwith 
every  use  gives  them 
manifold  effect. 

These  discoveries 
are  everywhere 
changing  the  old 
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cleaning.  They  have 
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(Seventy-seven ) 


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(Continued  from  page  72) 

at  least  one  hundred  dollars  in  time 
lost.  On  the  other  hand,  Mary  Pick- 
ford  and  Douglas  Fairbanks  have 
adopted  a  policy  of  letting  in  every- 
one who  wants  to  see  the  place. 


Jean  Hersholt  claims  the  distinc- 
tion of  being  the  champion  high-and- 
low  fighter  of  the  world.  In  Eric 
von  Stroheim's  "Greed,"  he  staged  a 
fisticuff  three  hundred  and  thirty- 
seven  feet  below  sea  level  on  the 
famous  alkali  skin  in  Death  Valley. 
In  a  former  production,  he  had  a 
similar  scene  on  Mount  Hood, 
twelve  thousand.  In  both  instances 
he  collapsed  from  the  result  of  the 
abnormal  atmosphere. 


Mae  Marsh  has  arrived  in  Holly- 
wood to  be  in  "Daddies"  at  the  War- 
ner Brothers  studio  under  the  direc- 
tion of  William  Seitor.  For  company 
she  has  her  husband  and  baby.  Miss 
Marsh  has  starred  away  from  the 
film  colony  and  has  taken  a  house  on 
West  Twenty-eighth  Street,  several 
miles  away  from  the  rest  of  'em.  She 
bad  a  grand  reception,  her  last 
Griffith  picture,  "The  White  Rose," 
having  broken  all  down-town  house 
records  for  Sid  Graumann. 


Ernst  Lubitsch  has  assembled  a 
somewhat  remarkable  cast  for  his 
second  American  picture  now  being 
made  at  Warner  Brothers  —  "The 
Marriage  Circle."  Among  others  are 
Florence  Vidor,  Marie  Prevost, 
Adolphe  Menjou,  Creighton  Hale. 
Monte  Blue,  Harry  Meyers.  It  is  the 
gossip  of  Hollywood  that  Marie 
Prevost  is  due  to  be  a  great  actress 
when  Lubitsch  gets  thru  with  her. 
She  plays  the  part  of  a  vamp  of  a 
type  new  to  the  screen.  The  German 
director  considers  her  to  be  one  of 
the  most  promising  actresses  he  has 
seen  in  America. 


Henry  Walthall  has  cancelled  his 
plans  to  go  back  to  the  stage  in  order 
to  take  the  part  of  the  father  in  the 
next  Booth  Tarkington  story  to  be 
screened  by  First  National,  "Old 
Fathers  and  Young  Sons."  The 
cast  includes  little  Ben  Alexander. 


The  press-agent  sorrowfully  admits 
he  didn't  mean  quite  what  he  said 
when  he  gave  out  Baby  Peggy's 
salary  as  a  million  a  year.  It  seems 
that  Sol  Lesser  has  agreed  to  spend  a 
million   a   year   on   her   productions. 

(Continued  on  page  86) 


(Seventy-eight) 


New  Books  In  Brief  Review 


IN  modern  literature  the  Problem  is  the  thing.  Hie 
plot  wear)  author,  laboring  overtime,  seeks  sedulous!) 
until  he  finds  something  ne«  to  worr)  himself  and  his 
public  about.  Having  painted  in  sad  hues  various  pun 
of  married  life  in  his  last  novel,  "Brass,"  Charles  G 
rris,  nun-  with  equal  gloom  u>  the  lot  of  the  working 
woman  in  "Bread"  (£.  r.  Dutton  &  Company).  Lasl 
yeai  \  S.  M.  Hutchinson  in  "This  Freedom"  forced  his 
heroine  to  undergo  all  -on-  of  unpleasant  vicissitudes  in 
an  effort  to  prove  that  marriage  and  office  work  do  not 
matt'  well.  Mr.  Norris  in  an  utterly  dissimilar  novel  has 
tlit-  -ami'  end  m  view.  But  after  all.  arc  not  these  two 
authors  bothering  themselves  ami  us  with  something 
which  is  no  problem  at  all?  The  majorit)  of  women  turn 
gladly,  willingly  from  office  work  to  married  life.  The 
comparative  freedom  of  a  home  is  vastly  preferre'd  b) 
most  women  to  tin-  monotonous  routine  of  an  office, 
rhere  an-  not  man)  secretaries  like  Jeannette  Sturgis 
who  get  any  thrills  over  business  dictation  or  typewriter 
keys.  Not  often  do  we  find  a  woman  sticking  to  the  hum- 
drum existence  of  an  office  when  a  dominating  lover 
enters  her  life.  There  may  he.  then  probably  are  such 
resolute  spinsters  who  loudly  contemn  the  holy  state — 
but  our  guess  i-  that  ninety-nine  out  of  every  hundred 
are  only  whistling  to  keep  up  their  courage. 

Mr.  Norris  tells  his  story  in  rather  a  colloquial  style, 
not  altogether  pleasing.  The  early 
part  of  the  novel  drag-  wofully. 
evoking  yawns  rather  than  interest. 
Jeannette  Sturgis — brave  and  inde- 
pendent, efficient  and  headstrong — 
i-  remarkably  well  portrayed,  as  are 
her  mother,  the  little  music  teacher  ; 
Martin  Devlin.  Jeannette's  conquer- 
ing husband,  vulgar  and  rough,  but 
virile  and  somehow  splendid. 

There  is  a  certain  power  in  his 
description  of  Jeannette's  love  for 
Martin  and  her  struggle  to  stifle 
that  love  because  it  interferes  with 
her  passion  for  independence. 
Dramatic  intensity,  too.  in  the 
tragic  end  when  bereft  of  every- 
thing but  her  once  prized  independ- 
ence, she  finds  herself  alone  in  the 
old-maidish  flat  she  had  chosen  to  take 
the  place  of  life  with  the  careless, 
spendthrift  Martin.  The  poignant 
memory  of  that  scene  still  lingers. 

Mr.  Xorris  runs  to  monosyllabic 
titles.  In  previous  novels  he  has 
given  us  "Brass"  and  "Salt."  Now 
we  have  "Bread."  One  wonders  how  long  our  creator  of 
terse  titles  can  keep  this  up.  At  this  rate  we  can  expect 
next  year  a  novel  by  Mr.  Xorris,  entitled,  "Dough,"  deal- 
ing with  the  unsuccessful  efforts  of  a  poor  man  to  amas- 
great  wealth. 

"The  story  of  the  first  and  second  Hungarian  revolutions 
of  l°dS-19  is  told  in  all  the  details  of  its  terror  and 
debauchery  in  a  remarkable  book  entitled  "An  Outlaw's 
Diary"  (Robert  M.  McBride  and  Company).  Its  author, 
Cecile  Tormay.  is  a  novelist  of  international  fame.  Her 
book  is  not  merely  the  diary  of  an  outlaw  during  a 
national  upheaval,  it  is  the  record  of  a  nation  plunged  into 
suffering  and  sorrow  of  an  almost  overwhelming 
description. 

Miss  Tormay  wrote  her  thrilling  record  of  the  progress 
of  the  revolution  day  by  day  and  week  by  week,  secreting 


het  manuscript  wherevei     he  could,  and  with  th<    tl 
oi  death  hanging  over  I 

writing  discovered,     Proscribed  b)    revolutionar)    h< 
who  had  installed  a  "t<  hi 

she  fled  from  the  parental  rool  the  death  of  hei 

mother    one  ol  man)  innocenl  victims  of  the  revolution 
taking   refuge  in  lonel)    castles,  provincial   villas  and 
rustic  hovels.     Hie  secreted  fragments  of  hei   diar)  be 
tween  the  p  hook-,  under  the  i 

houses,  up  chimneys,  in  of  cellars,  behind  furni 

tute  and  huried  m  the  ground.  It  has  survived  in  it-  in- 
tegrity almost  miraculously  to  serve  as  a  memento  when 
the  graves  of  the  victims  il  describes  are  forgotten,  when 

the  grass  ha-  grown  over  the  gallows'  pit-,  and  when  the 
writings  in  blood  and  bullet-  have  disappeared  from  the 
walls  of  the  torture  chambers. 


T 


UNCHARTED 

By  Jeanne  Oldfield  Potter 

There  is  a  land  of  gold 
Rimmed  by  a  sea  of  light, 
Never  a  day  dawns  cold. 
Lo%v  hang  the  stars  at  night; 
Even  the  young  are  wise, 
liven  the  old  arc  fair. 
Time  knows  not  where  it  lies, 
Love  has  its  dwelling  there. 

Jade  to  the  rainbozc  sea 
Falls  its  beloved  shore, 
Land  that  is  calling  me, 
Land    that    my    Youth    forswore; 
How  shall  we  find  the  place 
Close  to  the  sun's  warm  heart? 
I  who  have  known  its  grace, 
Dear,  I  have  lost  the  chart. 


o  certain  people  "The  Future  of  Painting,"  by  Willard 

Huntington  Wright  (Ilucbsch),  will  seem  the  most  im- 
portant critical  discussion  of  that  art  since  the  Trattato 
della  Pittura,  despite  the  intervention  between  the  great 
Leonardo  of  Taine's  lectures  on  Art  and  Reinach's  AjkjIIo. 
But  these  later  works  estimate  a  glorious  past.  Mr. 
Wright  defines  an  epoch.  The  whole  subject  of  modern 
art  is  made  clear.  Modern  art,  to  be  sure,  is  an  out- 
growth of  painting,  hut  only  in  the  sense  that  those  who 
practise  it  have  been  painters. 
Modern  art  is  really  the  new  art  of 
color.  With  painting,  as  we  have 
always  understood  the  term  and  a- 
the  academicians  understand  it.  the 
new  art  has  nothing  to  do.  Hence 
the  controversy.  It  was  trying  to 
affect  the  optics  with  sharp,  clean 
color  values,  not  to  suggest  recog- 
nizable objects  taking  position  in 
space.  But  recently  it  has  found  its 
true  medium — namely,  light.  Light 
is  pure  color. 

But  if  the  medium  has  been  dis- 
covered, machines  for  projecting  it- 
sharp  effects  remain  to  be  perfected. 
W'allace-R i mington's  color-organ 
and  Thomas  Wilfred's  clavilux  are 
far  from  satisfactory.  Furthermore, 
the  new  art  will  conform  to  the  old 
standards  that  have  been  the  same 
thru  the  ages.  Enlarging  his  field  of 
definition.  Mr.  Wright  goes  to  the 
Chinese  for  a  statement  of  these 
-tandards. 


It  must  in  honesty  be  admitted  that  one  approaches  a 
book  by  Upton  Sinclair  with  a  certain  degree  of  preju- 
dice. He  is  an  inveterate  digger-up  ranees  He 
has  generally  a  chip  on  his  shoulder.  His  hand  is  more 
or  less  against  every  man  because  he  has  brought  himself 
to  believe  that  every  man's  hand  is  against  him.  It  would 
come  almost  as  a  shock  to  find  Mr.  Sinclair  praising  any- 
one or  anything  which  i-  held  in  good  esteem  by  normal 
and  kindly  disposed  people. 

All  this  is  by  way  of  preamble  to  the  few  remark-  we 
shall  venture  to  make  on  his  latest  hook  "The  Goose 
p."  Of  course  it  is  an  expose,  this  time  of  American 
colleges  and  universities.  It  is.  perhaps,  not  without 
significance  that  he  is  his  own  publisher,  which  suggests 
that  either  he  could  not  get  another  publisher  to  take  his 
book  or  that  he  would  not  entrust  it  to  another.  Anyhow 
(Continued  on  page  99) 


(Seventy-nine) 


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Scaramouche 

(Continued  from  page  32) 

the  poor  people  were  notoriously  no 
swordsmen,  the  aristocrat  would  re- 
turn one  fine  morning  as  did  the 
Marquis  de  la  Tour  d'Azyr,  smirk, 
and  say :  "Monsieur  le  president,  my 
excuses  for  being  late.  With  them  T 
bring  those  of  Deputy  Lagron.  Our 
debate  of  yesterday  has  been  settled 
.    .    .  permanently!" 

So  the  president.  Monsieur  le  Cha- 
pelier,  and  the  hulking  Danton.  went 
rorth  to  find  a  master  sword,  and  the 
sword  they  sought  was  that  of  one 
Andre  Louis,  alias  Andre-Louis 
Moreau,  assistant  fencing-teacher  in 
the  Rue  du  Hazard.  Chance  had 
brought  Andre  here,  and  chance  had 
made  him  a  -  swordsman  above  all 
others.  So  when  Chapelier,  whom  he 
remembered  from  Rennes,  offered 
him  the  deputyship  of  the  defunct 
Lagron,  with  the  proviso  that  he 
should  put  Monsieur  le  Marquis  de 
la  Tour  d'Azyr  under  ground,  he 
accepted  with  a  will. 

So  it  came  about  that  Scaramouche 
took  his  seat  in  the  assembly,  made 
his  speech,  and  the  first  day  was  chal- 
lenged to  a  duel  by  no  less  a  person 
than  the  Chevalier  de  Chabrillane ! 

The  next  day  bright  and  early, 
the  erstwhile  Scaramouche  brought 
his  regrets  for  lateness,  and  ''likewise 
those  of  Monsieur  de  Chabrillane. 
Our  debate  of  yesterday  has  been 
settled"  .  .  .  He  smiled  at  Monsieur 
the  Marquis,  ".    .    .  permanently!" 

The  nobles  gasped.  The  gallery 
cheered.  Moreau  was  the  man  of 
the  hour ;  Moreau  was  the  idol  of  the 
people. 

Presently  it  befell  Monsieur  le 
Marquis  to  visit  Gavrillac  to  seek  to 
soften  the  heart  of  Aline.  Also  it 
came  to  pass  that  Monsieur  de  Ker- 
cadiou, reading  the  official  paper  of 
the  nobility,  came  to  the  item  that 
one  Andre-Louis  Moreau  had  killed 
cue  and  wounded  four  nobles  in  a- 
many  duels  and  days.  He  burst 
wildly  into  the  room,  where  Mon- 
sieur le  Marquis  was  being  assured 
that  he  need  no  longer  seek  favor 
from  Aline. 

Monsieur  de  Kercadiou  was  a 
choleric  soul,  and  he  raved  :  "And  I 
pray  that  Andre  may  soon  meet  a 
sword  that  will  do  to  him  as  he  has 
done  to  others  !     The  scoundrel !" 

Monsieur  le  Marquis  bowed. 
"Your  wish  will  doubtless  come  true. 
Tomorrow,  we  meet!" 

Monsieur  de  Kercadiou  began  to 
feel  very  sick.  But  Aline  hastened 
10  stop  the  Marquis  as  he  strode  thru 
the  hall.  She  would  forget  every- 
thing, she  cried,  she  would  marry 
him,  if  he  would  forego  his  duel  with 
Andre.    But  scoundrel  or  no,  he  held 


(Eighty) 


honor  highest,  and  sadly  shook  his 
bead. 

Next  morning,  Andrews  door 
opened  to  Madame  de  Plougastel, 
w  ho  begged  him  to  accept  sei 
with  the  King  of  \ti->t i  ia  She  had, 
she  faltered,  known  Vndre's  mother, 
l'nt  he  only  shrugged  his  shoulders 
and  prepared  to  go  Hardly  had  she 
gone,  when  Aline  appeared.  She 
prayed  him  to  forsake  the  duel,  bul 
he,  thinking  her  concern  was  for  the 
Marquis,  thrust  her  off  and  hurried 
away  His  cab  far  outstripped  the 
coach  o\  Mine,  de  Plougastel,  which 
Aline  had  commandeered  to  stop  the 
duel,  and  when  tin-  two  women  ar- 

d.  an  iron  door  barred  the  way. 
From  within  came  the  tinkle  and 
clang  of  crossed  rapiers,  the  thud  of 
feet,  a  mutter  of  voices,  then  dead 
silence.  The  iron  door  opened  and 
out  of  it  staggered  the  Marquis,  his 
sleeve  in  ribbons,  his  arm  reddening 
slowly  from  a  slight  wound.  With  a 
cry  that  Andre  was  dead.  Aline 
fainted  into  his  arms. 

\nd  this  was  the  tableau  that 
greeted  Scaramouche  when  he 
emerged  unhurt  and  enraged  at  hav- 
ing merely  wounded  the  Marquis  in- 
stead of  killing  him.  He  stared,  -pun 
on  his  heel  with  an  oath,  and  that 
night  accepted  service  in  the  prov- 
inces for  the  Commune. 

The  sands  of  time  sifted  fast : 
Saint  Antoine  was  a  roar  of  ruffians, 

a  rattle  of  knives ;  from  the  South 
came  the  men  of  Marseilles,  dirty, 
dusty,  dragging  cannon,  singing  the 
new  song  of  Rouget  de  Lisle.  Paris 
rose  on  her  oppressors,  the  streets 
ran  black  with  blood,  the  Swiss  guard 
died  on  the  palace  stair;  the  nobles 
died  on  the  palace  stair;  and  out  of 
a  mass  of  crumpled  bodies  crawled 
Monsieur  le  Marquis,  beaten,  broken, 
bleeding,  but  a  fighting  man  to  the 
end.  He  staggered  into  the  bouse  of 
Madame  de  Plougastel  and  fell  faint- 
ing at  the  feet  of  Aline.  The  women 
were  wild  with  fear.  They  bad  at- 
tempted to  flee  the  city,  and  had 
found  the  barriers  closed.  They  had 
sent  their  servant  for  succour,  and 
be  lay  dead  in  a  ditch.  A  mile  away 
were  the  mob,  killing,  burning,  back- 
ing, mutilating,  singing,  bearing 
beads  on  pikes,  the  dregs  of  Paris, 
dancing  La  Carmagnole! 

In  Gavrillac.  a  stranger,  flourish- 
ing the  tricolor  cockade,  galloped  into 
the  inn  yard,  flung  himself  off  his 
horse  and  strode  toward  the  fire. 
Ouintin  de  Kercadiou  spun  about  to 
meet  him. 

"Andre!  Aline  and  Madame  de 
Plougastel  are  in  Paris !  You  must 
save  them." 

"Aline,  yes.     But   Mme.  de   Plou- 


Would  You  Think  from  this  Photo 
that  I  Ever  Weighed  200  Lbs? 


I 


li\  JnSH  \   l'i  WR081    I!  \">  UM 

Bl  >  0  M.nw    IVnii.i  I 

HAD  in. I    about   all  tlir  tfvoirjupoil  I 
Could    c.irrv   aioundwhcnl    til    I    lir.ucl 

etting  dun  to  music,   I  uo  only  5 

ft.  .uul  5  in.  in  height  anil  not  OJ  Lit:  c  ti.imr, 

and  191  lbs.  made  me  positively 
as  you  can  well  believe.  It  mi  beginning  t<> 
tell  on  my  arches |  I  bad  difficulty  in  walking 
any  distance.  Dancing  became  out  c4  the  ques- 
tion, and  I  bad  become  aregulai  itty-at-home 
when  a  frinul  prevailed  on  me  to  try  the 
much-talked-of  reducing  records. 

"The  first  session  with  this  method  was  a 
complete  surprise.  I  had  expected  it  would 
be  something  of  a  bore — the  things  I  had 
tried  in  the  past  had  all  proved  so.  Hut  the 
movements  that  first  reducing  record  con- 
tained, the  novel  Commands  and  counts,  and 
the  sparkling  musical  accompaniment  made 
it  extremely  interesting.  I  used  it  for  over  a 
week  for  the  sheer  fun  of  doing  it.  I  felt 
splendid  after  each  day's  'lesson.*  Even  then 
I  scarcely  took  the  idea  seriously.  Surely,  this 
new  form  of  play  could  not  be  affecting  my 
huge  superfluity  of  flesh;  it  must  have  been 
ten  or  twelve  days  later  that  I  weighed  myself. 

"I  had  lost  eight  pounds ! 

"No  one  had  to  urge  me  after  that !  I  se- 
cured all  five  of  the  records  and  settled  down 
in  earnest  to  reduce.  A  week  later  the  same 
scale  said  174  lbs.  Another  week,  only  showed 
a  six  pound  loss;  but  the  week  following  I 
had  taken  off  nine  more  pounds. 

"As  I  progressed  in  the  lessons  I  found 
them  growing  more  and  more  interesting, 
and  each  new  and  unique  movement  began 
improving  my  proportions  in  new  places. 
The  over-fleshiness  at  my  neck  was  a  condi- 
tion I  never  dreamed  could  be  affected  by 
these  methods,  but  it  was ;  even  the  roll  of 
fat  that  had  foreshadowed  a  double-chin  dis- 
appeared in  time. 

"In  six  weeks  I  was  dancing,  golfing  and 
'going*  as  of  yore.  I  got  another  saddle 
horse.  I  started  wearing  clothes  which  did 
not  have  to  sacrifice  all  style  in  an  effort  to 
conceal.  And  it  is  quite  needless  to  say  I 
was  delighted  and  elated.  At  the  end  of  nine 
weeks  I  weighed  exactly  138  lbs. — a  reduc- 
tion of  fifty-three  pounds.  I  submit 
my  experience  in  gratitude  for  what 
Wallace's  wonderful  records  have 
done  for  me.  I  am  humbled  by  the 
recollection  of  how  I  once  fairly 
scoffed  at  the  enthusiasm  of  others  in 
what  I  deemed  at  the  time  a  mere  fad. 
I  shudder  to  think  that  I  might  have  re- 
mained indifferent  to  this  method.  Only  a 
woman  who  has  been  over-whelmingly  fleshly 
can  appreciate  what  my  new  appearance  and 
feelings  mean  to  me.  As  for  those  who  need 
reduce  but  a  few  pounds  to  make  their 
figures  what  they  would  like  them  to  be, 
it  is  pitiful  to  think  that  they  do  not 
know  this  easy  way — or  perhaps  do  not  be- 
lieve it."     ->, 

What  more  can  be  said  of  reducing  ?  Mrs. 
Bayliss'  start  was  made  with  the  full  first 
lesson  record  which  Wallace  sent  her  with- 
out cost  or  obligation.  The  same  offer  is 
open  to  you.  If  you,  too,  do  not  see  remark- 
able results  in  only  a  few  days,  don't  keep 
the  record,  and  don't  pay  Wallace  anything. 
Why  not  use  the  coupon  now  ? 


WALLACE.  630S.  Wabash  Ave..  Chicago  (251) 
Please'sendme  FREE  and  POSTPAID  for  5  days' 
free  trial  the  original  Wallace  Reducing  Record  for 
my  first'reducim:  lesson.  If  I  am  not  perfectly  satis- 
fied with  the  results.  I  will  return  your  record  and  will 
□either  owe  you  one  cent  nor  be  obligated  in  any  way. 


Name 


Address  „.. 


City., 


.State.. 


( Eighty-one ) 


<$Are  your  nails 
starved  / 


"Brittle  nails  and  hang  nails,  that  so 
mar  the  charm  of  the  hands,  are  caused 
by  lack  of  nourishment  and  often  by  the 
use  of  harmful  cuticle  "removers." 

Every  woman  may  now  have  pretty 
finger  nails  —  and  she  should;  for  well 
kept  nails  not  only  give  charm  to  the 
hands,  but  are  a  mark  of  refinement 
by  which  one  is  often  judged. 

Flex-ol  insures  beautiful  nails.  It  is  a 
nourishing  food  tonic.  A  pleasant,  easy-to-use 
lotion  that  is  applied  to  the  nails  and 
ringer  tips,  and  allowed  to  remain,  because  it 
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and  soon  glow  with  the  pink  tints  of  health. 
Callous  places,  dead  cuticle  and  painful  hang 
nails  disappear.  The  nails  become  flexible 
—  they  no  longer  break  easily.  And  take  and 
hold  the  soft,  pearl-like  lustre  so  prized  by 
gentlewomen. 

Flex-ol  is  sold  only  by  mail.  It  is  made  up 
fresh  each  day  as  the  orders  come  in.  A 
several  months'  supply  costs  only  65c.  Super 
Nail  Polish,  a  compact  of  rare  fineness 
should  be  used  to  avoid  irritating  the  delicate 
cuticle.  Flex-ol  and  Super  Nail  Polish  to- 
gether, postpaid  for  $1.00.  Thousands  of 
us^rs  now  testify  to  the  great  superiority  and 
need  for  these  preparations.  Money  refun- 
ded if  you  too  are  not  "more  than  pleased" 
with  the  results.     Address, 

I  Ozark  Company,  501  Laurel,  Arcadia,  Mo 


FLEX-OL 


7he  Finder  NaiUonic 


^Vhen 
s  deposit  only  $2.98  wit! 
an.  We  pay  postage! 
r  back  if  not  delighted, 


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Perfume  $1.00  per  oz.  Toilet  water,  4  oz. 
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gastel  lias  connections  with  Austria. 
I  can  do  nothing  for  her!" 

"But  Andre!  Andre!"  The  old 
man  was  nearly  frantic.  "She  is 
your  mother !" 

Paris  roared  closer  now.  Aline 
heard  them,  Andre's  mother  heard 
them,  the  Marquis  heard  them.  The 
door  rattled,  and  as  it  flung  open, 
Aline  was  in  Andre's  arms.  The 
Marquis'  pistol  flashed  in  his  hand, 
and  Andre's  was  out  of  his  sleeve,  as 
Madame  de  Plougastel  flung  herself 
between  them.  "He  ...  he  is  your 
son,"  she  gasped  to  the  Marquis. 

And  after  that  there  is  much  to  be 
told  of  the  fortunes  of  Andre-Louis 
Moreau,  of  how  he  and  the  two  wo- 
men fled  thru  the  city  gates,  cheered 
by  the  frantic  admirers  of  Moreau. 
of  how  they  settled  down  happily 
where  the  scars  of  revolution  did  not 
show ;  and  of  a  certain  Monsieur  de 
la  Tour  d'Azyr,  who  disdaining 
safety  with  the  son  he  had  so  perse- 
cuted, went  out  into  the  streets  with 
his  drawn  sword,  and  died  as  he 
would  have  wished  .    .    .  fighting. 


Questions  and  Answers 

{Continued  from  page  19) 

Talmadge  is  easily  the  Croesus.  She 
is  wealthy  in  her  own  right ;  but  her 
husband,  Joseph  Schenck,  is  an 
enormously  rich  man.  He  is  the 
owner  of  the  big  Palisades  Park  in 
Xew  Jersey.  He  is  one  of  the  big 
owners  in  Metro,  a  heavy  owner  in 
the  West  Coast  Theater  Company. 
In  addition  to  which  he  is  one  of  the 
owners  of  the  Music  Box  Revue  in 
New  York,  one  of  the  dominating 
figures  in  the  California  banking 
world  and  an  oil  king.  To  Norma 
Talmadge,  a  hundred  thousand  dol- 
lars is  small  change. 

The  Question  :  Who  is  the  most 
beautiful  woman  on  the  screen? 

The  Answer:  This  is  entirely  a 
matter  of  individual  opinion.  Per- 
sonally I  think  the  choice  lies  be- 
tween Florence  Yidor  and  Madge 
Bellamy.  Madge  Bellamy  is  more 
beautiful  off  the  screen  than  on;  the 
reverse  is  true  of  Miss  Yidor. 

The  Question:  Who  is  most 
temperamental  ? 

The  Answer:  Is  it  Pola  or  Mabel 
Normand  or  Corinne  Griffith?  Well, 
it's  this  way :  Mabel  is  the  most  un- 
dependable  human  being  that  ever 
lived.  A  director  doesn't  mean  any 
more  in  her  life  than  any  impulsive 
little  whim  she  happens  to  collide 
with.  That's  Mabel.  Pola  is  dif- 
ferent ;  she  starts  cvclones  when 
things  dont  go  to  please  her.  Corinne 
Griffith  is  very  young ;  very  sensitive 
and  very  determined  to  have  her 
own  way — an  appalling  combination. 


N08         N27 

*428  $368 


V/4 


\A 


^ 


284  .M,  $3"5f 


|     GET  THIS  WONDERFUL  RING.    If  You 
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These  wnazln*.  beautiful  CORODITE  diamonds  positively  match 
genuine  diamonds  in  every  way— same  blazing  flash  and  dazzling 
play  of  living  rainbow  fire.  They, alone,  stand  the  diamond  testa. 
Including;  terrlllcocldtoBtof  directcomparison.  Lifetime  experts 
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Wear  a  Corodite  Diamond  7  Days  Free 

Make  this  test.  You  risk  nothing.  Wear  a  genuine  Corodite  and 
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ber. Corodites  alone  have  the  same  cutting  A3  genuine  atone. 

Ho.  1— Ladies'  Solitaire  14K  Gold  S.  Ring $2.84 

Ho.  4-Ladiee'  Hand-Carved  Basket  Setting,  plat,  finish  *3.96 
Ho.  5— Ladies'  Solitaire  Bridal  Blossom  Engraved  •  .  $3.54 
Ho.  7 -Gents'  Heavy  Belcher  14K  Gold  S.  Ring  .  .  .  S3.68 
No.  8— Gents'  Massive  Hand-Carved  Octagon  Gypsy  .  S4.28 
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C.  RICHWINE  CO. 

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Sole  Importer*  Genuine  Corodite  Diamond* 


STATEMENT  OF  THE  OWNERSHIP,  MANAGE- 
MENT, CIRCULATION,  ETC..  REQUIRED  BY  THE 
ACT  OF  CONGRESS  OF  AUGUST  24.  1!»12,  of 
CLASSIC  published  MONTHLY  at  175  DUFFIELD 
ST.,  BROOKLYN,  N.  Y.,  for  OCTOBER  1st,  1923.  State 
of  NEW  YORK,  County  of  KINGS.  Before  me.  a 
NOTARY  PUBLIC  in  and  for  the  State  and  County 
aforesaid,  personally  appeared  EUGENE  V.  BREWSTER, 
who,  having  been  duly  sworn  according  to  law.  de- 
poses and  says  that  he  is  the  PRESIDENT  of  the 
CLASSIC  and  that  the  following  is,  to  the  best  of  his 
knowledge  and  belief,  a  true  statement  of  the  ownership, 
management  (and  if  a  daily  paper  the  circulation),  etc., 
of  the  aforesaid  publication  for  the  date  shown  in  the 
above  caption,  required  by  the  Act  of  August  24,  1912. 
embodied  in  section  443.  Postal  Laws  and  Regulations, 
printed  on  the  reverse  of  this  form,  to  wit:  1.  That  the 
names  and  addresses  of  the  publisher,  editor,  managing; 
editor,  and  business  managers  are:  Publisher.  BREW- 
STER PUBLICATIONS,  INC..  175  DUFFIELD  ST. 
BROOKLYN,  N.  Y.  Editor.  SUSAN  ELIZABETH 
BRADY.  1T5  DUFFIELD  ST..  BROOKLYN.  N.  Y. 
Managing-  Editor.  ADELE  WHITELY  FLETCHER. 
175  DT'FEIELD  ST.,  BROOKLYN.  N.  Y.  Business 
Manager,  GUY  L.  HARRINGTON,  175  DUFFIELD  ST.. 
BROOKLYN,  N.  Y.  2.  That  the  owners  are:  (Give 
names  and  addresses  of  individual  owners,  or,  if  a  cor- 
poration, give  its  name  and  the  names  and  addresses  of 
stockholders  owning  or  holding  1  per  cent,  or  more  of 
the  total  amount  of  stock.)  EUGENE  V.  BREWSTER. 
175  DUFFIELD  ST..  BROOKLYN*.  N.  Y.  CARLE- 
TON  E.  BREWSTER.  BAYSHORE.  LONG  ISLAND, 
N.  Y.  3.  That  the  known  bondholders,  mortgagees,  and 
other  security  holders  owning  or  holding  1  per  cent,  or 
more  of  total  amount,  of  bonds,  mortgages,  or  other 
securities  are:  (If  there  are  none,  so  state.)  NONE. 
4.  That  the  two  paragraphs  next  above,  giving  the  names 
of  the  owners,  stockholders,  and  security  holders,  if 
any.  contain  not.  only  the  list  of  stockholders  and  se- 
curity holders  as  they  appear  upon  the  books  of  the 
company  but  also,  hi  cases  where  the  stockholder  or 
security  holder  appears  upon  the  books  of  the  company 
as  trustee  or  in  any  other  fiduciary  relation,  the  names 
of  the  person  or  corporation  for  whom  such  trustee  is 
acting,  is  given ;  also  that  the  said  two  paragraphs 
contain  statements  embracing  affiant's  full  knowledge 
and  belief  as  to  the  circumstances  and  conditions  under 
which  stockholders  and  security  holders  who  do  not 
appear  upon  the  books  of  the  company  as  trustees,  hold 
stock  and  securities  in  a  capacity  other  than  that  of  a 
bona  fide  owner;  and  this  affiant  has  no  reason  to 
believe  that  any  other  person,  association,  or  corpora- 
tion has  any  interest  direct  or  indirect  in  the  said  stock, 
bonds,  or  other  securities  than  as  so  stated  by  him.  5. 
That  the  average  number  of  copies  of  each  issue  of  this 
publication  sold  or  distributed  thru  the  mails  or  other- 
wise, to  paid  subscribers  during  the  six  months  preced- 
ing the  date  shown  above  is  .  .  .  (This  information  is 
required  from  daily  publications  only.)  EUGENE  V. 
BREWSTER,  (Signature  of  editor,  publisher,  business 
manager  or  owner.)  Sworn  to  and  subscribed  before  me 
this  25th  day  of  SEPTEMBER.  1923.  E.  M.  HEINE- 
MANN.      (My  commission  expires  MARCH  30th,    1924.) 


FARN  MONEY 

M   AT  HOME    V 


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Foreign  Films 

(Continued  from  pagt  27) 

ENGLAND 

If  England  has  yielded  t<>  the  his 
torical  trend,  it  has  done  so  less  from 
necessity  than  from  conviction.  If  in 
i  !ei  many  histor)  is  a  refuge,  in  I 
land  ii  is  an  opportunity,  and  th( 
British  producers  have  withdrawn  t'> 
the  past  because  for  the  momenl  il 
appears  to  present  an  artistic  appeal 
superior  to  the  lure  of  contemporary 
events.    Tho  abiding  strictly  by  the 

historical  (.■(invention  in  such  a  recent 
film  as  "The  Virgin  Queen,"  a 
effective  departure  from  the  rule  of 

uniformity  is  made  in  such  a  film  as 
"Don  Quixote,"  in  which  legend  is 
given  precedence  to  fact  and  in  which 
the  grotesque  adventures  of  Spain's 
amiable  hero  are  visualized  to  a 
world  which  knew  him  only  thru 
translation.  The  task  of  presenting 
Sancho  Panza,  Don  Quixote's  faith- 
ful servitor,  in  a  language  intelligible 
to  all  nations  has  been  entrusted  to 
( ieorge  Robey.  England's  great  char- 
acter actor,  who  will  make  his  first 
screen  appearance  in  this  picture, 
under  the  patronage  of  the  Stoll 
Film  Company.  Robey  has  until  now 
remained  one  of  the  few  great  artists 
with  a  world  reputation  who  has 
evaded  the  lure  c.f  the  films  and  his 
capture  is  an  event  for  the  picture 
world. 

Another  departure,  in  which  the 
historical  yields  to  this  aesthetic,  is 
the  Stoll  production  of  "The  Indian 
Love  Lyrics,"  the  immortal  songs 
now  familiar  the  world  over.  (  )n 
this  slender  golden  thread  is  woven 
a  fabric  of  romance  and  beauty  pro- 
viding a  gorgeous  mantle  for  an  aery 
form,  the  screen  recreating  the  pathos 
and  tragedy  of  the  poems,  and  re- 
vealing poetry  to  be  as  fertile  a  field 
for  the  film  as  art. 

RUSSIA 

A  Russian  film,  actually  produced 
in  Russia,  is  a  rare  event,  but  if  "The 
Disinherited"  is  an  example  of  what 
can  be  done  in  the  heart  of  that 
enigmatic  country,  it  is  a  pity  that 
more  pictures  are  not  forthcoming. 
The  story  itself  is  Danish,  founded 
on  the  novel  of  A.  Madelung,  but  the 
incidents  dealt  with  are  a  dramatic 
phase  of  Russian  life  in  the  days  of  the 
Czar.  The  picture  was  made  by  C.  P. 
Dreyer.  the  Swedish  producer,  and 
among  the  artists  appearing  in  the 
principal  roles  are  Mme.  Piechowska, 
of  the  Korcha  Theater.  Moscow  ;  V. 
Gaidaroff  and  R.  Boleslawsky,  of  the 
Stanislawsky  Theater:  and  J.  Duvan- 
Torzoff.  of  the  Drama  Theater  of 
Kiev.  The  adventure  involved  in 
the  making  of  the  picture  makes  al- 
most as  interesting  a  narrative  as  the 


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|  Motion   Picture  Magazine  | 

|  Wally's  Last  Word  | 

AN    EXCLUSIVE   STORY   by   Charles   A.   Post,    Wally's   best   friend,   in  J 

whose  arms  he  died.     It  is  not  of  the  happy-go-lucky  W ally ,  but  of  = 

the  Wallace  Reid  with  whom  Post  tramped  the  hills  by  day  making  the  g 

fight;   of  the   Wallace  Reid  who  found   only   emptiness  in   fame  and  jj 

1       fortune.  g 

1       'T^his  issue  is  full  OF  Christmas  features  as  intensely  interest-  ( 

A   ing,  as  intriguing  as  any  gaily  wrapped  Christmas  package.    Among  jj 

its  surprises  are:  the  first  instalment  of  "Thistledown,"  a  six-part  serial,  g 

1       by  Dana  Gatlin  ;  an   unusually  beautiful  folio   of  cinema  stars;  gossip,  | 

(       more  inti?nate  and  chatty  than  ever,  by  the  Editor,  and  articles  in  plenty.  §§ 

IllllllllllllllllllllllllllllllllllilllilllllW 


film  itself.  As  the  story  deals  with 
the  tyrannical  methods  of  the  Czar, 
the  Soviet  authorities  granted  per- 
mission to  the  producer  to  film  the 
actual  localities  mentioned  in  the 
novel,  thinking  that  the  picture  would 
be  excellent  propaganda  for  the 
Soviets.  However,  when  the  picture 
was  almost  finished,  the  authorities 
observed  that  the  producer  was  more 
interested  in  art  than  in  propaganda, 
that  the  tragedy  was  being  presented 
without  any  attempt  to  spoil  it  by  in- 
truding politics.  They  thereupon 
withdrew  permission  for  further 
filming.  But  by  then  the  better  part 
of  the  picture  had  already  been  made, 
and  the  negative  was  slipped  out  of 
the  country  before  the  Soviets  could 
lay  hands  on  it,  the  few  remaining 
scenes  being  taken  in  a  Warsaw 
studio. 

"The  Disinherited"  reveals  the 
ugly  machinery  of  tyranny,  in  which, 
whenever  the  existence  of  that 
tyranny  is  being  threatened  by  en- 
lightening influences,  the  lowest  and 
meanest  instincts  of  hatred  and 
brutality  are  deliberately  aroused  by 
the  dark  influences  serving  the  tyrant, 
so  that  the  cause  of  liberty  is  for- 
gotten in  the  exercise  of  these 
hatreds  and  brutalities.  Despite  the 
intenseness  of  the  emotions  which 
dominate  the  story,  the  acting  is 
characterized  by  a  masterly  restraint 
and  a  well-marked  tempo  not  often 
seen  in  other  European  productions, 
and  those  who  have  had  the  oppor- 
tunity of  estimating  the  talent  of 
Russian  actors  thru  the  Stanislawsky 
troupe  and  the  Balieff  artists  on  their 
visit  to  America  will  have  cause, 
after  seeing  the  superb  workmanship 
of  their  countrymen  in  "The  Disin- 
herited," to  regret  that  the  Russians 
have  thus  far  played  such  a  minor 
role  in  the  advancement  of  screen  art. 


The  Powers  Behind  the  Screen 

(Continued  from  page  20) 

had  been  back  in  the  old  nickelodeon 
days,  the  days  when  he  plead  with 
the  General  Film  for  a  chance — an 
exhibitor. 

He  was  at  this  game  until  the  sum- 
mer of  1921  when  he  realized  that 
there  were  more  theater  seats  in  the 
country  than  there  were  people  will- 
ing to  fill  them. 

Exhibitors,  too,  had  begun  to  ob- 
ject violently  to  competition  in  their 
end  of  the  game  from  a  man  they 
thought  should  devote  his  talents  to 
producing  and  distribution.  Grace- 
fully, Zukor  yielded.  He  began  sell- 
ing theaters  that  had  ceased  to  pay. 

The  exhibitors'  own  organization, 
the  Motion  Picture  Theater  Owners 
of   America,   representing  thousands 


(Eighty-four) 


of  theaters  in  fort)  states,  next 
tui  netl  its  attention  to  Firsl  National 
and  tlii  n  its  exe<  utive  officei  s  was  in 
the  process  of  delivering  it^cli  ol  a 
number  of  disagreeable  comments 
when  the  picture  world,  abruptly, 
forgot  all  this  familj  bickering. 
■i  time  the)  had  eyes  and  ears 
nothing  save  the  Federal  Trade  Com- 
mission's bolt    from  the  blur. 

With  a  suddenness  that  startled 
Broadway,  the  newspapers  printed 
tlu'  Commission's  charge  that  the  Fa- 
mous Players- 1. asky  Corporation, 
Paramount,  Kdolpli  Zukor,  ci  >.-/..  bad 
been  operating  in  restraint  of  trade 
and  violating  the  Sherman  Anti- 
Tmsl  1  aw  1  rearings  on  this  charge 
took  place  this  year,  but  at  the  time 
the  effect  of  all  this  was  in  turn  as 
nothing  compared  to  the  fear  of  cen- 
sorship which  grew  slowly,  but  sure- 
ly so  surely  that  soon  it  over 
shadowed  all  other  considerations. 

More  than  any  other  business  of 
like  proportions  the  theater  is  de- 
pendent upon  the  whim,  the  caprice 
Of  the  public,  and  censorship 
threatened  box-office  revenues. 

The  impetus  which  had  broughl  it 
to  such  amazing  and  paralyzing  pro- 
portions, of  course,  had  its  source  in 
a  real  complaint.  Fly-by-night  pro- 
ducers had  offered  the  public  films 
with  an  indefensible  moral  tone.  and. 
as  a  result,  the  whole  industry  had  to 
Suffer,  but  the  real  object  ion  to  cen- 
sorship is  not  the  obvious  one. 

\s  has  been  made  clear  before,  the 
obvious  objections  can  be  sustained 
and  have  been,  times  without  num- 
ber. Censorship  is  sectional  and 
local.  Its  ridiculous  whimsies,  bow- 
ever,  are  practised  on  the  finished 
film. 

What  the  menace  of  it  did  to  the 
film  in  the  process  of  manufacture 
or  conception — this  is  what  kept  the 
officials  of  famous.  First  National, 
Metro,  Universal,  Fox,  Pathe,  this  is 
what  kept  Zukor,  Laemmle,  Rowland, 
De  Mille.  Brunet  and  Kane  awake 
nights.     This  is  what  mattered. 

Because  of  it.  story  writers,  direc- 
tors and  actors  were  in  the  grip  of  a 
deadly  fear.  Tt  bad  them  by  the 
throat.  It  paralyzed  their  initiative. 
It  kept  them  from  doing  new  things, 
from  attempting  anything  unusual, 
however  innocent,  for  fear  of  what 
some  wild  duck  of  morality,  in 
charge  of  some  backwoods'  board  of 
censorship,  might  think.  Naturally, 
they  stuck  to  the  old  stand-bys. 

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the  old  stand-bys.  It  knew  them  by 
heart.  It  could  guess  what  was  com- 
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of  holding  the  censor  ami  censorship 
responsible,  it  began,  more  and  more, 
to  stay  away  from  the  theater. 


(Eighty-five) 


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When  I  Come  Back 

{Continued  from  page  23) 

do  not  forget  that.  After  all,  who  is 
this  Valentino  that  he  should  lord  it 
over  others? 

And  so  I  do  not  let  my  head  be 
turned.  And  that  is  harder  than  you 
think  ...  so  many  letters  I  get  .  .  . 
such  crowds  came  to  watch  us  dance 
.  .  .  such  mobs  of  people  staring  .  .  . 
but  I  cannot  forget  that  once,  I  was 
nobody. 

Valentino  smiles  once  more  and 
when  lie  smiles,  it  is  like  the  sun 
coming  out.  Tliis  man  is  proper  stuff. 
He  lias  the  wisdom  of  lessons 
learned,  the  humanity  of  hardships 
endured,  the  philosophy  that  comes 
of  experienced  facts,  and  the  intelli- 
gence— far  more  intelligence  than  he 
is  popularly  credited  with — formed 
of  those  other  attributes. 

I  shall  be  again  the  romantic 
lover.  It  is  what  I  can  do  best  and  it 
is  what  most  people  want.  I  do  not 
mean  the  matinee-idol  type.  Heaven 
forbid !  But  romance  and  drama  are 
what  most  lives  lack  and  I  shall  try 
to  supply  it.  And  above  all  I  shall 
try  to  be  human,  understandable.  I 
shall  play  characters  that  may  be 
made  comprehensible  to  everyone.  I 
want  my  own  ability  tested.  I  want 
to  act  life,  to  create  characters,  to 
move  an  audience,  not  just  to  pose. 
I  have  kept  my  ear  to  the  ground,  I 
have  studied,  I  have  consulted  hun- 
dreds, and  best  of  all  I  have  thought, 
and  now  I  believe  I  know  the  thing 
that  universally  appeals  to  people.  I 
promise  to  give  it  to  them. 


Our  Boulevardier  Steps  Out 

(Continued  from  page  78) 

She  is  to  get  a  percentage.  The 
European  papers  have  raged  at  the 
report  that  this  child  was  to  get  this 

fortune. 

*         *         * 

Frank  Mayo  is  to  take  the  role  in 
"Wild  Oranges"  that  James  Kirk- 
wood  had  to  vacate  when  a  fall  from 
his  horse  so  nearly  killed  him.  I 
understand  that  Kirkwood  and  Lila 
Lee,  his  wife,  are  to  appear  in  the 
same  picture  very  soon  at  the  Thomas 
H.  Ince  studio. 


Patsy  Ruth  Miller  is  an  indignant 
young  lady.  She  returned  the  other 
day  from  San  Francisco  where  she 
had  been  working  in  Victor  Sea- 
strom's  "The  Judge  and  the  Woman" 
and  looked  forward  to  a  vacation. 
Her  train  got  in  at  seven ;  at  ten  she 
was  on  the  way  back  to  San  Fran- 
cisco to  appear  with  Douglas  Mac- 
Lean  in  "The  Yankee  Consul." 


Dougla 


Fail  banks, 


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A  Happy  Young  Man 

mtinued  from  /•■ 

nan      Then    Mi  I  inne 

walked  a<  ross  the     I  '\\>t   like 

that.   .>.•".  \f  i 

that   was,  then  and  then,  the  total 

ipse,  the  compU  ti    emotional 
nihilation    of    the    whole-hearted 
lan     1  It  tho  the  \ 

the  theater  v 
under  his  feet  He  felt  as  tho  the 
and  all  the  stars  had  fallen 
to  upon  his  head.  He  couldn't  walk 
\cr\  steadily  and  he  dared  not  at- 
tempt v  I  more  than  one 
syllable  ">•  »  tl  e '"  is  what 
tid  to  his  arrested  heart. 

They  planned,  however,  that  de- 
the  falling  of  the  --even  heavens 
upon  them,  they  would  not  marry 
until  each  one.  individually,  had 
made  good.  Shortly  thereafter  Mr. 
Limt  "did"  Booth  Tarkington's 
"Clarence,"  which  put  him  into  Class 
1  A.  and  very  shortly  after  that  Miss 
Fontanne  did  "Dulcy,"  which  made 
them  about  even  as  to  dramatic  s< 

They  married  .  .  .  and  they  ex- 
pect to  live  happily  ever  after! 

Mr.  Lunt  admitted  with  a  slight 
upraising  of  his  volatile  eyebrows 
that  he  knows  there  are  marriages 
which  do  not  last,  happiness  that  un- 
happily deteriorates  with  time  and 
wear,  "hut."  he  says,  "we  have  such. 
a  wonderful  time  together!" 

Also,  they  have  a  sense  of  humor. 
More,  they  have  two  senses  of 
humor,  which  you  will  know  without 
being  told  if  you  were  fortunate 
enough  to  see  "Clarence"  and 
"Dulcy."  A  sense  of  humor  is  the 
best  ballast  I  know  for  matrimonial 
success  and  two  senses  of  humor 
ought  to  be  a  ninety-nine-year  lease 
of  conjugal  contentment. 

What  they  would  like  to  do.  this 
happy  twain,  is  to  play  together  on  the 
stage  and  perhaps,  too.  on  the 
screen.  They  recently  made  a  pic- 
ture together  and  enjoyed  doing  it 
so  enormously  that  Mr.  Lunt  be- 
lieves the  Public  will  enjoy  it,  too. 
As  a  matter  of  fact,  he  rather  be- 
lieves that  the  Public  likes  to  see 
husband  and  wife  playing  together 
rather  than  the  reverse  and  he  would 
appreciate  some  points  of  view  along 
this  line. 

Taking  him  by  and  large.  Mr.  Lunt 
i^-  a  very  delightful  young  man.  He 
has  a  trace  of  "Clarence.''  an  atmos- 
phere of  the  West  he  comes  from,  a 
necessary  dash  of  Xew  York  sophis- 
tication and  the  theater,  and  an  at- 
traction which  is  completely  unique. 
One  could  not  classify  him  with 
any  of  the  popular  favorites.  He  is 
no  kin  of  Valentino  nor  of  Barthel- 
mess,  no  shade  of  Charlie  Ray  or 
Douglas  Fairbanks.  He  is  essen- 
tially and  entirely  Alfred  Lunt. 


i 


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GettingMarried  and  Unmarried ! 

{Continued  from  page  62) 

an    interesting    aspect.      I    began    to 
sympathize. 

There  is  no  denying  that  the  pres- 
ent conflicting  divorce  laws  of  the 
various  states  are  an  awful  mess  and 
that  a  great  need  of  the  nation  today 
is  some  uniform  measure.  But  one 
cannot  help  thinking  that  were  peo- 
ple required  to  think  more  sanely 
before  getting  married,  there  would 
be  fewer  of  them  wanting  to  get  un- 
married. 

Anyway,  I  think  the  court  of  first 
and  last  appeals  should  be  at  home.  I 
once  knew  a  couple  who,  however  bit- 
terly they  quarreled,  at  night  kissed 
and  made  up,  so  that  should  anything 
happen  to  either  before  another  day. 
the  other  should  not  have  to  go  thru 
life  with  the  terrible  shadow  of 
harbored  bitterness  burning  in  his  or 
her  soul.  I- think  a  general  practice 
of  this  rule,  of  not  allowing  differ- 
ences to  grow  and  grow,  but  to  for- 
give, would  materially  lessen  the 
number  of  divorces. 

There  are  things  a  man  and  woman 
should  consider  when  getting  mar- 
ried, for  instance : 

A  man  is  most  easily  managed 
when  he  is  managed  unwittingly.  A 
man  should  not  hide  all  his  faults 
and  deny  his  wife  the  pleasure  of  re- 
forming him.  Too  often  courtship 
ends  with  marriage,  where  it  should 
really  begin.  A  cynic  might  remark, 
at  least  it  will  keep  them  in  practice. 
Love  and  let  love — take  its  course. 


Why  Do  People  Get  Divorces? 

{Continued  from  page  63) 

be  petted,  and  when  he  wishes  to  be 
the  strong  oak  to  which  she  clings  for 
support.  Too  many  wives  regard 
their  husbands  in  the  light  of  an  old 
shoe,  which  is  always  the  same,  and 
men  do  not  like  to  be  classed  with 
outworn  pedal  adornments. 

Husbands,  on  the  other  hand,  very 
often  and  too  often,  do  not  consider 
that  a  wife  has  a  mind  of  her  own, 
that  she  thinks  and  has  ideas.  She 
does  not  like  these  ideas  always  to 
be  scorned  as  the  wild  fancies  of 
some  inferior  being,  incapable  of 
thinking  or  acting  for  herself  any 
more  than  she  likes  to  have  them 
treated  with  the  condescending  tol- 
erance with  which  one  treats  the  im- 
mature ideas  of  a  child.  She  likes 
to  be  a  baby  to  her  husband  at  times, 
true,  but  there  are  other  times  when 
she  must  be  taken  seriously. 

Therefore,  it  would  seem  that  a 
possible  cure  for  many  matrimonial 
ills  is  understanding  and  tolerance. 


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I  he  M<>\  i     I  li;i 

7) ) 

lad]      In  othei    v  blui 

\i  i 

■ 

\w      Th  i    in 

.  in  the  !  No 

(  i.i  ■  i .  in. i  in .n  ried.    "M.mI  i 

was    made     in     Europ 
Moreno  Mrs,     Dai        I   infield 

IDYS     M        \n  '■>     think     thai 

your    favoi  ite,  Lew  iv    in 

"Nellie,     the     Beautiful     Cloak     M 
You  just  wait.     You  might  write  to  Mrs. 

Wallace       Reid      at      BevnK       Hill-,,       Los 
Angeles,    Cal.      So   you   would   like   to   see 
of  me.     How  about  the  one  up 
above. 

Daisy  Face  Kennedy. — So  you  think 
I  am  a  model  young  man.  Well  I  donl 
drink,  smoke  or  swear,  but  I  do  pi 
to  be  over  thirty-eight.  Robert  Agnew  is 
twenty- four.  Marie  Prevo.st  is  twenty- 
five  and  she  is  playing  in  "The  Wanters." 
Douglas  Fairbanks,  Jr.  is  playing  in 
"Stephen  Steps  Out." 

A  Country  Lass. — And  so  it  is.  Hap- 
piness is  the  shadow  of  man  ;  remembrance 
of  it  follows  him;  hope  of  it  precedes 
him.  No,  Carlyle  Blackwell  is  only 
thirty-five  and  he  is  not  married  right 
now.  Betty  Compson  in  "The  Royal 
Oak"  taken  in  England,  and  she  is  twenty- 
six. 

Marie  Antoinette. — I  am  glad  you 
like  the  Classic.  Well  it  is  so -cold  here 
that  words  freeze  in  your  mouth.  Some- 
times the  sidewalks  are  covered  with  con- 
versations and  we  have  to  take  them  in 
the  house  and  put  them  in  the  oven  to 
thaw  before  we  can  tell  what  we  are  talk- 
ing about.  They  say  that  down  in  Texas 
it  is  now  so  hot  that  they  have  to  feed  the 
hens  cracked  ice  to  prevent  them  laying 
hard-boiled  eggs.  That's  a  nifty!  Yes, 
Reginal  Denny  played  in  "The  Abysmal 
Brute."  Bebe  Daniels  in  twenty-two. 
Xiles  Welch  is  married  to  Dell  Boone. 
Dont  mention   it. 

Fii.i.um  Fan. — So  am  I.  No,  I  am  not 
Freddie  nor  Percy  of  the  Hall  room  boys. 
I  haven't  any  such  fancy  name.  Comvay 
Tearle  is  forty-three.  Yes,  married  to 
Adele  Rowland. 

Winona. — However  rare  true  love,  true 
friendship  is  rarer.  Yes,  Ramon  Novarro 
played  in  "Rupert  of  Hentzau."  Herbert 
Rawlinson  is  thirty-eight.  Kenneth  Har- 
lan is  at  the  Schulberg  Productions. 
3800  Mission  Road,  Los  Angeles,  Cal. 
Huntley  Gordon  in  "Blue  Beard's  Eighth 
Wife." 

Olive  E. — So  Constance  Talmadge  is 
your  favorite.  Bebe  Daniels  is  five  feet 
five. 

Helene  B.  O.  B. — Coming  events  cast 
their  shadows  before  us.  Yes,  I  can  stand 
it,  fire  away.  Rodolph  Valentino  has 
signed  with  the  Ritz-Carlton  Productions, 
and  I  dont  believe  his  first  picture  has 
been  selected.     See  you  later. 

Jacqueline  N. — Thanks  for  the  in- 
formation. No,  R.  C.  stands  for  Robert- 
son Cole  and  not  Ritz  Carlton.  J.  W'ar- 
rcn  Kerrigan  in  "The  Man  From  Brod- 
ney"  for  Vitagraph.  No,  Theda  Bara  has 
never  played  in  the  "Hunchback  of  Notre 
Dame."  What  are  you  trying  to  do,  tease 
your  poor  old  Answer  Man.  Francis 
Bushman  and  his  charming  wife,  Beverly 
Bayne,  in  "Under  Suspicion."  That's  the 
way  it  goes  sometimes. 

Virginia. — Well  a  thought  entering  the 
mind  will  be  welcomed  or  banished — ac- 
cording to  the  character  of  the  mind.  Tom 
Moore  is  playing  in  "Big  Brother."     Yes, 


EARLE   E.    LIEDEHMAN 
as  he  Is  to-day 

Call   the   Undertaker! 

What's  the  use  of  living  when  you're  only 
half  alive?  You  get  up  in  the  morning  and 
you  don't  have  the  pep  of  a  jelly  Ms! 
work  is  a  burden  and  life  has  ceased  to  give 
you  a  thrill.  You  d.n't  seem  to  get  anywhere 
and  nobody  carts  whether  you  do  oi 
What's  the  use.  fellows?  Call  the  Undertaker, 
for   you're   dead   and   you   don't    know    it. 

A  New  Life 

Stop!  It's  all  wrong.  There  is  another  life 
right  here  hefore  vou.  A  new  and  a  better 
one.  A  life  that  is  full  of  thrills  and  sun- 
shine. Every  day  opens  new  worlds  to  con- 
quer, new  joys,  new  friends  and  lasting 
ones.  Come  with  me  and  let  me  guide  vou 
to   it. 

I    have    a    system    that    knocks    those    . 
hugs  higher  than  a  kite.      I'll   j-ut  pep  u 
old    backbone   that   will    make   you    feel    like   a 
jack    rabbit.      I'll    put   a    spring   to    your   step 
and    a    flash  _  to   your   eye    so    that    your    own 
friends   won't    know    you. 

Health  and  Strength 

That's  what  you  need  and  that's  what  you 
get.  Come  on  now,  pull  in  your  belt  and 
throw  out  your  chest.  Take  a  good  deep  breath 
of  that  pure  air  that's  all  about  you.  Give 
your  heart  a  treat  with  some  rich  blood.  You 
will  feel  so  good  you  will  think  it's  your 
birthday.  Drop  me  a  line  and  I'll  si: 
how  to  do  it.  I'm  going  to  put  a  chest  on  you 
th  it  will  make  your  old  ribs  strain  with  the 
pressure.  I'm  going  to  change  those  skinny 
arms  and  legs  of  yours  to  a  real  man's  size. 
Vou  will  have  the  strength  and  vitality  to  do 
things  you  never  thought  possible.  Come  on, 
fellows!  Get  busy.  I  don't  promise  these 
things — I  guarantee  them.     Are  you  with  me? 

Send     for    My     New    64-Page    Eook 

"MUSCULAR  DEVELOPMENT" 

It    contains    forty-three    full-page    photograph^    of 
myself  and  some  of  the  many  prize-whining  pu 
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weaklings,  imploring  me  to  help  them.     Look  them 

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ph.vsio.ues.     This  book  will  prove  an   Impetus  and  a 
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Send   today — right  now.    before  you   turn   this  page. 

EARLE  E.  LIEDERMAN 

Dept.  18 12,  30S  Broadway.  NewYork  City 


EARLE    E.    LIEDERMAN. 

Dept.    1812,  305  Broadway,   New  York  City 

Dear  Sir: — I  enclose  herewlih  10  cents  for  which 
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Name. . . 
Address. 

Citv 


(Eighty-nine) 


Thousands  Can  Draw 

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Reginald  Denny  in  "The  Spice  of  Life." 
It  ought  to  be  well  flavored.  Baby  Peggy 
in  "The  Right  to  Love."  That's  about  the 
age  they  start  in  nowadays.  Cullen  Lan- 
dis  is  American.  Write  him  at  the  Vita- 
graph    Studios. 

Wallace  Reid  Forever. — Yes,  Wallace 
Reid  played  in  "The  Birth  of  a  Nation." 
No,  Mrs.  Reid  was  never  married  before. 
So  you  like  my  dog  in  the  above  picture. 
He  is  a  great  help  to  me. 

Little  Sister. — You  know  what  the 
engaged  girl  says — a  gift  on  the  hand  is 
better  than  two  promises.  Ivor  Novello 
in  "The  White  Rose."  Yes.  Mae  Marsh 
calls  her  little  girl  Mary. 

Edna  M. — Wind  sawmills  were  erected 
by  the  Dutch  in  New  York  as  early  as 
1633,  and  were  also  used  there  for  grind- 
ing mills.  One  of  the  first  sawmills 
built  there  was  on  Governor's  Island,  in 
the  harbor  of  New  York  City.  William 
Reed  is  Eva  Novak's  husband.  Barbara 
Bedford  is  Mrs.  Albert  Roscoe.  No  Edna 
Murphy  is  not  married.  Barbara  was 
born  in  Wisconsin.  Buck  Jones  is  twenty- 
eight.  Hoot  Gibson  thirty-one  and  Jack 
Gilbert  twenty -eigrtt. 

Helen  H.  —  Yes,  Norma  Talmadge 
played  in  "Poppy"  several  years  ago. 
Haven't  the  cast  for  the  play  you  speak 
of.     Sorry. 

Betty. — Oh  the  hour-glass  dates  back 
from  the  beginning  of  the  Christian  Era. 
Agnes  Ayres  in  "The  Marriage  Maker." 
Pauline  Garon  in  "The  Turmoil."  John 
Barrymore  is  forty-one.  Oh  yes,  Thomas 
Meighan  played  opposite  Norma  Tal- 
madge in  "The  Heart  of  Wetona"  some 
years  ago.  Dorothy  Mackaill  in  "Mighty 
Lak  a  Rose."  You're  very  welcome,  and 
I  hope  to  see  you  next  month.    Au  revoir ! 

Manett. — You  want  to  know  how  the 
stars  in  Hollywood  approve  of  Pola  Negri. 
I  guess  it  isn't  worrying  Pola  any.  Lil- 
lian Gish  was  born  in  Springfield,  O. 
Matt  Moore  can  be  reached  at  the  Louis 
B.  Mayer  Studios,  3800  Mission  Road, 
Los  Angeles,  Cal.  Norma  Talmadge  at 
5341    Melrose   Ave.,    Los    Angeles. 

Maid  of  Maryland. — So  it's  Ralph 
Bushman  you're  after.  He  was  playing  in 
comedies,  but  not  featured.  His  father  is 
touring  with  his  last  picture  you  know. 

Marjorie  F. — Last  address  I  had  of 
Walter  McGrail's  was  with  Mack  Sennett 
Comedies,  Los  Angeles,  Cal.  He  played 
in  "Suzanna." 

Cutey  ;  Cutex  ;  Antonio  Moreno 
Fan;  Dottie  J.;  Thomas  N. ;  Elizabeth 
B. ;  Miss  F.  W. ;  Virginia  S. ;  Carmella 
Z. ;  Lytell  Fan  ;  Roberta  H. ;  Jean  B. ; 
Billie  May  ;  Bertha  E. ;  Marilyn  ;  Iris 
Mc;  Kitty;  Mary  H. ;  Ethel  M. ; 
Charles  O. ;  Pauline  E. ;  Ima  Sweete, 
Strawberry  Blonde,  and  William  S. 
Your  letters  have  been  answered  up 
above.  Sorry  to  have  to  put  you  in  with 
the  alsorans. 


SEVENTEEN 
By   Claribel  Weeks  Avery 

I  hate  to  put  my  shoes  on,  but  I  suppose  I 

must. 
I  want  to  scamper  barefoot  in  the  yellow 

dust, 
Or    lie    among    the    daisies    on    the    sunlit 

green — 
It's    very    hard    for    me    to    be    as    old    as 

seventeen. 

1   want  a  jeweled  comb  to  hold  my  flying 

hair, 
A    cape    of    purple    satin    such    as    stately 

women  wear, 
A     handsome,     grown-up     lover     and     a 

limousine — 
It's  very  hard  to  be  as  young  as  seventeen ! 


Flavory 


Delightful,  too 
—the  tempting 
taste  of  good 
old-fashioned 
wintergreen— 
its  use  is 

"a  sensible* 


Aids  digestion 


BEEMA 

Pepsin  Gum 


American  Chicle  Co. 


SKIN 

madeWELL 

When  a  few  applications  of  thia  won-  | 
der  working  lotion  has  cleared  faces 
of  pimples,  blackheads, 
irE     acne  eruptions   on  the  face  or 
-    body,  enlarged  pores,  oily  or 
shiny  skin,   you   can   realize 
why  CLEAR-TONE  has  been    i<o 
tested  and   approved  in  over    '  ~ 
100,000  Test  Cases. 
The  simplicity  of  the  treatment. 
The  Story  of  How  I  Cured  My- 
self are  all  explained  in  my 
free  booklet.  Write  for  your  copy      , 
oday  and  learn  of  the  results  pot-   t( 
ten  by  thousands  of  men  and  women,  v^ 
E.  S.  GIVENS 
223  CHEMICAL  BLDS.       KANSAS  CITY,  MO, 


FREE 


What     is     your     Zodiac'' 
Sign?         What      does      it 
mean     to    your    future? — 
happiness    in    marriage?— 
friends,       enemies, 
success  in  all  under- 
takings?— and    other 
important  questions? 
We   tell   you    FUEE. 

Your  future  is  governed  by  Astrology, 
[the  seienee  that  has  foretold  events 
nth  almost  unfailing  accuracy  sinee 
I12D0  years  before  Christ.  The  de- 
|pendability  of  its  truths  has  been  in- 1 
vestigated. 

Let  us  give  jour  Astrological  reading.  To  I 
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415-58  St.       Suite    360      Brooklyn,  N.  Y. 


(Ninety) 


Gas  or 
Electric 
!££  Lamp- 

Comes  equipped  for  choice 
of  gas  or  electricity.  Has  2- 
light  Benjamin  socket  for 
electricity  only,  with  8-foot 
silk  cord  ready  for  use;  or 
comes  with  6-foot  rubber 
hose,  burner,  mantle  and 
chimney  for  gas. 

Mahogany  Finish 

Standard  is  60  in.  high,  3  in. 
in  diameter.  Highly  polish- 
ed French  mahogany  finish. 

l^Shade- 

Made  in  Fifth  Avenue  de- 
sign, 24  in.  in  diameter,  of 
delft  blue  silk,  shirred  top, 
alternating  plain  and  fancy 
art  silk  panels.  Twelve 
panels  in  all,  tinsel  braid 
border,  with  four  inch  Chenille  fringe. 
American  beauty  shirred  lining.  The 
harmonious  color  scheme  gives  effect 
of  red  light  shininK  through  a  blue 
haze  —  a  rich  warm  light.  Shipping 
weight,  27  pounds. 

Marshall  Silky  Fringe  Pull-Cords 

Also  pair  of  Marshall  silky  fringe  cords 
with  3Vi  in.  silky  fringed  tassels,  giving 
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For  gas  u»e,  order  by  No.  G6332NA. 
For  electricity,  order  by  No.  C6333NA. 
Send     only    $1    with    the    coupon,    $2 
monthly.    Total  Bargain  Price  for  lamp 
and  shade,  $19.85. 

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Down 

Brings 
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below,  and  we  will  send  it  complete  to  your  home  on  approval,  equipped 
for  use  with  either  gas  or  electricity.    We  take  all  the  risk. 


30  Days  Trial 


When  the  lamp  outfit 
comes,  use  it  freely 
for  30  days.  See  how 
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monize with  everything  in  the  home.  How  useful  it  is,  too — so  handy 
for  reading,  can  be  moved  around  with  ease  to  furnish  a  beautiful  light 
and  rich  warmth  and  coziness  to  any  room  in  the  house.  If  after  30  days  trial  you 
decide  not  to  keep  the  lamp,  just  return  it  at  our  expense  and  we  will  refund  your 
$1.00  deposit,  plus  any  freight  or  express  you  paid.   You  cannot  lose  a  single  penny. 


Month 


If  you  discover  that  this 
lamp  is  a  tremendous 
bargain  at  the  price 
we  ask  and  you  decide  to  keep  it,  send  only  $2.00  a  month  until  you 
have  paid  the  total  bargain  price  of  $19.85.  Yes,  only  $19.85  for  this 
luxurious  lamp  and  silk  shade  complete.  Compare  this  value  with  anything  you  could 
buy  locally  at  anywhere  near  the  same  price — even  for  spot  cash!  Straus  &Schram 
gives  you  this  bargain  price  and  almost  a  year  to  pay.  We  trust  honest  people  any- 
where in  U.  S.    No  discount  for  cash ;  nothing  extra  for  credit.    No  C.  O.  D. 

Price  Slashed ! 

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lamp  and  silk  shade  in  your  home  on 

approval  on  this  price  smashing  offer.    Think  how  the  nickels  and 

dimes  slip  away  for  useless  things;  save  them  for  something  worth 

while  that  will  give  satisfaction  for  years.     Send  coupon  with  only 

$1.00  now!    Satisfaction  guaranteed. 

STRAUS  &SCHRAM,  Dept.  1519   Chicago,  HI. 


Send  Coupon  NOW! 


Name 


MAIL  THIS  COUPON  NOW!  ffi  ™*  "SBSE*. 

Enclosed  find  $1.00.  Ship  special  advertised  Floor  Lamp  and  Silk  Shade 
as  checked  below.  I  am  to  have  30  days  free  trial.  If  I  keep  the  lamp, 
I  will  send  $2.00  a  month.  If  not  satisfied,  I  am  to  return  the  lamp  and 
shade  within  30  days  and  you  are  to  refund  my  $1.00  plus  any  transporta- 
tion charges  I  paid. 

□  Gas  Floor  Lamp  No.  G6332NA,  $19.85. 

□  Electric  Floor  Lamp  No.  G6333NA,  $19.85 


Street.  R.  F.  D. 
or  Box  No 


Shipping 
Point  .... 


Post  Office State 

If  you  want  ONLY  our  free  catalog  of  home  furnishings,  mark  X  bere  D 


(Ninety-one) 


Do  You  Want 
A  Bigger  Salary? 

It  doesn't  matter  what  you  are  Today 
or  what  you  were  Yesterday.  Tomorrow 
is  your  bright,  clear  day  of  Opportunity. 
Nothing  can  keep  you  down  if  you  really 
make  up  your  mind  to  go  up. 

Maybe  you've  gotten  a  bad  start.  Perhaps 
you  haven't  had  a  decent  raise  in  years.  Or 
perhaps  you  are  among  those  thousands  who 
have  had  their  wages  cut — or  have  been  thrown 
out  of  a  job.  But  you  aren't  going  to  quit, 
are  you?  Right  now,  when  trained  men  are  iD 
such  demand,  you've  the  best  chance  you  ever 
had  to  get  out  of  the  rut  and  do  something 
worth  while. 

But  you're  "too  old  to  start  over,"  you 
say?  Nonsense!  When  some  of  the  big 
men  of  this  country  were  your  age,  they 
weren't  earning  half  what  you  are  get- 
ting today.  But  they  didn't  quit!  They 
worked!  They  studied!  They  learned 
to  do  some  one  thing  well. 

At  35,  Henry  Ford  was  working  in  the  me- 
chanical department  of  the  Edison  Electric 
Light  &  Power  Company.  At  38,  John  H. 
Patterson,  who  founded  the  National  Cash 
Register  Company,  was  the  proprietor  of  a 
small  and  none  too  successful  country  store. 
At  25,  George  Eastman,  president  of  the 
Eastman  Kodak  Company,  was  a  bookkeeper 
in  a  savings  bank.  At  22,  Edison  was  a 
roaming  telegraph  operator — out  of  a  job,  too 
poor,  when  he  arrived  in  New  York,  to  buy 
his  own  breakfast! 

Forget  what  you  are  today  and  decide 
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failed  until  he  admits  it  to  himself.  And 
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This  is  all  we  ask:  Without  cost,  with- 
out obligating  yourself  in  any  way,  put 
it  up  to  us  to  prove  how  we  can  help 
you.     Just  mark  and  mail  this  coupon. 


INTERNATIONAL  CORRESPONDENCE  SCHOOLS 

Box   6759-C.  Scranton,   Penna. 
Without  cost  or  obligation  on  my  part,   please  tell  me 
how  I  can  qualify  for  the  position  or  in  the  subject  before 
which  I  have  marked  an  X: 

BUSINESS  TRAINING  COURSES 

□  Business  Management  D  Salesmanship 
D  Industrial  Management  D  Advertising 

□  Personnel  Organization  □  Better  Letters 
OTraffic  Management  D  Show  Card  Lettering 

D  Business  Law  □  Stenography  and  Typing 

□  Banking  and  Banking  Law         O  Business  English 
D  Accountancy  (Including  C.P.  A.)  □  Civil  Service 

D  Cost  Accounting  □  Railway  Mall  Clerk 

□  Bookkeeping  D  Common  School  Subjects 

B Private  Secretary  □  High  School  Subjects 

Spanish         D  French  O  Illustrating 

TECHNICAL   AND    INDUSTRIAL   COURSES 

□  Electrical  Engineering  QArchitect 

□  Electric  Lighting  □  Blue  Print  Reading 

□  Mechanical  Engineer  □Contractor  and  Builder 

□  Mechanical  Draftsman  □Architectural  Draftsman 

□  Machine  Shop  Practice  □  Concrete  Builder 

□  Railroad  Positions  □  Structural  Engineer 

□  Gas  Engine  Operating  □Chemistry    □  Pharmacy 

□  Civil  Engineer  □  Automobile  Work 
n  Surveying  and  Mapping              □  Airplane  Engines 

□  Metallurgy         □  Mining  □  Agriculture  and  Poultry 
□Steam  Engineering  □  Radio      □Mathematics 

Name 

Street                                                                                s-3-23 
Address  

City State 

Occupation 

Persona  residing  in  Canada  should  send  this  coupon  to  the 

International    Correspondence   Schools    Canadian,    Limited, 

Montreal,  Canada 


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Established  1912  New  York 


Iris  la 

{Continued  from  page  50) 

Which  brings  us  back  to  a  time 
long  ago  when  we  were  highly 
privileged  to  see  Theda  Bara  in 
"Cleopatra"  in  the  presence  of  that 
Reel  Rameses,  William  Fox  himself. 

The  celluloid  kaiser  was  not  too 
content  with  the  film.  He  made  re- 
marks— some  of  which  wouldn't  go 
too  well  on  this  pure  page,  despite  the 
snappy  illustration.  The  shots  alter- 
nated rapidly  between  the  two  prin- 
cipal scenes  of  action.  Now  Caesar 
was  in  Italy,  now  he  was  in  Egypt. 
"Gawd,  Miss  Bangs !"  complained 
Mr.  Fox  to  his  secretary,  "this  guy 
Octavius  goes  from  Rome  to  Alex- 
andria like  he  was  going  from 
X'York  ta  Brookalyn." 


"Scaramouche"  is  a  worthy  effort 
of  Rex  Ingram's;  a  director  who  has 
a  great  deal  to  his  credit  already.  But 
figure  the  anguish  it  must  be  causing 
the  people  who  read  subtitles  out 
loud.  The  cast  of  characters  contains 
such  tongue-stranglers  as  "Marquis 
de  la  Tour  D'Azyr,"  "Aline  and 
Quintin  de  Kercadiou"  and  "Comtesse 
Therese  de  Plougastel." 


Out  of  our  innate  decency  we  are 
not  going  to  be  piggish  about  our  su- 
perior French  education,  but  hereby 
append  a  pronouncing  dictionary  of 
the  above  names  for  any  or  all  to 
make  use  of.  If  it  helps  you  to  enjoy 
the  picture  and  annoy  your  neighbor, 
go  to  it  and  God  bless  you. 

"Marquis  de  la  Tour  D'Azyr"  is 
prounced  macky  (as  in  macaroni) 
dcllv  tore  (as  in  rip)  de  Zowie  (as  in 
Mutt  and  Jeff). 

"Aline  de  Kercadiou"  is  pro- 
nounced A  Liney  dee  Cork  Cashew 
(  as  in  nut). 

"Quintin"  is  pronounced  Quinine, 
or  if  you  want  to  get  real  fancy, 
Canteen. 

"Comtesse  Therese  de  Plougastel" 
is  pronounced  Come  Tessy  Tear  Easy 
(as  in  tissue  paper)  dee  Plug  (as  in 
Spark  Plug)  Estellc  (a  girl's  name.) 


No,   dont  thank  us.     It's   really  a 
gift. 


MOTH 
By  John  Hanlon 

Around   my   flickering   light 

A  white  moth  flutters ; 
Shall  I  give  it  back  to  the  night 

Thru  the  open  shutters. 
To  the  night  from  whence  it  came. 

Free,  without  fetter? 
No,  having  loved  a  flame, 

To  die  is  better. 


How  to  care  for 

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Ul    DuAJie  Mr" I  D«pt  8? 

_N«w  York  CilJ 


(Ninety-two) 


The  Celluloid  Critic 

mtihued  from  page  49 ) 

;iml  then  i  li«>ld  touch  <>f  burlesque. 
Then  il  s\\  ings  into  a  melodramatic 
climax  as  the  head  designer  goes  to 
j.iil  and  wrecks  the  business  as  a 
result  You  catch  the  pathos  as  the 
1 .11  tnei  s  an  submerged  in  gli  iom 

Barne)  Rernartl,  who  created  tin* 
character  oi  Potash,  humanizes  it  in 
such  a  manner  that  he  fairly  speaks 

-Mi  Mexander  Carr  who  cre- 
ated Perlmutter  in  the  original 
makes  an  excellent  foil.  The  di- 
rector has  given  it  a  fine  sympathetic 
treatment.  \nd  we  catalog  it  .-is 
worth  seeing. 

A  CUMBERSOME,  heavy  pic- 
ture is  the  German  importa- 
tion. '"Monna  \  anna"  |  Fox), 
which  is  entirely  devoid  of  any  dra- 
matic interest  and  which  is  filled  to 
overflowing  with  huge  mobs  of  ex- 
tras and  flowery  titles.  They  miss 
Lubitsch  over  there  and  aside  from 
"Peter  the  Great."  the  land  of  the 
Rhine  has  fallen  behind  the  proces- 
sion. Here  we  have  the  mediaeval 
tale  of  love  and  war  in  Pisa  as  spon- 
sored by  Maeterlinck.  It  is  one  of 
those  creaking  dramas  of  an  Italian 
bride  who,  to  save  her  starving  city, 
otters  herself  to  the  general  of  the 
opposing  forces,  only  to  discover  that 
he  is  the  man  she  had  been  in  love 
with  ever  since  he  hurst  into  her 
toom  in  the  early  part  of  the  storv. 

The  picture  demanded  skilled 
treatment  —  somebody  who  is  deft 
with  a  rapier  instead  of  a  bludgeon. 
Ihe  photography  is  blurred,  the 
lighting  poor,  and  the  acting  of  the 
lowest  order  of  expression — which 
means  mad.  had  facial  distortions 
and  what  not.  The  ten  thousand  or 
more  extras  are  before  us  time  and 
again.  Put  crowds  badly  directed 
do  not  lift  a  spectacle  to  the  heights. 
What  good  points  it  possesses  may 
ho  found  in  some  massive  sets  and 
some  appropriate  atmosphere. 

SOMETHIXC,  new  in  love-mak- 
ing is  exposed  in  "Six  Days" 
i  Goldwyn)  which  may  be  called 
subterranean  instead  of  sub-rosa  as 
is  characteristic  of  most  of  Elinor 
Glyn's  stories.  Instead  of  carrying 
her  lovers  and  the  spectators  to  the 
heights  she  plunges  them  to  the 
depths— and  the  lovers  (not  the 
spectators)  are  swept  into  a  grand 
passion  which  endures  six  days.  If 
you  think  that  the  daring  British  au- 
thoress steps  out  of  character,  pav  at- 
tention to  the  titles  attached  to  the 
subterranean  episodes.  "And  thus 
the  first  day  ended.  Thus  the  second 
day  ended."  They  are  so  terse— so 
pointed    that    they    invite    laughter 

(Ninety-three) 


Whiten  Hands  Overnight 


Abounding  Scientific  Discovery— Dr.  Egan's 

Magic    Night    Gloves!     Make    rough, 

reddened,  work-worn   hands   soft 

and  white  over-night! 

Results  Absolutely  Guaranteed  in  Writing.    Legal 
Guarantee  Bond  with  Every  Pair. 

JUST  think  of  it — putting  on  a  pair  of  irloves  for  a 
nigh)  and  finding  your  hands  exquisitely  white 
and  soft!  That  is  the  manic  of  Dr.  Egan's 
amazing  medicated  Glows!  Nothing  like  them 
ever  known!  These  gloves  of  medicated  fabric  (not 
rubber' actually  turn  vour 
hands  white,  as  white  as 
a  lily  and  as  smooth  and 
soft. 

No  matter  how  red  your 
hands,  or  how  sallow  or 
yellow  or  how  deeply 
blotched  with  freckles  or 
liver  spots— no  matter 
how  rough  or  coarse  or 
workworn  your  hands,  the 
magic  of  these  medicated 
gloves  will  turn  them 
white  and  soft,  fresh  and 
young-looking. 

Results  in  One 
Night 

Just  one  night's  wear  of 
these  marvelous  gloves  is 
enough  to  convince  you. 
You  see  a  difference  in 
your  hands  almost  un- 
believable. Wear  the 
gloves  four  or  five  nights 
and  you  have  a  new  pair 
of  hands.  It's  the  medi- 
cated fabric  that  does  the 
work.  The  gloves  are  im- 
pregnated with  a  marvel- 
ous solution  perfected  bv 
the  famousDr.S.J.  Egan. 
The  medicated  fabric 
when    activated    by     the 

natural  warmth  of  the  hands  has  a  peculiarly  potent 
whitening  and  softeing  effect  upon  the  hands.  Tin- 
hands  become  white— a  charming,  natural  white. 
They  become  soft  and  smooth  as  velvet.  And  all  so 
quick  as  to  be  dumfounding. 

The  complete  Dr.  Egan  Magic  Glove  outfit  con- 
sists of:  one  pair  freshly  medicated  gloves:  one  jar 
Dr.  Egarr's  Pore-Lax:  one  bottle  Glove  Medicator; 
one  copy  Dr.  Egan's  booklet,  "The  Care  of  the 
Hands";  all  in  neat  container.  The  Pore  Lax  is  a 
special  cream  to  apply  before  donning  the  gloves  to 
open  the  pores  of  the  skin  for  the  action  of  the  medi- 
cated gloves.  The  Glove  Medicator  is  for  restoring 
the  potency  of  the  gloves  after  a  period  of  wear. 
Gloves  may  be  worn  at  niuht  while  you  sleep  or 
during  the  day  while  doing  your  sweeping  and 
dusting. 


Complete  $5.00  Outfit  on  this  Amaz- 
ing Introductory  Offer  only  <£^  QC 


These  gloves  will  soon  be  offered  the  *r 
public  through  the  regular  channel.-; 
at  $5  the  pair.  But  a  limited  number  of 
sets  are  now  being  offered  for  adver- 
tising purposes  at  practically  cost- 
Si.  95.  You  can  get  this  complete  $6. 00 
outfit  —  Medicated   Gloves,  generous 
supply  of  Pore-Lax  and  Medicator— 
all  for  $1.95  on  this  introductory  offer.    But  you  must 
act  at  once,  as  only  10.000  sets  are  to  be  distributed  ar 
the  cut  price.    You  may  pay   the  postman  or.  if  you 
prefer  enclose  $2  with  coupon  and  receive  package  all 
paid  for.  Remember,  every  penny  of  your  money  back 
if  you  say  so.    Clip  and  mail  the  coupon  now  before 
you  forget. 


Try  the  Gloves  FREE 

Try  the  gloves  live  nights  free.  Note  the  amazing 
difference  in  your  hands  in  just  five  nights' wear. 
Mark  how  lovely  your  hands,  how  white  and  smooth. 
If  five  nights  of  wear  of  the  gloves  doesn't  make 
your  hands  more  beautiful  than  you  ever  dreamed 
possible,  don't  keep  the  gloves.  Return  them  to  us 
and  you  won't  be  out  one  cent  for  the  free  trial.  You 
are  the  judge. 

SEND  NO  MONEY 

Just   Mail 
the  Coupon 

Send  no  money  now— just 
the  coupon.  Pay  the  post- 
man  only  SI. 95  (plus 
postage)  on  delivery  of 
the  gloves.  Ifinodaysyou 
are  not  more  than  delight- 
ed and  amazed  with  the  re- 
sults from  the  gloves,  just 
send  them  back  and  your 
money  will  be  promptly 
refunded  in  full.  We  give 
you  a  written  guarantee 
to  this  effect.  You  run  no 
risk.  Fill  out  and  mail 
the  coupon  now  or  copy 
it  in  a  post  card  or  letter. 
If  apt  to  be  out  when 
postman  calls  send 
now.  Our  guarantee  as- 
sures you  of  your  money- 
back  if  you  are  not  per- 
fectly satisfied.  Address 
Dr.  S.  J.  Egan.  Dept.  86, 
220  South  State  Street. 
Chicago,  Illinois. 


1 


Dr.  S.  J.  Egan,  Dept  86 
220 S.  State  Street,  Chicago,  111. 

Please  send  me  (in  plain  package)  for  free  trial  a  pair  of 
Or.  Lgans  Magic  Gloves  for  whitening  and  softening  the 
hands,  with  Pore-Lax  and  Medicator.  I  will  pay  postman 
J1.96  <p  us  postage)  on  delivery  of  the  gloves.  If  I  am  not 
perfectly  delighted  with  the  change  in  my  hands  in  S  dav» 
I  may  return  gloves  and  get  my  money  back  in  full      (If 


money 
plete  outfit  will  be  mailed^repaid") 


pt  to  be  out  when  postman  calls  send  E>  now  and  the  corn- 
let—  ~ 


Name.. 


I 

I   Address.. 


I   My  glove  size  is.. 


^Shapeliness 


H  Sf&f  AC^eA,hA-Teu"C}ne  d«sfiSu™ng  fat   in   any   part  of  the  body 
of  MEN  OR  WOMEN,  by  few  minutes   daily  use  of  the  famous  invention 

DR.  LAWTON'S 

GUARANTEED  FAT  REDUCER 

AND  ILLUSTRATED  COURSE  ON  WEIGHT  CONTROL 

iliu  body  tliiough   the  organs  of  elimination. 

The  Reduction  Is  Permanent 

,!,?"  ™n„,rer!",1'e-1fl'0"t.1  ■to.100  I>"ulKls-  No  medicines  or  starvation  diet  No  eser- 
HSmSZ  i'1""'1;1  5-  KiisK-s  way  In  Ihe  world  to  rid  your  body  of  that  useless,  joke- 
,it,,  lnt;-"iatl0"ally  known  for  man,  years.  Used  by  thousands  and  thou- 
n,?„,  ,  'TV",",1""1'"',  Approved  and  recommended  by  physicians.  Dr.  Lawton's 
Guaranteed  Pat  Seducer  is  made  of  light,  soft,  pliable  rubber. 

Smooths  The  Skin;  Firms  The  Flesh 

Dr.  Lawton's  authoritative  book.  "WEIGHT  REDUCTION  " 
s  sent  with  the  Fat  Beducer.  This  explains  how  to  use  it 
also  how  to  stay  thin  after  the  Reducer  has  done  its  work 


--■.    «»»     ««*.    inuuw     naa    tiuue    lis    tvuill. 

SPECIAL  PRICE  Seducing  results  must  show  in  eleven 
days  or  you  may  return  the  Reducer 
complete  and  receive  back  your  full 
purchase  price.  This  is  Dr.  Lawton's 
positive  guarantee!  Sent  C.  O.  D.  in 
plain  sealed  wrapper,  or  if  you  prefer 
remit  $3.75  plus  20c.  for  shipping  costs. 
Order  yours  now.  Free  literature  sent 
on   request. 


$ 


3^-5 


SENT  C.  0.  D 
DR.  THOMAS  LAWTON 

19  West  70th  Street  Dept.  6 


New  York  City 


Everybody 
Can  Dance 


Learn  in  One  Hour  at  Home 

There's  now  no  need  of  being  a  wall- 
flower. In  one  hour— at  home — by  mail 
—I  can  make  you  an  easy  confident  dan- 
cer— popular  in  any  ball-room. 

NEW  EAST  METHOD 

No  Partner  Needed  —  No  Embarrassment 

Over  60,000  men  and  women  have  be- 
come popular  dancers  of  Fox  Trot,  One 
Step,  Waltz  and  all  latest  up-to-the 
minute  society  dance  steps  through  my  new 
Foto-tell  and  Fono-tell  Method  set  to  music. 
Amazingly  easy  —  fascinating.  No  other 
course  like  it.  I  teach  you  perfect  time  and 
rhythm— the  secret  of  good  dancing. 


S£r£FREE  TRIAL 


Course  on 

Convince  yourself  at  my  expense  how  amaz- 
ingly easy  it  is  to  learn  modern  dancing  with 
my  new  method.  For  a  short  time  only  I'll 
send  the  first  six  lessons  of  my  course  (in  plain  wrapper)  in- 
cluding 10-inch  dance  instruction  record,  free  ana  prepaid 
for  five  days  trial.  See,  test  and  prove  this  remarkable  new 
method  in  your  own  home.  Then,  if  not  delighted  at  your 
success,  simply  return  record  and  lessons  within  five  days 
and  you'll  owe  me  nothing.  Write  quick  before  this  unusual 
off»r  expires.  Please  mention  make  of  phonograph  you  have. 

WILLIAM  CHANDLER  PEAK,  M.  B. 

Studio  144     4601  11   Broadway     Chicago,  111. 


Only  $6?5  fortius  $20  value 
White  Gold  Wrist  Watch 

25  year  14K  white  gold-filled  case,  richly  engraved, 
latest  Tonneau  shape,  sapphire  crown,  gros-grain  rib- 
bon with  white  gold-filled  clasp.  6  jewel  movement. 
An  excellent  timekeeper.  Comes  in  beautiful  velvet 
and  silk-lined  case. 

AN  IDEAL  GIFT 

that  will  make  any  girl  or  woman  happy.  We  epecialize 
in  this  watch  exclusively  and  are  in  a  position  to  offer 
it  at  a  price  lower  than  the  usual  wholesale  price.  If 
after  receiving  and  examining  this  watch,  you  do  not 
consider  it  equal  to  any  watch  priced  up  to  {20.00  by 
jewelers,  send  it  back— we  will  promptly  refund  amount 
paid.  If  you  desire  we  will  ship  C.  O.  D.,  you  to  pay 
postman  $6.25  plus  18c  charges  on  delivery.  Order  now* 

Williams  Co.,  4750-53  N.  Sheridan  Road, Chicago 


(&re  H2ou  (Realms  for  tge  £rttf0? 

rWcte  °Bou  QBoni  (Unber  a  fcucftg  Jifar  ? 

•fl  will  tell  goii 

FREE 


piness  in  marriage, 


Under  which  Zodiac  Sign 
were  you  born  ?  What  are 
your  opportunities  in  life, 
your  future  prospects,  hap- 
friends,  enemies,  success  in  all 
undertakings  and  many  other  vital  questions  as  in- 
dicated by  ASTROLOGY,  the  most  ancient  and 
interesting  science  of  history? 

Were  you  born  under  a  lucky  star?  I  will  tell 
you,  free,  the  most  interesting  astrological  inter- 
pretation of  the  Zodiac  Sign  you  were  born  under. 
Simply  send  me  the  exact  date  of  your  birth 
in  your  own  handwriting.  To  cover  cost  of  this 
notice  and  postage,  inclose  twelve  cents  in  any 
form  and  your  exact  name  and  address.  Your 
astrological  interpretation  will  be  written  in  plain 
language  and  sent  to  you  securely  sealed  and  post- 
paid.    A   great  surprise   awaits  you ! 

Do  not  fail  to  send  birthdate  and  to  inclose  12 
cents.  Print  correct  name  and  address  to  avoid 
delay  in  mailing. 

Write  now— TODAY— to  the 
ASTA  STUDIO,  309  Fifth  Ave.,  Dept.  133,  New  York 


which  would  certainly  be  out  of  place 
in  such  a  harrowing  experience  as 
lived  thru  by  the  romancers. 

The  plot  is  heavy-handed  dime- 
novel  material — thrilling  in  its  ex- 
posure of  the  will  to  live  by  these 
figures  in  the  dugouts  left  by  the 
Germans.  It's  a  picture  of  land- 
slides which  entomb  the  priest  and 
the  lovers — a  picture  of  grim  and 
ghastly  situations  which  terminate 
when  the  girl  tells  her  mother  she 
cannot  marry  the  wealthy  English- 
man since  she  is  already  married  to 
the  man  who  was  lost  to  her  while 
making  love  in  the  bosom  of  the 
earth.  Of  course  he  eventually  bobs 
up  safe  and  sound. 

The  picture  carries  a  certain  spir- 
itual quality  which  makes  the  petting- 
party  episodes  in  the  dugouts  very 
much  out  of  order.  The  most  im- 
pressive touch  to  us  is  Corinne  Grif- 
fith's portrayal — in  reality  her  first 
big  opportunity.  She  endows  the 
role  with  sincerity  and  charm  and 
plays  with  vital  feeling.  Heavy 
melodrama  that  it  is,  it  somehow 
lingers  in  the  memory. 


PERHAPS  Gloria  Swanson 
thought  she  could  not  be  a  con- 
vincing French  personage  of  the 
theater  unless  she  resorted  to  ex- 
tremes, but  it  seems  to  us  that  with 
half  the  expenditure  of  physical  en- 
erg)'  in  playing  the  title-role  of 
"Zaza"  (Paramount)  she  could  have 
achieved  much  better  results.  She 
is  a  combination  of  Nazimova,  Mae 
Murray  and  Leonore  Ulric  —  and 
makes  a  frantic  effort  to  be  tempera- 
mental. Such  outbursts  are  wearing 
upon  one's  composure.  In  her  tran- 
quil moments— which  are  few — she 
succeeds  in  being  real.  On  the  other 
hand  H.  B.  Warner  is  too  subdued. 
It  is  a  frigid  performance  indeed,  for 
a  character  supposedly  French 

The  picture  is  staged  with  undue 
lavishness  and  really  proves  interest- 
ing in  a  majority  of  its  scenes — par- 
ticularly when  Zaza  is  swinging  in 
a  ballet  number  over  the  heads  of  the 
audience.  It's  a  story  of  a  dancer's 
romance  and  a  broken  heart  which  is 
mended  when  the  good  Frenchman's 
wife  conveniently  dies,  releasing  him 
to  fan  the  embers  of  a  previous  pas- 
sionate love  into  a  quick  and  vivid 
flame. 

Miss  Swanson  may  not  be  at  her 
best  here,  but  her  clientele  is  so  se- 
cure that  we  can  hear  the  box-office 
cracking;  under  the  strain. 


A  CURIOUS  composition  is 
"Red  Lights"  (Goldwyn) 
which  is  offered  as  a  mystery 
melodrama,  biit  which  before  it  de- 
velops its  powers  takes  on  the  form 
(Continued  on  page  96) 


(Ninety-four) 


Manufacturers,    Distributors 

and  Studios 

ol 

Motion    Pictures 
Now  York  City 


need  Motion  F'ietun    ^  01  p  .  i  193  B 

\t!i'\v    Fill      ( 'Ol  p  .   130   \\  .  .i.nu!  St. 

1    Film    Corp.,    1    Congress  St.,    I 

.    V  .1.     iStudi 

in    Hugo,    Productions,  366   Fifth   Ave 
Biograph  Studii  i,~5th  St. 

Coiniutiniiv    Motion    Picture  Bureau,  46   W. 
Mtfa 

lidated  Film  Corp.,  So  Fifth    \ 

opolitan    Production  cond  Ave. 

Educational  Film  Co..  729  Seventh  Ave. 

Import  Film  Co.,  729  Seventh  Ave. 

Famous  Players  Lasky,  48s  Fifth  Ave.    (Stu- 
dio, 6th   and    Pi  Astoria,  L.I.) 
Film   Booking  Offices,   ;-'j   Seventh   Ave. 
Film  Guild.  8  W.  40th  St. 
Film    Market.   Inc.,    14S--    Broadway. 
First  National  Exhibitors,  Inc..  6  W.  48th  St. 
Pox   Studios.   Tenth   Ave.   and    55th    St. 

Gaumont  Co.,  Congress  Ave..  Flushing,  L.  I. 
General   Enterprises.   Inc.,   1540   Broadw 
Goldwyn    Pictures  Corp.,  469  Fifth    I 
Graphic   Film   Corp.,  n  ;i    V 

Griffith.  D.  W.,  Films.  1476  Broadwa;       (Stu- 
dio.  Oriental    Pt..    Mamaroneck,    N.    \  .) 

Hampton,  Hope,  Production's,   1452  B'way. 
Hodkinson.    W.    W.,    Film    Corp.,    469    Fifth 

Inspiration  Pictures.  565  Fifth  Ave. 
International  Studios.  2478  Second  Ave. 
Ivan   Film   Prod..    i-'6  W.  46th  St. 

Jans   Pictures.    729    Seventh    Ave. 
Jester  Comedy  Co.,  220  W.  42nd  St. 

Kane.  Arthur  S.,  Prod.,  25  W.  43rd  St. 

Meiro  Pictures.  Loew  Bldg.,  1540  Broadway. 
Moss.   B.  S.,    1564   Broadway. 

Outing  Chester  Pictures,  220  W.  42nd  St. 

Pathe   Exchange.   35   W.  45th   St. 
Piedmont   Pictures  Corp.,  45   Laight   St. 
Preferred  Pictures.   1650   Broadway. 
Prisma.  Inc.,   no  W.  40th  St. 
Pyramid   Picture  Corp.,    150  W.  34th   St. 

S.  L.  Pictures,   1540  Broadway. 

George  B.,   1990  Park  Ave. 
Selznick    Pictures,    729   Seventh   Ave.     (Stu- 
dio, W.  Fort  Lee.   N.  J.) 
Stewart.  Anita.   Prod..  Inc.,  6  W.  48th  St. 
Sunshine  Films.   Inc..   140   W.  44th   St. 

Talmadge  Film   Corp..   1540   Broadway. 
Topics  of  the  Day  Film  Co..   1562  Broadway. 
Triangle  Distributing  Corp..   1459   B'way. 
Tully,  Richard  Walton.  Prod.,  1482  B'way. 

Inited   Artists.   729   Seventh   Ave. 

I  nivcrsal  Film  Corp..   1600  Broadway. 


Vitagraph    Films.    E. 
Ave..  Brooklvn. 


1 6th    St.    and    Locust 


Warner   Bros.,    1600    Broadway. 

West,  Roland.  Prod.  Co..   236  W.  55th   St. 

Whitman,  Bennett,  Prod.,  537  Riverdale  Ave. 

{Ninety-five) 


IMPORTERS 
CUT    PRICE 


GUARANTEED 

guarantee  tag  is  attached  to  each 
pearl  necklace.  We  guarantee  these 
pearls  tor  a  life-time  of  wear.  They  will 
never  peel  or  crack  or  break  or  dis- 
color. They  are  indestructible  and  ir 
soluble.  Neither  water,  perspiration 
orcosmeticscan  harm  them.  This 
strong  guarantee  can  be  given  only 
on  the  very  Ix-st  quality  pearl 

IO  Days'  Trial 

You  can  wear  these    fascinating- 
ly beautiful  pearls  for  ten  days  on 
free    trial.       Show    them    to     your 
friends.  Compare     them      with 

sold  by  other  jewelers  for 
S30.00  or  more.  If  you  are  not 
satisfied,  just  send  them  back 
and  we  will  return  your  money. 

FREE! 

Diamond    Clasp 
Plush  Gift  Case 

To  give  you  extra  special  value  for  your 
money,  we  supply  a  14  kt.  solid  white  gold, 
engraved  and  pierced  clasp,  latest  style,  set 
with  a  sparkling,  blue-white,  genuine  dia- 
mond. We  give  it  away  absolutely  free.  We 
also  give  you  a  large  sized  heart-shape,  satin- 
lined  plush  gift  case. 

TEAR  OUT  AND  MAIL 


STERLING   DIAMOND  AND  WATCH  CO., 
63  Park  Row,  Dept.  1290,  New  York 


Gentlemen;    Please  send  a  24-inch   necklace  of  ■ 

genuine  imported  French  pearls,  perfectly  matched  I 

and  graduated,  full  of  opalescent  beauty,  asdescribed  I 

in  this  advertisement,  to  me  by  parcel  post.  C.  O.  D..  J 

only  $1.00  down  (or  inclose  a  dollar).  If  I  am  satisfied,  I 

1  will  pay  $1.00  a  month  until  your  new  low  pr  | 

SI  1.00  is  paid.      If  I  return  the  necklace  within  10  ■ 
days  you  will  return  all  of  my  money. 


NAME 


ADDRESS. 

CITY   & 
STATE... 


FRENCH  PEARLS 

25,000   pearl    necklaces  have  been  Imp 
direct  from  France.    They  are  _'4  inches 

long,  perfectly  matched,  carefully  gradu- 
ated, strung  on  strong  ?dk  cord,  and  fa 
with  a  14  kt.  while  gold  spring  safety  clasp. 
They  glow  with  rich,  opalescent  colors 
and  look  exactly  like  real  pearls  worth 
thousands  of  dollars.  They  have  the 
same  heautiful  tints  and  sheen.  They 
are  best  quality,  sure  to  please. 

$1.00   a  Month 

After  satisfying  yourself  that  the 
]><  aria  really  are  worth  $30.00,  and 
that  you  have  the  greatest  bar- 
gain you  ever  heard  of,  just  pay 
$1.00  a  month  for  only  ten  months, 
total  price  $11.00.  This  includes 
the  genuine  diamond  set  14  kt. 
solid  white  gold  clasp  and  the 
satin-lined,  heart-shape  plush  gift 
case.  (10%  off  for  cash  with  order.; 

Price  Was  $30.00 

These  magnificent,  indestructible 

pearls  were  made  to   sell  for   $30.00. 

and   your  friends  will  think  you  paid 

at  least  S30.00  for  them.     By  importing 

25.000    necklaces,   we  are  able  to  bring 

the  price  down  to  only  $11.00. 

Splendid    Gift 

Every  girl  and  woman  loves  pearls,  because 
they  are  a  jewel  of  adornment  as  well  as  of 
beauty.  Pearls  enhance  a  woman's  beauty. 
I  lite  pearls  will  be  appreciated  as  a 

$30.00  present  (30  Inches  long,  price  $1.5.00). 

JUST  SIGN  COUPON 

That's  all   you  sign — just    your   nam 
address  on  coupon.    T 

answer.        Your  credit  is  good.      We  trust 
you.    You  will  tx  ■'  for  such  v. 

ful  pearls.    They  come  to  you  at  once  for  ten 
days'  trial.    Don't  wait;  order  right  now. 

Write   for   Catalog 

We   also   import   sparkling,    brilliant,   blue- 
white  genuine  diamonds,  and  sell   at  greatly 
reduced   prices.      Our  large  catalog   shows   a 
ry  store  full  of  diamonds,  watches  and 
jewelry.     Write  for  a  copy. 

DIAMOND 
&  WATCH  CO. 


STERLING 


63  Park  Row,  Dept.  1290,  New  York 


ONE  CAMT$195 

w  Former  price  was  $325.00  a  carat.  This  new  low 
price  Is  possible  because  we  Import  the  diamonds 
direct  from  Europe  through  our  office  In  Antwerp. 
They  are  guaranteed  perfectly  cut,  sparkling, 
brilliant,  blue  white,  genuine  diamonds,  and  will 
stand  any  test  or  comparison.  We  carry  a  million 
dollar  stock  for  you  to  select  from. 

10  DAYSjFREE  TRIAL 

Select  whichever  one  of  these  two  rings  you  prefer, 
and  we  will  send  it  to  your  bank  or  express  office 
for  free  examination.  Or,  send  the  price  marked, 
and  we  will  deliver  by  registered  mail  for  ten  days' 
trial.  If  you  return  it.  we  will  return  your  money. 
Any  size  diamond  from  a  carat  to  2  carats  can  be 
ordered  on  the  same  terms,  at  S195.00  per  carat. 


RING  A 

Large  sized,  sparkling 
blue  white  genuine  dia- 
mond, guaranteed  per- 
fectly cut.  set  In  IS 
carat  solid  white  gold 
ring,  which  looks  like 
solid  platinum.  Makes 
a  very  popular  engage- 
ment ring.  Regular 
price.   $150.00. 


RINGB 

Basket  style,  closed 
mounting  of  18  karat 
solid  white  gold,  hand 
pierced  and  engraved. 
Set  with  fiery,  brilliant, 
blue  white,  genuine 
diamond.  Former  price 
S7S.00.  Will  be  greatly 
appreciated  as  a  pres- 
ent. Give  finger  size. 


Write  for  Catalog  No.  1234 

Our  handsomely  illustrated  catalog  of- diamonds, 
watches  and  jewelry  brings  our  large  jewelry  store 
right  into  your  home.  Compare  our  prices. 

HGUTTEIUSONS 


172  Nassau  St., 


Depl  1283 


New  York 


i 


$9 

34m. 

W 

Jeweled 
Adjusted 
Regulate 


Genuine  Diamond  Clasp 


Jlendld  gift  selections  are 
d  here  at  greatly  reduced 
.  They  are  just  the  thing  for 
tits  to  loved  ones.  The  pearl 
cklace  is  a  regular  $25.00 
luc.  They  are  indestructl- 
>lc  and  full  of  opalescent 
,  beauty .   Order  on  tri-il . 


rectangu 


TEAR^ 
OUT   >*i 
COUPONN 
AND  SEN D^ 
FOR  FREE 
CATALOG 


&GUTTER&SONS  NEWVORK 

172  Nassau  St.,  Dept  1283,  New  York. 
Gentlemen:  Please  send  your  new  bargain  catalop. 

1 1  have  selected 

Jwhich  you  may  ship  to  my  address  for  free 
trial,  upon  the  guarantee  that  you  will  return  niy 
money  If  1  return  the  selection  within  10  days. 


Local 
Address  ., 

City  and 
State 


The  Celluloid  Critic 

(Continued  from  page  94) 

of  high-handed  comedy.  The  idea 
behind  it  smacks  of  Old  King  Brady 
and  Diamond  Dick  at  their  dime- 
novel  best,  tho  with  vast  improve- 
ment in  generating  novel  touches  in 
pointing  its  quite  mad  hokum. 

Word  comes  to  a  railroad  mag- 
nate that  he  may  never  set  eyes  upon 
his  daughter.  He  hops  a  train  for 
the  boundless  West  and  the  action 
starts  a-popping.  The  story  becomes 
involved  with  strange  situations  ar- 
ranged by  equally  strange  characters. 
For  instance  the  girl's  fellow  em- 
ploys a  crime  deflector  whose,  pro- 
fession is  checking  villainy  before  it 
can  get  under  way.  The  red  lights 
of  the  title  come  from  various 
sources — some  from  the  train — some 
from  the  tinting — and  most  of  them 
from  some  eccentric  inventor  who 
has  perfected  a  diabolical  machine 
whereby  arc  lights  are  made  to  talk. 

There  is  much  tiptoeing  —  much 
business  of  crooks  stalking  their 
prey  with  the  inevitable  pursuit 
which  culminates  in  the  climax  when 
the  bad  men  are  playing  tag  with 
their  pursuers  over  and  under  and 
in  and  out  of  a  train.  It  is  improb- 
able to  be  sure,  but  it  offers  no  mo- 
ments of  tedium.  A  flickering  fren- 
zied pot-pourri. 

SEASONED  with  a  Cohanesque 
dash  of  paprika,  George  M's 
comedy  satire  of  rural  high 
jinks,  "The  Meanest  Man  In  The 
World"  (First  National),  carries  on 
with  the  same  spirit  that  the  original 
did  upon  the  stage.  The  limitations 
of  the  proscenium  arch  are  replaced 
by  the  rustic  open  spaces — so  that 
the  quaint  figures  that  are  concerned 
in  the  conflict  of  foreclosing  and  lift- 
ing the  mortgage  seem  more  genuine 
— what  with  the  general  store  as  a 
background  and  an  oil  spouter  in 
close  proximity. 

Bert  Lytell  is  the  "meanest  man" 
who  is  too  tender-hearted  to  carry 
out  the  designs  of  his  harsh  client. 
Thru  a  clever  manipulation  of  the 
papers  —  and  the  figures,  the  oil 
gushes  forth  just  in  time  to  foil  the 
wily  skinflint. 

The  picture  is  bright  and  breezy 
and  filled  with  Cohanisms  in  its  sub- 
titles. It  is  good-natured  tomfoolery 
touched  off  with  a  spark  of  rural 
burlesque.  Blanche  Sweet  makes  a 
wistful  and  charming  heroine  upon 
whose  land  the  w.  s.  holds  the  option 
— and  upon  whose  store  there  is  a 
mortgage.  By  treating  the  play  in 
a  satirical  manner  the  producers 
should  get  results  in  good  coin  of  the 
realm. 


Are  you  his 

"Dream  Eyes?" 

"W 


HEN  he  is  away  does  he  dream  of 


your  eyes  i 


D 


oes  he  se 


nd  flo 


to  his  dream  eyes  ? 

You  can  have  eyes  thai  he  will  remember 
for  their  beauty.  Use  WINX  to  darken  your 
lashes,  and  make  them  appear  longer  and 
heavier.  Applied  with  the  sanitary  glass  rod 
attached  to  the  stopper,  WINX  dries  instantly 
and  last*  even  through  weeping  at  the  theatre.  WINX 
is  invisible  on  the  lashes  and  does  not  run  or  smear. 
Absolutely  harmless,  water  and  perspiration  proof. 

Winx  (black  or  brown)  75c.  To  promote  growth 
and  nourish  the  roots  of  the  lashes,  apply  colorless  cream 
Lashlux  at  night.  Cream  Lashlux  (black,  brown  or 
colorless)  50c.  At  drug  or  department  stores  or  by  mail. 
Write  today  for  samples  of  WINX  and  of 
PERT  Rouge — enough  of  each  to  last  a  week. 
Samples   are    a    dime    each.      Enclose    coins. 

ROSS  COMPANY 
78  Grand  Street  New  York 


WINX 

10  titer  pro  of 


BRINGS  YOU  THIS 

I4-KT.WHITE  GOLD 

WRIST  WATCH 


5MALD       Jki-J50 DAYS FR££ 
SIZE 


TEN  MONTHS  TO  PAY 

Latest  Octagon  Shape.  14-KT  SOLID  WHITE  GOLD.  Beaoti 
fully  hand  engraved.  Silk  grosgrain  ribbon  band.  15-jewel  lever 
-novement.  Absolutely  guaranteed.  Send  only  $2  down,  watch 
omes  all  charges  paid.  You  have  30  days  to  convince  of  its  beauty 
nd  perfect  time  keeping.  If  not  the  biggest  bargain  ever  offer- 
•d,  return  watch  and  deposit  will  be  promptly  refunded.  If 
pleased,  send  $1.90  a  month  for  10  months,  full  price  only  $21. 
Regular  value,  $35.    Transacting  strictly  confidential. 

GUARANTY  WATCH  CO.,  »*£%H™Z?i<>* 


WillVouTake<15aWeek 
for  One  Hour  a  Day? 


I  want  to  buy  your  spare  time— will  you  take 
S15  to  $35  a  week  for  one  hour,  two  hours 
or  three  hours  a  day?  Read  my  otter. 

I  must  have  at  once  a  limited  number  of  re-;<L 
fined,  cultured  women  in  every  community  Vi 
who  will  sell  me  their  spare  time.  An  amst-i1' 
ing  new  scientific  discovery  has  been  made  ^*\ 
which  assures  radiant  beauty  to  every 
woman— in  five  days.  I  want  to  pay  you  for  juat 
telling  other  women  where  they  can  get  this  wonderful  new  dis- 
covery Manv  are  making- from  $16  to  $35  a  week.  1  will  finance 
you  BEAUTY  OUTFIT  FREE.  Write  to  me  immediately  and  Til 
explain  my  whole  wonderful  offer  to  you.  No  obligation.  You  can 
rfDr«^S»r£inJ5  mo"ev  at  once  if  you  write  me  now.  MARIE 
FRANZAN,  Oept.  1412, 2707  Cottage  Grove  Ave., Ch.cago.  III. 


ist   ^Jr 


SEND    US   YOUR    FILMS 


$550.00  in  Prizes  Given  Away.  First  Prize  Ford 
Touring  Car.  Write  us  for  Free  Coupon  entitl- 
ing you  to  ehare  in  drawing  held  Dec.  17.  1923. 
Trial  roll  of  film  developer!  '^r  6c;  Prints  Sc  each. 

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1 


«.^%ouxFir 


The    ORIGINAL    weird  Mysto  Talisman  Rintr- 
wards  off    evil    spirits,    sickness,    spells,    etc. 
Ancient  belief,  brings  Success  to  wearer  in  love. 
business,  games,  ALL  Undertakings.    Green  Gold  1 
finish,   snakes  set  with  Lucky   Mysto  Ruby  and  J 
Emerald,  fits  anv  finger.         ALSO 
The  startling  MYSTO  WONDER. 
amusing  &   mysterious  instrument,  answers 
ALL  questions.    LOVE?    Hate?    Enemies? 
Marriage?    Children?    Money?    Life?    Luck? 
FRFF  with  Outfit-Direction  andQues-  \ 
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Pay  on  arrival  $1.97  Plus  Postage. 

MYSTOCO.,103E.125ihSL,Depl.902,N.y.C, 


(Ninety-six) 


Wlonl    understand   how 
Charles    tie    Roche    was 
lected  to  pla)   the  role  of  .1 
faun  in  "  Hie   Man  \l  aker" 

1  Paramount  ),   but   tlierc  he   is  pre 
9enting  a  physique  not  unlike  Firpo's 
in  a  pantomimic  sketch  which  would 
have  better  suited  that  master  panto- 
mimist,  <  iei  n  ge    Vrliss. 

The  Frenchman  is  younger  and 
athletic — which  are  liis  only  quali- 
fications I  (therwise  his  study  lacks 
imagery  and  deft  shading.  He 
bounds  all  over  the  place  t\\  ice  ap 
pearing  in  a  tiger  -kin  and  changing 
1.1  evening  clothes  while  he  attempts 
lo  place  .1  house  in  order.     Phere  is 

sparkle  to  t Ik-  picture.      \  sin 
track  storj   which  drags. 

Tl  I E  Silent  Command"  I  Fox  1 
would  have  scored  a  complete 
knock-out  during  the  frenzied 
day-  of  the  war.  The  hysterical 
public  would  have  scaled  the  heights 
of  patriotism.  As  it  i-  the  idea  is  a 
little  belated  tin  >  it  does  serve  as 
propaganda  for  Seeing  the  World, 
the  naval  slogan  Call  it  deep-dyed 
melodrama  if  you  will,  it  doe-  glorify 
the  American  navy  and  it  doc-  cany 
a  punch — even  tint  that  punch  comes 
from  an  old-fashioned  school  estab- 
bshed  by  Lincoln  J.  Carter,  el  al. 

Revealed  in  the  turbulent  action 
are  a  heavy  storm,  a  clashing  fight,  a 
wreck,  and  a  column  of  marines 
storming  the  rendezvous  of  the  en- 
emy. The  climax  is  a  long  time  com- 
ing to  a  head  because  of  the  plotting 
and  counterplotting.  The  best 
hires?  The  storm  effects,  the  flashes 
of  the  fleet  and  marine  scenes. 

THEY  ask  for  tear-  in  "Man  and 
Wife"  (Arrow)  only  and  suc- 
ceed in  extracting  laughs.  Two 
sisters,  farm-girls,  marry  the  same 
man.  One  of  the  girls  runs  away 
from  the  farm,  marries  a  city  sur- 
geon and  i-  supposed  to  die  in  a  fire 
— during  his  absence.  He  returns 
home — and  instead  of  investigating 
the  tragedy,  conveniently  retire-  to 
the  very  farmhouse  from  which  his 
wife  made  her  escape,  courts  and 
marries  her  sister  within  a  period  of 
-ix  month-!  And  neither  one  has 
spoken  of  the  departed  relative,  nor 
consulted  the  family  album.  Bui 
stay — the  despicable  villain  informs 
the  surgeon  that  his  wife  isn't  dead. 
but  on  the  contrary  is  alive,  tbo  hope- 
lessly insane.  So  he  operates,  re- 
storing her  sanity.  X'ot  for  long, 
however,  for  she  is  told  by  the  same 
d.  v.  that  her  husband  i-  a  bigamist 
and  she  goes  mad  again.  A  second 
operation  brings  the  undertaker.  She 
had  to  be  eliminated  for  the  sake  of 
the  second  wife's  unborn  child.  This 
weird  contraption  defies  logic  and 
insults  intelligence. 


The  Magic  Power  of 
AFew  little  LinesS^  L. 

11..  1 


A  nIuii  1  line 

he    knew     how     he    • 

leu      I   nil.       I    in.        .111.I     hOW      to     Ill.lkr    bit 

in  drawing  i! 


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nr.-    tin:. 

I    pil 
ture. 


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mailing  a  day. 


Delightful  pas- 
ln, 1. ■!  Endless 
fun  I  Acquire 
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Invaluable  asset 
in  v.nir  present 
business.  A  few 
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New  was  maki 
it  easy  to  learn 
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any- 
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Hundreds    ol    oni     itudenl 
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And  most  ,,i  them  never  touched 
a     draw  tag     pent  il     before    thej 

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'lii.    dmpUi  Its   ol   tbl     method  will 
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at    your    own    rani, I    pro 
learo     bo      mail    ■••  \      pou      , 
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,1  experience. 
—  Frank    Godwin     and     Wynn     Hol- 
comb  (Wynn),  the  fain., us  artist 
but    two  of   Ids    many    su. 
dents.       Qel     Into     tl.i 
game,   NOW.     V.,u  can  easily   Qualify 
and  make  big  monej       \   f,  ■■   minutes' 
study    each  day    i^  all  Dial    Is  i, 

Newspapers,     advertising     w 
magazines,   bualnef  all  arc 

looking  t,n   men  and  ""men  t,,  han- 
dle ibcir  an   work.     Cartoonist 
designers  are  at   a  premium.     D 
of  our  stud,  nt  ik  at  a  high 


lore   than    ti.» 
ilng  I 

Vol'     Willi  a  Uttl 

I 
big  paying 

'rids  uin.i    ug  method  baj  ..m 

Id   Id. a    tbat    talent    la    an    ab- 
Its    in   art — that    "II 

.  you    have    I. 
..      method      I, 

lit  you    will, 

-ttalgbt   lines,   tlien  curves  Tie 

how     to    but     them  tot 

making  pi, 

Sba.ln 

1    follow    In    tbelr    right 
until  that 

b    as   J1.U0U   for    a 
drawing. 

Big   money    Is   niailly    paid    and   big 
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hi    enough   to  prepare  for   ti.is 

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City State. 


A  PERFECT  NOSE  FOR  YOU 


BEFORE    AFTER 


ftnna-The  Genuine-  patentso  -NOSE  ADJUSTER 

Winner  of  GOLD  MEDAL Highest  in  Merit Lowest  in  Price 

Support   nature  and  lock  your  best      If  your  nose  is  in-shaped,  you  can  make  It  perfect  with  ANITA    NOSE 
ADJUSTER.     In  a  few  weeks,  in  the  privacy  of  your  own  room  and  without  Interfering  wrl 

rou   .an   remedy   your   nasal    Irregularity.      N',>   need   for   costly,    palnl  ANITA    NOSE 

ADJUSTER    shapes    while    you    sleep — quickly,    painlessly      permanently    and    In  The    ANITA 

NOSE  ADJUSTER  Is  the  ORIGINAL  NASAL  SUPPORTER  absolutely  guara 

3elf  adjustable,     No      rews      No  metal  parts.      GENTLE. 
FIRM   and  PERFECTLY  COMFORTABLE.     Beware  of  invitational     Writ,-   I                     your  name  and   ad- 
dress.) tor  FREE  Booklet.   "Happy   Days  Ahead;"  which  explains  bow  you  ran  hat                      iose.  and  our 
blank  to  All  cut  for                                             Money  refunded   it   not  fully  satisfied  with  results. 
The  ANITA  Company.  Dept.  1229.  ANITA  Building,  Newark,  fj,  J.        


(Xinety-seven) 


DO    YOU    SEE    YOURSELF    AS    OTHERS    SEE    YOU? 


A    NEW    SCIENTIFIC,    PAINLESS    METHOD    OF 


A  perfect  looking 
nose  can  easily 
be  yours  •■/■■/■ 


CORRECTING   ILL-SHAPED  NOSES  AT  HOME 


TIME  ADVANCES — as  does  science  succeed  in 
perfecting  each  invention.  My  10  years  of  ex- 
perience in  manufacturing  and  selling  Nose  Shapers 
have  proven  to  me  that  I  can  now  offer  to  the 
unfortunate  possessors  of  ill-shapen  noses  the  most 
meritorious  Nose  Adjuster  of  the  age.  My  latest 
improved  Model  No.  25  (U.  S.  and  many  foreign 
patents)  has  so  many  superior  qualities  that  it 
surpasses  all  my  previous  shapers  and  other  Nose 
Adjusters  by  a  large  margin. 

In  the  first  place,  my  newest  appliance  is  better 
fitting;  the  adjustments  are  such  that  it  will  fit 
every  nose  without  exception — my  apparatus  is 
constructed  of  light  weight  metal,  and  is  afforded 
very  accurate  regulation  by  means  of  six  hexag- 
onal screws,  which  are  regulated  with  a  key  and 
the  screws  are  then  locked  in  the  desired  position. 
These  screws  will  bring  about  the  exact  pressure 
for  correcting  the  various  nasal  deformities — such 
as  :    Long — pointed  nose — pug — hook  or  shrew  nose 


— and  turned  up  nose — and  will  give  marked  suc- 
cess in  modulating  the  distended  or  wide  nostrils. 
There  are  no  straps  to  be  pulled  in  order  to  exert 
pressure  on  the  nasal  organ. 

Model  No.  25  is  upholstered  inside  with  a  very 
fine  chamois  (covering  a  layer  of  thin  metal) 
which  protects  the  nose  from  direct  contact  with 
the  apparatus ;  this  lining  of  metal  causes  an 
even,  moderate  pressure  on  the  parts  being  cor- 
rected, thus  avoiding  a  harsh,  violent  pressure 
in   any   one   place. 

Model  No.  25  is  guaranteed,  and  corrects  now 
all  ill-shaped  noses  without  operation,  quickly, 
safely,  comfortably  and  permanently.  It  is  to  be 
worn  at  night  and,  therefore,  will  not  interfere 
with   your   daily   work. 

If  you  wish  to  have  a  perfect  looking  nose, 
write  today  for  my  free  booklet  which  tells  you 
how  to  correct  ill-shaped  noses  without  cost  if 
not  satisfactory. 


M.  TRILETY,  Face  Specialist     1935  Ackerman  Bldg.,  Binghamton,  N.  Y. 


A  FORTUNATE  cash  purchase  enables  us  to  offer  gen- 
uine ARTEX  WATCHES  at  these  astonishing  low 
prices.  Patterned  after  the  daintiest  and  highest 
priced  platinum  models  of  the  day.  Their  charm  is  equalled 
by  their  practical  value  as  time  keepers.  Every  watch  has 
jewel  crown,  is  regulated  and  fully  guaranteed.  Sent,  post- 
paid, in  handsome  silk  lined  box.  Money  back  if  not  more 
than  satisfied. 

No.  10 — Tonneau  shape,  6  Amethyst  jewel  movement. 
15  yr.  white  gold  case.  Price,  this  sale,  $6.80. 
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The  Slave  of  Desire 

(Continued  from  page  59) 

her  a  score  or  more  of  other  ad- 
mirers. This,  of  course,  was  not  the 
truth.  The  truth  was  that  Fedora 
had  outlived  her  day  of  triumph. 
She  was  no  longer  'the  rage.'  Her 
vile  ill  tempers,  her  maliciousness, 
her  covetousness  had  all  served  to 
eclipse  her  beauty  in  the  eyes  of  men, 
not  so  blind  as  they  may  sometimes 
seem,  or  not,  anyway,  for  so  long 
a  while.  But  because  she  must  have 
someone  to  blame  it  upon,  Fedora 
blamed  her  downfall  upon  me,  whom 
she  had  always,  secretly,  loathed. 

"When  I  announced  my  coming 
marriage  to  Pauline,  her  venom  had 
spread  broadcast.  She  had  done  all 
that  lay  within  her  by  no  means 
limited  power  to  undo  my  approach- 
ing nuptials,  and  if  Pauline  had  not 
been  a  woman  with  a  soul  as  white 
as  Faith,  she  might  have  succeeded. 

"Little  wonder,  then,  that  I  shud- 
dered and  grew  cold  and  sick  when  I 
saw  this  woman  advancing  up  a  pre- 
cipitous incline  in  the  immediate 
wake  of  Pauline.  A  slight  contact, 
an  'accident,'  and  one  could  easily 
have  pushed  the  other  off  any  one  of 
the  precipices  pit  falling  the  narrow 
trail. 

"And  as  I  looked  I  knew  that  this, 
just  this,  was  what  Fedora  had  in 
mind. 

"In  less  time  than  my  sick  heart 
took  to  beat  thrice.  Fedora  had 
seized  upon  Pauline  and  my  beloved 
was  struggling  for  her  dear  and 
precious  life  upon  the  thin  edge  of 
eternity. 

"Mes  amis,  in  that  moment  I  knew 
the  love  that  is  stronger  than  life  and 
more  valiant  than  death. 

"I  knew,  I  knew  to  a  certainty, 
that  the  Magic  Skin,  no  larger  now 
than  a  garden  pea,  could  grant  me 
one  wish,  one  more,  one  last  wish. 
With  the  uttering  of  that  wish  my 
depleted  life  would  go  out,  as  surely, 
with  as  little  storm  in  passing,  as  a 
breath  blown  upon  the  head  of  a 
dandelion  when  it  has  gone  to  seed. 

"My  life  for  Pauline  ...  ah, 
little,  little  enough ! 

"I  made  the  wish. 

"As  I  made  it  Pauline  stumbled 
over  the  edge  of  the  fatal  decline  and 
caught  securely  fast  to  a  scrubby  oak 
or  bush,  growing  there,  and  as  I  made 
it,  a  trickle  of  earth  and  rock  and 
gravel  came  thundering  thinly  down 
the  mountainside  and  formed  for 
Fedora  a  tomb  ...  a  grim  and  final 
epitaph. 

"C'cst  tout!" 

Raphael  ceased,  and  looked  about 
him.     Still,  in  the  golden  candle-light 

(Ninety-eight) 


the  faces  of  his  friends  were  faintly 
blurred  with  uncertaint) 

"You  Mill  do  not  understand,"  the 
poet  said.  .  .   .  "It  was  like  1 1 1 i- 

"lt  was  your  last  wish,  \»>u  saj ." 
one  of  the  group  broke  in,  "your  last 

wish   and    you    were   to   die   with    it. 
What   thru?" 

"  \s  I  made  that  lasl  wish,"  Ra 
phael  said,  solemnly,  "I  felt  a  chill 
creep  over  me.  It  was  as  if  a  mist 
had  risen  from  some  cold,  north  sea 
ami  in  that  mist,  dimly,  dimly,  I  saw 
tin-  fact'  of  tin-  antiquarian.  Tin' 
mouth  moved  and  1  seemed  to  strain 
thru  tin-  mi-t  to  hoar  what  he  might 
be  saying  and  what  he  said  was  this: 
'You  have  made  with  your  List  wish 
//(<•  first  unselfish  one  you  luive  ever 
uttered  .  .  .  tlii'  curse  of  the  skin  is 
lifted   .  .   .  you  are  free.   .   . 

Now  the  poet  Raphael  rose  from 
his  chair  and  stretched  with  sinuous 
grace,  lie  looked  about  at  the  faces 
of  his  friends  and  found  them  clear 
with  comprehension.  He  breathed  a 
sigh  oi  relief  and  his  eyes  sought  the 
room  from  whence  came  the  sound 
iii  a  dim  song,  Pauline  playing  .  .  . 
Hni!"  he  smiled. 


New   Books    In   Brief  Review 

{Continued  from  page  79) 

it   is   one   long   diatribe   against   the 

foremost  collegiate  institutions  of  the 
country,  which,  if  we  are  to  believe 
Mr.  Sinclair,  are  in  as  bad  a  way  as 
the  American  newspaper  press,  which 
he  so  roundly  and  soundly  denounced 
in  "The  Brass  Check." 

The  author  claims  that  he  spent  a' 
whole  year  in  preparing  his  last  book 
by  reading  "hook,  pamphlets,  reports, 
speeches,  letters,  newspaper  and 
magazine  articles  to  the  extent  of  five 
or  six 'million  words;  traveled  over 
America  from  coast  to  coast  and 
hack  again ;  stopped  in  twenty-five 
American  cities  and  questioned  not 
less  than  a  thousand  people — school- 
teachers and  principals,  superinten- 
dents and  board  members,  pupils  and 
parents,  college  professors,  students 
and  alumni ;  presidents,  chancellors, 
deans,  regents,  trustees,  governors, 
curators,  fellows,  overseers,  found- 
ers and  donors,  ct  al." 

This  sort  of  thing  leaves  one  a  little 
breathless,  but  not  so  the  author,  who 
keeps  up  the  pace  more  or  less  thru- 
out  nearly  five  hundred  pages,  leav- 
ing the  reader  panting  behind  and 
ever  and  anon  mopping  his  brow  and 
saying,  "If  this  is  to  continue  may  1 
be  given  the  strength  to  bear  it." 
Mr.  Sinclair,  as  usual,  spoils  his  case 
to  a  large  extent  by  overstatement. 
But  if  he  wants  to  disagree  with 
nine-tenths  of  bis  fellow  creatures 
why  not  let  him? 

(Ninety-nine) 


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Flashes  from  the  Eastern  Stars 

(Continued  from  page  53) 

the  votes  were  for  "America,"  with 
"The  Spirit  of  76"  a  heavy  second. 


Allan  Dwan  has  begun  production 
of  Rex  Beach's  story,  "Big  Brother" 
at  the  Alanhattan  Casino,  155th 
Street  and  Eighth  Avenue.  New 
York,  by  filming  one  of  the  biggest 
scenes  in  the  picture,  using  seven 
hundred  and  fifty  extras  in  addition 
to  the  principals. 


John  Barrymore  will  return  to 
New  York  in  November  for  a  four- 
weeks'  engagement  in  "Hamlet," 
followed  by  a  brief  tour  of  the  prin- 
cipal cities.  Negotiations  are  under 
way  for  Arthur  Hopkins  to  take  the 
production  to  London  in  the  spring. 
Barrymore  has  just  completed  "Beau 
Erummell"  for  Warner  Brothers. 


Tom  Geraghty,  who  has  been  in 
Ken  neb  unk  port,  Maine,  working 
with  Booth  Tarkington  on  the  screen 
version  of  his  story,  "Pied  Piper  Ma- 
lone,"  which  will  be  Thomas  Meigh- 
an's  next  Paramount  picture,  has  re- 
turned to  the  Paramount  Long 
Island  studio  to  begin  work  on  the 
scenario.  The  story  is  an  original 
by  Mr.  Tarkington  and  many  of  the 
scenes  will  be  filmed  at  Mr.  Tar- 
kington's  summer  home  in  Maine. 
Mr.  Geraghty  said  that  many  of  the 
summer  residents  were  remaining  in 
Kennebunkport  just  waiting  for  the 
picture  company  to  come.  Tommy 
has  had  his  transcontinental  com- 
mutation ticket  punched  again  and  is 
back  in  New  York  after  a  two- 
months'  stay  at  the  Lasky  studio  in 
Hollywood. 


Madge  Kennedy  has  completed  the 
second  of  a  series  of  six  special  pro- 
ductions which  she  is  making  for  the 
Kenma  Corporation.  The  name  of 
the  new  picture  is  "Three  Miles 
Out,"  and  as  the  title  indicates,  has 
to  do  with  bootlegging  activities  in 
the  waters  surrounding  New  York 
Citv.  The  idea  for  the  story  was 
furnished  by  the  famous  illustrator, 
Neysa  McMein  and  the  production 
was  directed  by  Irvin  Willat.  Miss 
Kennedy  is  now  the  star  of  what  has 
been  called  one  of  the  most  success- 
ful and  spritely  musical  comedies 
ever  staged  in  New  York.  This  is 
"Poppy."  which  is  enjoying  a  run  at 
the  Apollo  Theater. 


Flying  thru  fog  and  rain  at  night, 
landing  once  in  a  valley  when  he  be- 
came lost  and  finally  skimming  one 
hundred  and  fifty  feet  above  tree  and 
(Continued  on  page  102) 


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Easiest  of  all  wind  instru- 
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(12) 


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the  ankles.  Send 
ankle  measurement. 
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Extra  high   .   9. 


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Neck  and  Chin  Reducer      3.50       Send  for  Illus- 
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Flashes  from  the  Eastern  Stars 

(Continued  from  page  100) 

Louse  tops  across  New  Jersey  and 
Staten  Island,  Eddie  Stinson,  fa- 
mous speed  flyer,  reached  New  York 
last  Wednesday  afternoon  with  the 
first  motion-picture  films  of  the  Jap- 
anese earthquake.  It  was  one  of  the 
most  reckless  competitions  on  record 
to  transport  news  pictures  half-way 
around  the  world  for  the  purpose  of 
showing  them  first  to  the  American 
public.  Stinson  was  able  to  snatch 
only  a  few  hours'  sleep  from  Sunday 
until  Wednesday  night.  As  a  result 
audiences  in  the  Rivoli  and  Rialto 
theaters.  New  York  City,  were  able 
to  see  a  film  record  of  the  catastrophe 
twelve  days  after  the  film  had  left 
Japan,  and  on  the  thirteenth  day 
prints  were  being  shipped  to  all  parts 
of  the  country.  This  is  believed  to 
be  a  speed  record  for  the  long-dis- 
tance transportation  of  merchandise 
of  any  kind. 


Bert  Lytell  is  appearing  in  vaude- 
ville for  a  five-weeks  period. 


The  engagement  of  Sidney  Olcott, 
producer  of  "Little  Old  New  York" 
and  "The  Green  Goddess,"  as  a 
Paramount  director  on  a  long-term 
contract  was  announced  this  week  by 
Jesse  L.  Lasky.  Mr.  Olcott's  first 
picture  for  Paramount,  will  be 
Maude  Fulton's  play,  "The  Hum- 
ming Bird,"  which  had  a  successful 
run  on  Broadway  last  season.  Gloria 
Swanson  will  be  the  star. 


May  McAvoy  has  signed  a  con- 
tract with  Inspiration  Pictures  and 
has  already  begun  work,  playing  the 
lead  opposite  Richard  Barthelmess  in 
his  next  production,  "The  Enchanted 
Cottage."  Not  only  has  Miss  Mc- 
Avoy been  engaged  to  play  in  "The 
Enchanted  Cottage,"  but  Inspira- 
tion has  taken  an  option  on  her  serv- 
ices for  subsequent  productions. 
Those  who  have  followed  Miss  Mc- 
Avoy's  career  will  be  pleased  to 
know  that  she  is  again  to  play  under 
the  direction  of  John  S.  Robertson, 
for  it  was  with  him  that  she  created 
her  memorable  Grizel,  in  "Senti- 
mental Tommy." 


Following  the  successful  launch- 
ing in  the  East  of  his  "Scara- 
rnouche,"  Rex  Ingram  with  his  wife 
and  star,  Alice  Terry,  has  gone 
abroad  to  make  a  new  picture.  One 
of  Mr.  Ingram's  most  important 
pleasure  trips  will  be  to  Ireland,  his 
native  heath.  Mr.  Ingram  left  Ire- 
land at  the  age  of  nineteen,  practic- 
ally penniless,  but  with  lots  of  ambi- 


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HALF  PRICE  TO  INTRODUCE 

introduce   to  new  customers,   we  quote  these  prices 

;h  are  all  you  pay  a 

No.    _ 

No.  2— Gents  Heavy  Tooth  Belcher,  1  ct.gem.  Mk  gold  t  3.2S 
No.  3 — Ladles  3  stone  Duchess  ring,  fine  platino  finish,  two 
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paper    that    meets    around    ring 
inger  to  show  size.     Say  which  ring  you  want.     We  ship 
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your  money.      Write  TODAY.      Agents  wanted. 

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Dtpt.C  USCRUCES,  N.  MtXj 

I  Exclusive  Controllers  of  Mexican  Diamonds  for  18  years.       J 


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SEND  NO  MONEY 

finger  to  snow  size.     8 


REAL  PHOTOS 

OF    YOUR    SCREEN     FAVORITES 

YOUadmirersof  the  cleverscreen  stars,  just  glance  through  this 
selected  list  of  the  BIG  ONES.  Wouldn't  you  like  to  receive  by- 
return  mail,  genuine  photos  of  your  Movie  Favorites,  size  8x10. 
in  original  poses  by  the  Stars?  They 
are  beautiful  and  life-like.  Wonder- 
ful value  for  the  money.  50c  each, 
12  for  $5.00.  Make  your  selection 
NOW  from  this  list. 
Wallace  Reid  Jackie  Coogan 

Pola  Negri  Clara  K.  Young 

Mary  Miles  Minter     Frank  Mayo 
Mabel  Normand         Katherine 
Milton  Sills  McDonald 

Mary  Pickford  Mae  Murray 

Betty  Compson  Charles  Ray 

Anita  Stewart  Nazimova 

Norma  Talmadge       Charles  Chaplu 
Pearl  White  Marion  Davies 

Earle  Williams  Richard 

Rodolph  Valentino  Barthelmes! 

or  any  of  the  other  popular  stars. 
50c  Each  -  12  for  $5.00 
Money  cheerfully  refunded  If  not  satisfactory.  Send  money  order, 
U.S.billsorU.S.  stamps  with  name  and  address  plainly  written  to 
S.  BRAM,  Dept.  142,  209  W.  48th  Street,  New  York  City 
Special  prices  to  dealers 


FILM  STAR 
REVEALS  SECRET 
OF  ALLURING  EYES 

Ruth  Roland  is  enthusiastic  about  the  new  dis- 
covery that  makes  lashes  instantly  appear  long 
and  sweeping.  She  says:  "I  use  it  and  recom- 
mend it  to  others.  It  makes  the  eyes  seem  larger 
and   more   fascinating." 

It  is  a  fragrant  liquid,  easily  applied  with  a 
brush.  It  dries  instantly,  remains  all  day  and 
does  not  run  or  rub  off.  It  is  not  an  ordinary 
cosmetic.  It  is  absolutely  harmless,  and  does 
not  give  a  made-up  or  beaded  effect. 

Unlike  other  eyelash  preparations  Lashbrow 
Liquid  does  not  harden  the  lashes,  or  cause  them 
to  become  brittle  and  break  oft.  It  contains  a 
pure  natural  oil  which  gives  to  the  lashes  a 
delicate    silk    curl. 

Free  Trial 

For  introductory  purposes,  we  will  send  you 
free  a  generous  supply  of  Lashbrow  Liquid.  And 
we  will  include  a  trial  size  of  another  Lashbrow 
product,  Lashbrow  Pomade,  which  quickly  stimu- 
lates the  growth  of  the  brows  and  lashes.  Clip 
this  announcement  and  send  it  at  once  to  Lash- 
brow Laboratories,  Dept.  2312,  37  West  20th 
Street,  New  York  City.  Enclose  10  cents  to 
cover  cost   of  packing  and   shipping. 


WRITE  FOR  THE  MOVIES 


Ideas  for  niovins  picture  plays  wanted  by  producers. 

Big  prices  paid  for  accepted  material.  Submit  ideas 
in  any  form  at  once  for  our  immediate  ex- 
amination. Or  write  for  FREE  PHOTO- 
PLAY BOOKLET  and  details  of  our  serv- 
ice  to  Authors. 

BRISTOL  PHOTOPLAY  STUDIOS 

i  Suite  601 F  Bristol  Building,  New  York 


I  Big  prices 


(One  hundred  and  two) 


No  Telltale 
Circles/ 

A    I  litis!    lias    (omul    the    natural 

lie   ha>  com 

restoring 

reviving    the  il.irk   an. I    Minkcn   ii>-iirs  and    (or 

ncn       '    relet    make 

olilcr    anil    arr    >■>    em  bar  r  a 

I    want    vou   to  see   liow    thousands  oi  other  pretty 

it  drive  them  away. 

FREE  PROOF  tSSJf 

Through  my  liberal  "gel  acquainted"  offi  i 

1>>    mail    a   large   '-!•>  franc   jar   of 

I'rrmc.      Send  no  nionei      only    the  coupon. 

cial     introductory     price     of 

Iplus      lew      cents     poMtage)      on      delivery. 

Simpl)      follow     directions     and     then,     il     you     are 

not    delighted,    return    the    jar    and     1     will    return 

even     penny.        M 

mi  ted        /I  •  Studio    E. 

MARCELINE.   849  Wsthin.ton  Bird.  Chic.o,   U.S.A. 

MARCELINE.  849  Washington   Blvd..  Studio  E.  Chicago 

Send  me  Circle' Creme 


(In  rialn  Wrapper) 


N'ime. 


State 

If  vou  wish,  you   may  semi  cash  with  coupon  and  save 
o    outside    U.    S.    $2.25    cash    with    order. 

71  Jewel 
Burlington, 

Adjusted  to  the  Second— Temp- 
erature —  Isochrontam  —  Posi- 
tions —  21  Ruby  and  Sapphire 
Jewels — Cased  in  a25  year  Gold 
Strata  Case.  Only  $1  down  will 
bring  you  this  masterpiece. 
Write  today  for  free  book  to 


UOWTX    Burlington  watch  Company 
■rshail  Blvd..         Deot.    13.79    Chicago.  III. 


rjMJMv,v>j 


By  Note  or  Ear.  With  or  without  music.  Short  Course. 
Adult  beginners  taught  by  mall.  No  teacher  required. 
Self- Instruction  Course  for  Advanced  Pianists.  Learn  67; 
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"Whole  heart  and  fancy  : 
Bettj  *  i  impson  ai  i  ived  home  from 
England.  It  was  reported  tint  she 
was  engaged  to  Sir  Charles  fiigham. 
She  denied  it  emphatically  .  .  .  but 
the)  always  den)  it. 


Livingston  Piatt,  the  famous  the- 
atrical scenic  designer,  lias  been 
signed  to  create  the  settings  for  "The 
Enchanted  Cottage."  Mr.  Rati  has 
designed  most  of  the  settings  for 
William  I  [arris  in  recent  years,  in- 
cluding such  successes  as  "Abra- 
ham Lincoln,"  "Madame  Pierre," 
and  "In  Love  With  Love."  Until  re- 
cently he  has  been  at  work-  on  John 
Drinkwater's  newest  play,  "Robert 
E.  Lee." 


Bryan  Fox,  son  of  the  renowned 
"Eddie,"  and  eldest  of  the  ''Famous 
Seven,"  who  recently  was  promoted 
to  a  comedy  directorship  at  the  Wil- 
liam Fox  lot,  is  in  New  York  visiting 
his  father  and  the  other  six.  It  is  his 
first  vacation  in  two  years.  Young 
Mr.  Fox's  first  comedy,  "Somebody 
Lied,"  will  he  released  shortly. 


'  .eorge  Randolph  Chester,  author 
and  former  editor-in-chief  of  Vita 
graph,  has  been  especially  engaged 
to  edit  and  title  "On  the'  Ranks  of 
the  Wabash,"  Commodore  Rlack- 
ton's  first  Vitagraph  release.  An  all- 
star  cast  includes :  Mary  Carr,  James 
Morrison,  Burr  Mcintosh.  Mary 
McLaren,  Madge  Evans  and  Lutns- 
den  Hare. 


Locations  in  both  California  and 
New  York  will  probably  be  used  by 
Cecil  B.  De  Mille  in  the  filming  of 
his  next  picture.  "Triumph."  which 
is  to  be  started  soon.  The  present 
plans  call  for  the  making  of  interiors 
in  California  and  the  exteriors  in 
Xew  York.  "Triumph"  was  a  Satur- 
day Evening  Post  story  by  May  Ed- 
ginton  and  is  being  adapted  by  her 
for  the  screen. 


Truth  is  said  to  be  stranger  than 
fiction  and  fickle  fate  to  play  pecu- 
liar caprices,  with  all  of  which.  Elsie 
Geib.  waitress  in  the  lunchroom  at 
the  Cosmopolitan  Studio  is  now 
ready  to  agree.  For  Elsie  has  under- 
gone a  metamorphosis  that  has  her 
sister  waitresses  all  abuzz  with  ex- 
citement. A  fairy  wand  recently 
touched  her  checking  pad  and  con- 
verted it  into  a  movie  make-up  box 
and  her  ears  have  been  attuned  from 
"Pie  a  la  mode,  Miss"  to  "On  the  set 
Miss  Geib."  For  Elsie  has  crystal- 
ized    into   a   real   honest-to-goodness 


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Caruso's 
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WHAT  are  the  physiological  reasons  for  a 
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the  Feuchtinger  method  —  but  everyone  marvels 
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the  vocal  mechanism  of  the  late  Enrico  Caruso, 
preserved  by  scientists  of  his  native  Italy,  has 
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famous  Eugene  Feuchtlnger,  A.  M. 

For  three  generations,  the  family  of  Feuchtlnger 
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Grand  Opera  stars  have  been  trained  by  their 
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American  singers  who  desired  not  merely  vocal 
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Perfect  Voice  Institute 

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Name  . 


Local 
Address .... 


Town& 
State 


movie  actress  and  is  now  experienc- 
ing the  thrill  of  appearing  in  support 
of  Marion  Davies. 

The  romance  of  Elsie  had  its  in- 
ception just  prior  to  the  making  of  a 
big  scene  in  "Yolanda"  representing 
a  silk  carnival  in  the  fifteenth  cen- 
tury and  called  for  a  number  of 
young  women  in  serving-booths. 
Tom  Kennedy,  assistant  casting  di- 
rector at  Cosmopolitan,  had  hap- 
pened into  the  lunchroom,  and,  notic- 
ing, the  poise,  easy  grace  and  good 
looks  of  the  waitress,  was  suddenly 
struck  with  the  idea  that  she  might 
qualify  for  a  "bit"  in  the  serving- 
booth.  According  to  other  players 
Elsie  has  come  through  with  flying 
colors.  Does  she  like  the  flickering 
films?  Well,  Elsie  declares  her 
''ham  and  "  days  are  gone  for- 
ever. 


Sig  Schlager,  official  film  represen- 
tative for  Irene  Castle,  has  an- 
nounced that  the  dancer  is  planning 
to  return  to  the  studio  and  Klieg 
lights  for  another  series  of  pictures. 
Miss  Castle  is  at  the  present  time  on 
tour  with  a  dancing-act  as  part  of 
her  show.  Robert  Tremaine,  her 
husband,  is  her  manager  as  well.  It 
is  understood  that  Miss  Castle  is 
still  married.   .    .    . 


Lou  Tellegen,  after  an  absence  of 
about  four  years,  is  going  to  return 
to  the  screen.  He  will  appear  in  J. 
Stuart  Blackton's  next  production, 
"Let  Not  Man  Put  Asunder," 
adapted  from  the  novel  by  Basil 
King.  Mr.  Tellegen  has  been  ap- 
pearing for  the  past  year  or  more  as 
a  headliner  on  the  Orpheum  and 
Keith  vaudeville  circuits.  A  selec- 
tion of  equal  importance  has  been 
made  for  the  chief  feminine  role. 
Pauline  Frederick  having  also  been 
lured  back  to  the  screen  for  the  part 
after  an  absence  of  about  two  years. 
Both  stars,  it  is  reported,  have  been 
engaged  for  the  one  picture  only. 


Whitman  Bennett  announces  that 
his  next  special  production,  follow- 
ing "The  Leavenworth  Case,"  by 
Anna  Katherine  Green,  will  be  an- 
other American  story,  but  of  an  en- 
tirely different  nature.  The  subject 
will  be  "The  Hoosier  Schoolmaster." 
by  Edward  Eggleston,  and  Mr.  Ben- 
nett has  acquired  the  rights  direct 
from  the  heirs  of  the  author.  This 
book,  written  by  a  Yankee  who  has 
been  on  a  visit  to  friends  in  Indiana 
was  the  first  Hoosier  novel — the 
forerunner  of  many  famous  stories 
of  that  district  now  familiar  to 
readers.  

Some  spectacular  scenes  were  shot 
last  week  by  Director  Flynn,  who  is 


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here    making    exti  i :  "Nellie 

the    Beautiful    I  loak    Model"    \\  hich 

l\v)  ii  is  producing. 
\  those  w  Ik i  i ecall  the  old  Al 
Wood  melodrama  u  ill  recollect,  the 
climax  of  the  picture  is  when  Claire 
Windsor,  as  the  beautiful  heroine,  is 
Strapped  to  the  elevated  tracks  by 
tlu-  villain  i  pla\  ed  h\  I  e\\  ( 'ody  > 
with     the     express     train     grinding 

ftly  tow  ard  her.     1  >irector   l'l\  nn 
spent    several   days    working    on    the 

ress  track   of  the    Ninth     \venue 

ited  line  and  obtained  some  satis 
facto!  \   -hots. 

Anothet  thrill  was  furnished  b) 
Flynn  himself,  lie  began  life  as  a 
taxi  driver,  and  when  the  story  called 

the   machine   carrying   the   hero. 
Edmund  Lowe  to  .rash  into  the  rear 

taxicab,  Mr.  I'lynn  himself  took 
the  wheel.  »  ioing  at  a  speed 
thirty  miles  an  hour  he  struck  the 
rear  of  the  taxi  and  then  sent  the 
wrecked  car  spinning  against  an  elec- 
tric-light pole.  \Tobody  was  injured. 
but  an  anxious  moment  was  endured 
by  Mr.  I. owe.  sitting  in  the  rear  seat 
and  unaware  oi  what  was  about  to 
happen 

"Nellie  the  Beautiful  Cloak 
Model"  will  show  many  views  of 
New  York  life.  (  >ne  moment  an 
ambulance  (supposed  to  be  carrying 
the  maimed  body  of  Hobart  B 
worth)  speeds  thru  heavy  Fifth 
Avenue  traffic.  Another  time  there 
an  auto  chase  thru  Broadway 
"with  the  villain  still  pursuing  her." 
Riverside  Drive,  and  the  tenement 
districts  have  also  been  utilized. 


We  have  derived  considerable  sat- 
isfaction from  the  fact  that  lately,  a 
great  many  stage  and  screen  stars  are 
giving  subscriptions  to  Classic  as 
Christmas  gifts.  A  propos  of  that,  a 
curious  coincidence  has  just  hap- 
pened. A  certain  popular  star,  whose 
name  we  cannot  give  for  obvious  rea- 
sons, ordered  Classic  sent  to  another 
popular  star,  ditto.  The  recipient 
had  also  been  seized  with  the  same 
pleasant  idea  and  the  original  giver 
of  Classic  will  be  the  getter  of 
Classic  on  Christmas  day!  We 
know  another  mo  vie  star  who  sends 
ten  subscriptions  yearly  to  the  pris- 
ons and  charity  hospitals.  And 
sometimes  with  that  in  mind,  we  try 
to  jazz  our  book  up  a  little.  .  .  . 
All  of  which.  i>  very  pleasant  and 
gratifying  to  report. 


THEY   OFTEN    ARE 
By   Mary   Carolyn    Davies 

^ou  broke  my  heart— Fate  brings  to  pass, 

At   that,  a  happy   ending  : 
Tor.  since,   I've  met  another  lass 

V\  ho"s  very  good  at  mending ! 


YOU    CAN    PLAY  THE 

HAWAIIAN  GUITAR, 

JusfLiKe  the  Hawaiians!/ 


:~ -^v 


Because  Our  Native  Hawaiian 
Instructors  Will  Show  You  How! 

H   Set,    I" 


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"When     Vou    Walked    Out,"    "I'm    Ten     I 
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.n.l    Harraoniouf  (  bordi  A  i    ONi 

H*r*  la  your  chance  lo  get  tn  thetwim-tn  learn  to  play  tha  moat  fascinating  of  all  Instm- 
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Our  method  u  ao  ■Imple.ptain  and  eaay  that  you  begin  a  piece  your  Ant  leaaon  In  r.  .if 
an  hour  you  can  play  It)  Tnoutandt  of  •utceaaful  student!  prove  thia  to  he  true.  It  la  quite 
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•0RI4L  °f  SCRKN  AND  §AGt 


A   BREWSTER    PUBLICATION 


Qolored  by  its  ingredients  ^ 


Palm  and  olive  oils — these  only— 
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its  rare  ingredients. 

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no  more  perfect  soap  ingredients  have  ever  been  found.  Modern 
science  has  developed  the  blend  to  final  perfection  and  established 
Palmolive  the  world  over  as  the  most  popular  and  appreciated  toilet 
soap.  Look  for  the  famous  black-banded  green  wrapper. 


/ 


Where 


Beauty 


ins 


With  thorough  daily  cleansing,  as  every  skin 
specialist  will  tell  you.  The  net-work  of  tiny 
pores  which  compose  the  surface  of  the  skin 
must  be  kept  free  from  accumulations  of  dirt, 
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Every  night  before  you  sleep  you  should  give 


l- 


your  face  a  beauti 
fying  treatment 
with  Palmolive 
Soap.  Massage 
the  fragrant 
lather  thor- 
oughly into  the  skin,  rinse  thoroughly  and 
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Cleopatra 's  secret 

Washing  for  beauty  is  an  age-old  secret  prac- 
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and  cosmetic. 

The  modest  price  of  Palmolive  puts  the  great- 
est luxury  of  all  the  ages  within  the  reach  of 
all  and  allows  enjoyment  of  its  use  for  every 
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what  it  does  for  your  face. 


Note  carefully  the   name   and   wrapper. 
Palmolive  Soap  is  never  sold  unwrapped. 


Palm  and  olive  oils 
—  nothing,  else— give 
nature's  green  color 
to    Palmolive  Soap. 


I  olume  and 

efficiency  produce 
25c  quality  for 

10c 


f,r. 


Copyright  1923— The  Palmolive  Co.  19S6 


This  superb  110-  pieceset,  with  initial  in  2  places 
on  every  piece,  decorated  in  blue  and  gold, 
with  gold  covered  handles,  consists  of: 
12  Dinner  Plates.  9  in.  12  Caps 

12  Breakfast  Plates. 7in.         12  Saucers 
12  Soup  Plates.  "X  in.  12  Individual  Bread  and 

il  Dishes.  6in.  Butter  Plates.  6X  in. 

12  I  run  Dishes,  6,H{  in.  1  Platter,  13)-i  in. 


1  Platter.  11 X  in. 
1  Celery  Dish,  8Y  in. 
1  Sauce  Boat  Tray, 

IX  inches. 
1  Butter  Plate.  6  in. 
1  Vegetable  Dish, 

10%  in.,  with 

lid  (2  pieces! 


1  Deep  Bowl.  8 Yin. 
1  Oval  Baker.  9  in. 
1  Small  Deep  Bowl. 

6  inches. 
1  Gravy  Boat,  IX  in. 
1  Creamer 
1  Sugar  Bowl  with 

cover  (2  pieces) 


Brings  110-Piece  Martha  Washington 
Blue  and  Gold  Becorated  Binner  Set 


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FREE,  the  beautiful  7-Piece  genuine  "Indian  Head'' 
nene  set  and  also  the  six  silver-plated  knives  and 
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Your  Initial  in  Gold,  Surrounded  by  Gold  Wreath ,  in  2  Places  on  Every  Piece  iGo£ZS!'cVr' 


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FDCP  Bargain 
ri\bC  Catalog 

Over  300  pages  (of  which  68  are 
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ana  SO  days'  free  trial.  Many 
valuable  hints  on  how  to,  make 
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Book  explains  Hartman's  gift 
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_  _}Mi.  nni^—  Let  Hartman  FeatberY 

HARTMAN 


FREE 


and  2  pure  gold  initials  in  Old  English  design, 
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you  act  quickly,  you  also  get — 

"IndianHead" 

Linene  Finish 

SO-in. 

Table 
and  6  Napkins  to  Match— also  6 
Silver-Platetl  Knives  and  G  Forks. 
With  every  Dinner  Set  we  send  you  Free 
the  Handsome  Linene  Set  and  6  heavy, 
richly  patterned  knives  and  forks.  This 
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cloth  and  6  pretty  17-inch  napkins  to 
match — all  of  the  famous  "Indian  Head" 
linene;  finished  with  attractive  scalloped 
embroidered  edges.  Knives  and  forks  of 
fine,  extra  heavy  silver-plate  in  fleur-de-lis 
pattern.  Send  at  once.  Offer  is  limited. 
Order  by  No.  320FMA22. 
Bargain  Price,  $33.85. 
Pay  $1  now.  Balance  $3  monthly. 
7-Piccc  Linene  Set,  6  Knives  and  6  Forks  are  FREE. 

&  CARPET  CO. 


IMPORTANT! 

Hartman  guarantees  that  every  piece  in 
this  set  is  absolutely  first  quality  — no 
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of  us  for  3  years.  Each  piece  wrapped 
in  tissue  paper.  Excellent  packing  to 
prevent  breakage.    Shipped  at  once. 


Print  Initial 
You  Want  Here 


Just  Pin  Dollcr  Bill  to  Coupon  and  Mail  Now! 

r°io7h  ni^^JuTFurniture &CarpeTc"o~. 
Dept.5977        Chicago,  III. 

Enclosed  rind  $1.    Send  the 

110-Piece  Dinner  Set, 
No.  320FMA22,  Price  S33.85, 

as  described,  and  with  it  t  he7- Piece  Lin- 
eneSetandt>Knivesand6  Forks. abso- 
lutely FREE,  ltisunderstoodthat  if  I 
am  satisfied.  I  will  send  you$3  monthly 
until  fall  price  of  Dinner  Set.  S33.S5.is 
paid.  Title  remains  with  you  until  paid  in  full  li  not  satis- 
fied, after  SOdays'  free  trial.  I  will  ship  all  goods  back  and 
you  will  refund  my  $1  and  pay  trans  port  at  ioncharges  both 
ways. 


the  big  free  catalog  tod   . 

"Let  Bartman  Fealter  YODR  Nest" 

FURNITURE 

Dept.  S977  ,£S22fihfe  Chicago,  III 

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Occupation  of  Head  of  Household 

I  How  long  have  you  lived  at  present  id 


(Three) 


:: 


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for  granted  in  every  Paramount  Picture  that  requires  them. 

Many  Paramount  Pictures  have  been  the  outstanding  suc- 
cesses of  '23.  "The  Covered  Wagon"  loomed  up  as  the 
biggest  planet  ever  seen  in  the  sky  of  entertainment! 

1924  will  see  an  abundance  of  Paramount  Pictures.  The 
excitement  created  by  Cecil  de  Mille's  production  "The 
Ten  Commandments"  will  take  seasons  to  die  down.  Many 
other  great  new  Paramount  Pictures  are  coming. 

Take  the  trouble  to  note  the  brand  names  of  pictures. 
Do  it  and  you'll  appreciate  that  the  name  Paramount  is  a 
sure  guide  to  the  best  show  in  town. 


FAMOUS  PLAYERSIASKY CORPORATION 

AOOLPH    ZUKOR.Pws'rffnt 


A  James  Cruze  production  with  Edward 
Horton,  Theodore  Roberts,  Helen  Jerome 
Eddy  and  Louise  Dresser.  From  the  play 
by  George  S.  Kaufman  and  Marc  Con- 
nelly. Written  for  the  screen  by  Walter 
Woods. 

"Big  Brother" 

An  Allan  Dwan  production  with  Tom 
Moore,  Raymond  Hatton  and  Edith  Rob- 
erts. Written  for  the  screen  by  Paul  Sloane. 

"Don't  Call  it  Love" 

A  William  de  Mille  production  with  Agnes 
Ayres,  Jack  Holt,  Nita  Naldi,  Theodore 
Kosloff  and  Rod  La  Rocque.  From  the 
novel  "Rita  Coventry"  by  Julian  Street. 
Written  for  the  screen  by  Clara  Beranger. 

"  West  of  the  Water  Tower" 

Starring  GLENN  HUNTER,  with  Ernest 
Torrence  and  May  McAvoy.  Supported 
by  George  Fawcett  and  Zasu  Pitts.  Di- 
rected by  Rollin  Sturgeon.  Adapted  by 
Doris  Schroeder  from  the  novel  by  Homer 
Croy. 

"Flaming  Barriers" 

A  George  Melford  production,  with  Jac- 
queline Logan,  Antonio  Moreno,  Walter 
Hiers.  By  Byron  Morgan.  Adapted  by 
Jack  Cunningham. 

"The  Heritage  of  the  Desert" 

An  Irvin  Willatt  production,  with  Bebe 
Daniels,  Ernest  Torrence,  Noah  Beery  and 
Lloyd  Hughes.  Written  for  the  screen  by 
Albert  Shelby  Le  Vino. 

"The  Humming  Bird" 
Starring  GLORIA  SW ANSON.  A  Sidney 
Olcott   production.      From   the   play   by 
Maude  Fulton.     Screen  play  by  Forrest 
Halsey. 

"Pied  Piper  Malone" 
Starring  THOMAS  MEIGHAN.  Sup- 
ported by  Lois  Wilson  and  George  Faw- 
cett. By  Booth  Tarkington.  Directed  by 
Alfred  E.  Green.  Adapted  by  Tom  Ge- 
raghty. 


I 


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{paramount  Pictures 

If   it's    a    Paramount    Picture    it's   the    best    show    in   town! 


inrvinnnnrvTruTrirtnnu^^ 


(Four) 


1 


Qassic 


PICTORIAL  OF  SCREEN   AND    STAGE 


A   UKEWSIER    I'UHI.ICA  I  K)N 


Vol.  XVIII 


FEBRUARY,  1924 


No.  6 


Cbvi  i;    PoBTRAIT — Li]  u\\    GlSH 
Painted  by  E.  Dahl  from  a  photograph  by  Kenneth    Mexander 

Now  That   Winter's  Here— An  editorial 11 

Ci  issk  's     Favorites 

Music  Hath  Charms-  -To  sooth  the  savage  cinemese Maude  (  heatham  .  14 

Mme.  Olga  Petrova,  A  new  camera  study  of  the  brilliant  Pole 1" 

The  Mutual  Admiration  Society,  Blanche  Sweet  and  Marshall  Neilan Harry  Cart 

Odious  Comparisons,  Between  the  stage  and  screen  "Scaramouche" 20 

The  Thing  We  Cant  Escape  in  the  Movies l-.Uloti    AY//. 

The  Powers  Behind  the  Screen,  The  fifth  and  last  instalment Stanton    LeeA 

La  Pucelle,  Famous  1  leroines  No.  5.     I '•  >la  Negri  as  Joan  .it'   Vrc 

Au  Sauce  Piquante,  A  picture  page 

Tiger  Rose,    Told  in  short-story   form Dorothy   1><»ih,: 

Rhythm  and  Rebellion,  An  interview Maude  Cheathan 

When  Lubitsch  Directs ..." // 

On  Location,  Literally  all  <.\  er  the  world 4<i 

Ci  \-~-n:  Considers — The  great  and  the  near  great 43 

W.  Somerset  Maugham  Is  With  Us  Again />'.  /  .  Wilson    44 

The  Photographer  Takes  the  Stage,   Highlights  of  the  theatrical  season 45 

The  World's  Most  Famous  Nose,  Is  in  "Cyrano  de  Bergerac,"  the  play  of 

t ho  month Kenneth    Macgoxvan     48 

The  Movie  of  the  Month,  I  s  "  Vnna  Christie" Laurence    Reid    4° 

The  Celluloid  Critic,  Mr.  Reid  pfoes  to  the  movies 5<i 

Hollywood  Homes,  June   Mathis' 52 

Iris  In,  Pertinent  and  impertinent  screen  chatter //.    //'.   Hanemann    54 

The  Immortal  Clown,  Striking  and  original  photographic  studies  of  Larry  Semon 55 

Flashes  From  the  Eastern  Stars,  Of  the  stage,  on  the  screen (  aught  by  the  Editoi 

The  Yankee  Consul,  Fictionized  by Worman   Bruci 

The  Rejected  Suitor,  An   English  imitation  of  a  popular  American 6.1 

Dixit,   Richard    l)i\   does Dorothy    DonucU     64 

The  Hollywood  Boulevardier  Chats Harry  Carr    66 

The  Movie  Encyclopedia By  the  Answer  Man     70 

ription  $2.50  per  year,   in  advance,   including  postage,  in   the    United   States,  Tuba.  Mexico  and   Philippine  Islands.     In  Canada 
Foreign  Countries  $::."(>  inr  year.     Single  copies  25  cents  postage    prepaid.     United    States    Government    stamps    accepted. 
Subscribers    must    notify    us    at    once   of    any    change    in    address,   giving   both    old    and    new    address. 

Pi  bushed  Monthly  by  Brewster  Publications,  Inc.,  at  Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.  Y.,  as  second-class  matter,  under  the  act  of  March  3rd,  1879.    Printed  in  U.  S.  A. 

Eugene  V.  Brewster,  President  and  Editor-in-Chief;  Guy  L.  Harrington.  Vice-President  and  Business  Manager;  L.  G.  Conlon,  Treasurer; 

E.  M.   Heinemann,  Secretary. 

EXECUTIVE    and    EDITORIAL    OFFICES,    175    DUFFIELD    ST.,   BROOKLYN,    N.    Y. 

Copyright,    J924,  by  Brewster  Publications,  Inc.,  in   the    United  States   and   Great   Britain. 


SUSAN  ELIZABETH  BRADY,  Editor 

Adele  Whitely  Fletcher Managing   Editor 

Harry    Carr Western     Representative 

A.  M.  Hopf muller Art    Director 

Duncan  A.  Dobie Director    of    Advertising 

Classic  comes  out  on  the  12th  of  every  month.  Motion  Picture  Magazine  on  the  1st,  Bkawty  on  the  16th 


Announcement  for  March 


Fortunate  Misfortunes  is  the  title  of  an  absorbingly  interesting  story  on  the  lame, 
the  halt,  the  blind,  the  grotesque  and  the  abnormal  who  have  made  a  pil^rima^e  to 
Hollywood,  and  made  a  fortune  from  Hollywood.  You  have  seen  all  these  lucky 
misfits  on  the  screen.     .     .     . 

Jim  Tulley  has  written  a  most  beautiful  and  understanding  story  on  that  still 
unfathomed  semis  of  the  screen.  Charlie  Chaplin.  John  Decker  has  illustrated  it 
with  a  cartoon  signed  by  Charlie  himself.     .     .     . 

Classic,  in  its  dual  role  of  Stage  and  Screen  Pictorial,  offers  the  greatest  number  and 
the  most  beautifully  reproduced  pictures  of  any  other  magazine  in  its  class  If  it's 
beautiful,  it's  in  Classic.     .     .     . 


K 


3 


(Five) 


Current  Stage  Plays 

{Readers  in  distant   towns   will  do   well  to  preserve  tliis  list  for  reference  when 
these  spoken  plays  appear  in  their  vicinity.) 


Ambassador.  —  "The  Dancers."  Gerald  Du 
Manner's  old-time  British  melodrama  is  both  smart 
and  picturesque.  Richard  Bennett,  Florence  Eld- 
ridge  and  Kathleen  MacDonnell  play  the  principal 
roles.  Mr.  Bennett's  daughter,  Barbara,  is  the 
most  audacious  of  the  dancing  girls. 

.  I  polio. — "Poppy."  A  musical  comedy  concerning 
a  strolling  swindler  and  his  daughter;  W.  G.  Fields 
and  Madge  Kennedy  in  the  leading  roles. 

Belasco. — "Laugh,    Clown,    Laugh  !"     An    English 
version    of     Fausto     Martini's     "Ridi,     Pagliaccio," 
Lionel    Barrymore's    characterization    of    the    love- 
lorn clown  who  is  forced  to  give  up  Simonctta,  the 
girl  he  loves,  because  she  loves  another,  is  a  stirring 
performance.      Irene    Fenwick    plays    the    role    of 
Simonctta.     Barrymorc   is  superb. 
Belmont.— "Tarnish."      A    finely   acted    play   about   a    once    idle 
rich  family,  now  fallen  to  a  state  where  the  salary  of  the  daughter 
keeps  the  wolf  from  the  door.     Ann  Harding  does  some  excellent 
acting  as  the  daughter. 

Bijou.— "The  Whole  Town's  Talking."  A  farce  by  John 
Emerson  and  Anita  Loos,  well-known  motion-picture  scenarists, 
written  around  a  movie  director  who  ignores  the  Eighteenth 
Amendment. 

Booth. — "The  Seventh  Heaven."  Hand-made  on  melodramatic 
pattern  in  a  Montmartre  tenement  in  Paris,  of  an  admixture  of 
love,  regeneration,  humor  and  unreality.  An  excellent  perform- 
ance  with  Helen   Menken   starring. 

Broadhurst. — "Topics  of  1923."  Shubert's  new  spectacular  revue 
of  dance  music,  and  beauty,  brings  back  the  charming  -French 
comedienne,  Alice  Delysia.  The  cast  includes  many  other  well- 
known  and  popular  principals. 

Carroll. — "Kid  Boots."  Eddie  Cantor  in  a  musical  comedy 
glorifying  the  game  of  golf.  The  cast  includes  Mary  Eaton  and 
many  others  and  a  large  Ziegfeld  chorus. 

Casino. — "Wildflower,"  in  which  the  lovely  Edith  Day  flashes 
thru  an  exquisite  musical  score. 

Century. — "The  Miracle."  A  spectacular  pantomime  by  Dr. 
Karl  Voilmoeller,  with  Lady  Diana  Manners,  Werner  Kraus  and 
Maria  Carmi.  Personally  staged  and  directed  by  Prof.  Max 
Reinhardt. 

Colonial. — "Runnin'  Wild."  A  negro  revue.  The  cast  includes 
F.  E.  Miller  and  A.  L.  Lyles,  the  stars  who  helped  make  "Shuffle 
Along"  a  success. 

Comedy. — "The  Shame  Woman,"  by  Lulu  Vollmer,  author  of 
"Sun  Up,"  is  also  a  story  about  the  Carolina  mountain  folk,  in 
which  a  small-town  Lothario  wrecks  the  lives  of  two  ignorant  and 
innocent  mountain  girls,  one  the  foster  daughter  of  the  other 
Extremely  well  acted. 

Cort. — "The  Swan."  Eva  Le  Gallienne  and  an  all-star  cast  in 
Ferenc  Molnar's  comedy  of  romance  and  imaginary  royalty.  Not 
at  all  "Graustarkian,"  however.  Very 
subtle,  witty,  deft,  sophisticated  in  per- 
formance and  lines.  Typically  Molnar 
and  as  brilliant  and  unsatisfactory  as 
Shaw. 

Daly's. — "Sharlee."  A  musical  comedy 
by  Harry  L.  Cort  and  George  L.  Stoddard, 
with  Juliette  Day,  a  most  charming  hero- 
ine. The  cast  also  includes  Ottilie  Corday, 
Eddie  Nelson,  Frances  Arms  and  Sydney 
Grant. 

Elliott. — "Rain."  A  bitter  tragedy  by 
Somerset  Maugham ;  a  violent  attack  on 
the  repressions  of  Puritanism.  Jeanne 
Eagels  is  superb  in  the  leading  role. 

Eltinge. — "Spring  Cleaning."  A  tense 
and  bitterly  comic  drama  exposing  the 
depravity  of  the  degenerate  rich  and  the 
general  stupidity  of  preoccupied  husbands. 
The  cast  includes  Arthur  Byron,  Violet 
Heming,  A.  K.  Matthews  and  Estelle 
Winwood,  a  quartet  of  notable  leading 
men  and  women. 


Classic  Lists  the  Plays  in  New 
York  That  You  Should  See 
"i? 
Tarnish 
The  Swan 
Sancho  Panza 
Stepping  Stones 
Cyrano  de  Bergerac 
Laugh,  Clown,  Laugh! 


Empire. — "The  Lady."  An  indictment  against  "the 
stage-door  Johnny"  in  which  Mary  Nash,  as  the 
dance-hall  girl  and  later  as  the  grey -haired  mother, 
points  a  new  way  to  become  The  Lady.  A  fine  piece 
of  emotional  acting,  a  play  full  of  the  atmosphere  of 
France,  its  locale,  wit,  and  humor. 

Forty-ninth. — "For  All  of  Us."  A  comedy  given 
to  moralizing,  in  which  William  Hodge,  the  author, 
plays  the  role  of  the  laborer,  who  chances  into  a  rich 
home,  the  members  of  which  have  permitted  their 
lives  to  become  somewhat  entangled  and,  in  a  varying 
Irish  accent,  conveys  the  message  of  right  thinking 
and  right  action  as  cures  for  bodily  ills  and  sets  three 
lives  straight. 

France. — "The  Heart  of  Cellini."  Anthony  Whar- 
ton's play  with  Lionel  Atwill  and  Elsie  Mackay. 

Frolic. — "Hurricane."     A   strange   and   interesting  play   dealing 
with    prostitution,   by    Olga    Petrova,   with    Olga    Petrova,    I. 
Willoughby,  John   Kingsberry,   Camilla  Dalberg  and  others. 

Fulton. — "One  Kiss."  An  operetta  from  the  French  about  a 
love  affair  in  which  the  young  man's  father  and  the  girl's  mother 
pretend  to  be  wealthy,  altho  both  are  very  poor.  When  the  parents 
learn  the  truth  about  each  other,  they  try  to  break  up  the  match, 
but  the  girl  wins  over  a  rich  uncle  and  gets  a  fortune  for  her  lad 
and  all  ends  well. 

Gaiety. — "Aren't  We  All?"  Cyril  Maude  in  a  delightful  light 
comedy  that  revolves  around  a  philandering  husband  and  an  in- 
discreet wife.  Mr.  Maude  in  a  Grumpyish  character  sets  a  rare 
pace  of  fun  and  his  support  keeps  it  up. 

Garrick. — "The  Failures."  A  strange  and  fascinating  play  from 
the  French  of  Lenormand  in  which  all  its  characters  are  failures. 
One,  a  young  poet,  marries  a  girl  who  becomes  an  actress  with  a 
small  road  company  and  later  makes  the  last  sacrifice  and  yields 
to  a  casual  admirer  in  order  to  provide  for  her  husband.  Jacob 
Ben  Ami,  Dudley  Digges  and  Winifred  Lenihan  are  included  in 
the  cast. 

(7/ofrc— "Stepping  Stones."  One  of  the  best  of  Fred  St< 
musical  comedies,  in  which  his  daughter,  Dorothy,  does  some 
exceptionally  good  dancing  and  singing  and  rivals  her  own  father. 
Grccnzvich  Village. — "White  Cargo."  Leon  Gordon's  vivid  play 
about  a  young  Englishman  who  succumbs  to  the  wiles  of  a  half- 
breed  in  the  absence  of  white  women  on  the  West  coast  of  Africa. 
The  cast  includes  Conway  Wingfield,  Richard  Stevenson  and  A.  E. 
Anson. 

Harris. — "The  Nervous  Wreck."  An  excellent  farce  by  Owen 
Davis.  Otto  Kruger  plays  the  part  of  the  nervous  wreck,  a  young 
clerk,  sent  West  to  cure  himself  of  the  diseases  he  imagines  he 
has.  He  wishes  to  be  left  alone  to  die  peacefully,  but  June 
Walker,  as  the  entrancing  heroine,  tries  to  run  away  with  him 
and  thus  starts  an  endless  amount  of  trouble   for  him. 

Hudson. — "Sancho  Panza."  A  drama  in  which  the  story  divides 
honors  with  the  ballet.  It  deals  with 
Sancho  Panza  as  governor  of  the  City  of 
Barataria  and  offers  a  colorful  role  for 
Otis  Skinner.  Romantic  and  utterly 
charming. 

Imperial. — "Mary  Jane  McKane."  A 
musical  comedy  by  Oscar  Hammersteiii 
2nd  and  William  Cary  Duncan,  with  Mary 
Hay,  Hal  Skelly.  Dallas  Wei  ford,  Kitty 
Kelly,   Stanley   Ridges  and   Eva  Clark. 

Jolson's. — "The  Blue  Bird."  Maeter- 
linck's fantasy  of  our  search  for  happiness 
replete  with  pictures  of  the  most  weird 
and  beautiful  things  of  earth  and  the  most 
mystifying  things  of  heaven— a  fairy  tale 
for  the  children — exquisite  mysticism  for 
the  adult. 

Klaw. — "Meet  the  Wife."  A  bright  and 
witty  comedy  about  a  modern  mother  who 
is  rushing  the  engagement  of  her  daughter 
to  a  dumb  young  artist  while  she  is  really 
in  love  with  a  New  York  newspaper  re- 
(Continucd  on  page  8) 


(Six) 


Now$ 

For  the   Genuine 
ZAR/X  VANITIES 


tutotr 

lit   t  "t  Uwt 

SlyU 


Uatlibatt  Um  Genuine  Zuru  Vanities  at  once  among  those 
who  have  not  hail  an  opportunity  o!  obtaining  them  wo  are  now 
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st  J  as 
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A  Vanity   that   is    Worn 
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charming  and  distinctive. 
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watch  on  a  ribbon  bracelet 
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A  Dainty  Zara  Sautoir 
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O  Zara  Wrist  Vanity  D  Platinum  Finish 

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it  is  advisable  to  enclose  a  post  office  or  express  order  for  $1.89. 

You  may  do  this  if  you  choose. 


(Scien) 


MOVIE  STAR  TEARS 
UP  HER  CONTRACT 
WORTH  $250,000 

Samuel  Goldwyn  Has  Turned 
Author,  and  In  His  Book  "Behind 
the  Screen"  Many  Startling 
Secrets  Are  Told. 


Every 

Movie  Fan 

Should  Have 

a  Copy  of 

This  Book 


"Behind  the  Screen"  is  the  book  of 
the  day,  in  the  world  of  motion 
pictures.  Delightfully  entertaining, 
astoundingly  personal,  exceedingly 
educational  —  "Behind  the  Screen" 
cannot  help  but  win  your  instant 
approval. 

Most  of  the  "Stars"  have  worked 
for  Mr.  Goldwyn  and  he  knows 
them  as  well  as  they  know  them- 
selves. He  has  fought  with  them 
over  contracts — he  has  dined  with 
them  in  their  homes  —  and  in  his 
book  he  takes  you,  actually,  Behind 
the  Screen. 

All  who  read  this  book  will  have 
many  a  good  laugh — and  perhaps  a 
cry  or  two.  Your  copy  is  waiting 
for  you  at  a  bargain  price.  The 
regular  price  is  $2.50. 

$5.00  Value  For 
Only  $3.50 

So  thoroughly  does  the  Motion 
Picture  Magazine  appreciate  "Be- 
hind the  Screen,"  that  by  special 
arrangement  provision  has  been 
made  to  give  every  devotee  of  the 
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Current  Stage  Plays 

{.Continued  from  page  6) 


porter.  The  performances  of  Mary  Bo- 
land,  as  the  mother,  and  Eleanor  Griffith, 
as  the  daughter,  are  perfect. 

Knickerbocker.  —  "The  Lullaby."  An 
Edward  Knoblock  drama  starring  Flor- 
ence Reed.  This  is  the  story  of  a  sinning 
woman's  life,  seventy-five  years  of  il. 

Liberty. — "The  Rise  of  Rosie  O'Reilly." 
A  lively  musical  comedy  by  George  M. 
Cohan,  with  Virginia  O'Brien,  Emma 
Haig,  Jack  McGowan,  Bobby  Watson  and 
others. 

Little. — "Chicken  Feed."  A  comedy 
dealing  with  small-town  life,  setting  for- 
ward what  happens  about  the  fifteenth 
year  of  married  life.  Roberta  Arnold  is 
featured. 

Longacre. — "Little  Jessie  James."  A 
musical  comedy  with  Nan  Halperin  as 
Little  Jessie.  The  Paul  Whiteman  band, 
dubbed  the  "James  Boys,"  takes  care  of 
the  orchestration. 

Lyceum. — "Little  Miss  Bluebeard."  A 
diverting  musical  drama  in  which  the 
piquant  comedienne,  Irene  Bordoni,  is 
equipped  with  four  delightful  songs  and 
twice  that  number  of  delightful  gowns. 
The  climax  reveals  a  situation  that  comes 
as  a  complete  surprise  to  nine-tenths  of  the 
audience. 

Henry  Miller. — "The  Changelings."  A 
comedy  by  Lee  Wilson  Dodd.  The  cast 
includes  Henry  Miller,  the  producer, 
Blanche  Bates,  Ruth  Chatterton,  and 
Laura  Hope  Crews. 

Morosco. — "The  Other  Rose."  A  com- 
edy by  George  Middleton,  adapted  from 
the  French  of  Edouard  Bourdet,  with  Fay 
Bainter,  Henry  Hull,  Effie  Shannon  and 
Carlotta  Monterey. 

Music  Box. — "Music  Box  Revue."  A 
new  edition  of  Irving  Berlin's  extravagant 
display  of  beauty  and  humor. 

National. — "Cyrano  de  Bergerac."  Wal- 
ter Hampden  in  a  perfect  interpretation  of 
Rostand's  poetizing,  swashbuckling  hero 
with  a  grotesque  nose  who  is  in  love  with 
his  cousin  Roxane  (Carroll  McComas). 
The  piece  is  beautifully  mounted  and 
thoroly  worth  seeing. 

Nezv  Amsterdam.  —  "Ziegfeld  Follies." 
The  1923  edition  of  the  Follies  has  many 
of  the  famous  vaudeville  headliners,  in- 
cluding Bert  Wheeler,  and  a  wealth  of 
beautiful  girls. 

Palace. — Keith  Vaudeville.  Always  a 
good  bill,  and  drawing  more  and  more 
talent  from  the  headliners  of  the  regulars. 

Playhouse. — "Chains."  A  drama  in 
which  the  heroine  (Helen  Gahagan)  in- 
sists upon  bearing  her  share  of  the  blame 
following  an  affair  with  a  young  man. 

Plymouth. — "The  Potters."  A  stimulat- 
ing domestic  comedy  by  J.  P.  McEvoy, 
with  Mary  Carroll,  Donald  Meek  and 
Catherine   Calhoun  Doucet. 

Princess. — "Sun  Up."  A  passionate 
tragedy  of  the  North  Carolina  mountain 
folk.  The  widow  Cagle  is  superbly  played 
by  Lucile  La  Verne. 

Punch  and  Judy. — "Go  West,  Young- 
Man."  A  satirical  comedy.  Poorly  acted 
with  the  exception  of  one  member  of  the 
cast,  a  sweet  and  pretty  newcomer,  Kay 
Johnson. 

Republic. — "Abie's  Irish  Rose."  An 
amusing  study  in  temperaments  of  the 
Irish  and  Jew  in  which  the  irreconcilable 
is  reconciled  thru  emotion.  Terrible,  but 
incredibly   popular. 

Rits. — "The  Business  Widow."  A  com- 
edy from  the  German  of  Alexander  Engel 
and  Hans  Sassman,  adapted  by  Gladys 
Unaier,  with  Leo  Ditrichstein,  Lola  Fisher, 
Adrienne   Morrison,  John   Davidson,   Mar- 


jorie  Wood,  Elwood  Bostwick,  Gaby 
Fleury  and  others. 

Selwyn.— "Mr.  Battling  Buttler."  A 
peppy  musical  comedy  about  a  husband 
who  impersonates  a  prize-fighter  having 
tlie  same  name  as  his,  which  enables  him 
to  steal  away  from  his  wile  on  many 
supposed   training  trips.     Very   funny. 

Shubert.  —  "Artists  and  Models."  A 
revue;  the  professional  version  of  the 
Illustrators'  Show.  It  includes  sketches  by 
James  Montgomery  Flagg,  Henry  Wag- 
staff  Cribble  and  Clarence  Buddington 
Kelland.  Adele  Klaer,  who  acts,  paints 
and  writes  poetry  has  the  lead. 

Thirty-ninth  Street.  —  "The  Alarm 
Clock."  A  comedy  adapted  by  Avery 
Hopwood,  from  the  French  of  Maurice 
Hennequin  and  Roman  Coolus.  The  cast 
includes  Blanche  Ring,  Bruce  McRae, 
Marion  Coakly  and  others. 

Times  Square. — "Pelleas  and  Melisande." 
Jane  Cowl  looking  as  beautiful  as  a  fairy- 
book  princess  and  Rollo  Peters  almost  as 
beautiful  as  John  B'arrymore  in  "The 
Jest"  of  a  few  seasons  ago.  Everybody 
looks  beautiful  and  acts  well,  but  the  play 
is  disappointing,  the  fault  of  the  play- 
wright, one  Maurice  Maeterlinck.  Too 
bad,  because  a  great  deal  of  money  and 
brains  have  been   spent  on  the  production. 

Vandcrbilt. — "In  the  Next  Room."  Mrs. 
August  Belmont  offers  a  thrilling  melo- 
drama which  centers  about  the  mysterious 
.murder  of  two  men  in  the  "next  room." 
What  Percy  Hammond  refers  to  as  the 
"Who-done-it?  drama."  Better  than  the 
best  of  this  breed. 

Winter  Garden.  —  "Greenwich  Village 
Follies."  Fifth  edition.  Typical  John 
Murray  Anderson  revue ;  much  beauty,  a 
little  music,  less  wit.     Glorified  vaudeville. 


OSTIA 
By  Gordon  Malherbe  Hillman 

Red-golden  was  the  galley  and  her  sail  was 

dark  as  wine, 
Her  oars  were  flashing  silver  and  her  mast 

was  carven  pine, 
With  awnings  rich  in  silken  stuffs;  amber, 

white  and  corn, 
By  Ostia,  by  Ostia,  before  the  breath  of 

dawn ! 

Clean  from  the  salt  of  marshes,  with  her 

prow  like  a  burnished  brand 
Set  straight  for  the  dim-seen  watchers  on 

the  wall  above  the  sand, 
Whipped    by    the    slashing    spindrift    and 

blinded  by  the  spray 
We  drove  her  into  Ostia  before  the  break 

of   day ! 

Right  gallant  was  the  harbor  in  the  glitter 

of  the  dawn 
With    sails    in    blue   and   crimson   and   the 

roadstead  dull  saffron, 
And  all  the  flags  aflutter  before  a  haze  of 

trees, 
And  rolling  Roman  sailormen  asleep  along 

the  quays! 


TO   A   CERTAIN   MAN 
By  Mary»Carolyn  Davies 

You  are  not  worth  two  women's  thought, 
Too  small  a  man  to  make  such  stir ; 

For  this,  and  not  because  I  ought, 
I  give  you  up  to  her. 

I  have  no  will  to  be  unkind, 

Only  relief  that  all  is  done ; 
I  can  but  hope  that  she  will  find 

Enough  in  you  for  one. 


(Eight) 


She  Dares  to  TeUtheTruth 
About  Love  and  Marriage/ 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
■mazing  book  that  should  be  read  by  every  man  and  woman 
-  manned  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
— it  is  a  penetrating  searchlight  fearlessly  turned  on  the  most 
intimate  relations  of  men  and  women.  Read  below  how  you  can 
get  this  daring  book  al  our  risk      without  advancing  a  penny. 


WILL  you  marry  the  mar. 
you  love,  or  will  you  take 
the  one  you  can  get? 

I      i  husband  stops  loving  his 

r. becomes  infatuated  with 

another  woman,  who  is  to  blame 

— the  husband,  the  wife,  or  the 

"other  woman?  " 

Will  you  win  the  girl  you  want , 
or  will  Fate  select  your  Mate? 

Should  a  bride  tell  her  husband 
what  happened  at  seventeen? 

Will  you  be  able  to  hold  the 
love  of  the  one  you  cherish — or 
will  your  marriageend  in  divorce? 

Doyouknowhowtomakepeople  likeyou? 

IF  you  can  answer  the  above  questions — 
if  yoi»  know  all  there  is  to  know  about 
winning  a  woman's  heart  or  holding;  a 
man's  affections — you  don't  need  "The 
Philosophy  of  Love."  But  if  you  are  in 
doubt — if  you  don't  know  just  how  to 
handle  your  husband,  or  satisfy  your  wife, 
or  win  the  devotion  of  the  one  you  care 
for — then  you  must  get  this  wonderful 
book.  You  can't  afford  to  take  chances 
with  your  happiness. 

What  Do  YOU  Know 
About  Love? 

DO  you  know  how  to  win  the  one  you 
love?  Do  you  know  why  husbands, 
with  devoted,  virtuous  wives,  often  be- 
come secret  slaves  to  creatures  of  another 
"world" — and  how  to  prevent  it?  Why  do 
some  men  antagonize  women,  rinding  them- 
selves beating  against  a  stone  wall  in  affairs 
of  love?  When  is  it  dangerous  to  disregard 
convention?  Do  you  know  how  to  curb  a 
headstrong  man,  or  are  you  the  victim  of 
men's  whims? 


ELINOR  GLYN 
The  Oracle  of  Love 


What  Every  Man  and 
Woman  Should  Know 


-how  to  win   the    man 

you  love, 
-now  to  win  the  girl  you 

want, 
-how  to  hold  your  hus- 
band's love 
-how    to   make    people 

admire  you. 
-why  "petting  parties" 

destroy    the    capacity 

for  true  love, 
-why    many    marriages 

end  in  despair, 
-how  to  hold  a  woman's 

affection, 
-how  to  keep  a  husband 

home   nights, 
-things   that  turn  men 

■gainst  you. 

to  make  marriage 

a    perpetual    honey- 
moon. 
—the  "dancer  year"  of 

married  life. 


— how  to  ignite  love — 
how  to  keep  it  naming 
— how  to  rekindle  It 
if  burnt  out. 

— how  to  cope  with  the 
"hunting  instinct"  in 
men. 

— how  to  attract  people 
you  like. 

— why  sonic  men  and 
women  are  alwa>  s  lov- 
able, regardless  of  age. 

— are  there  any  real 
grounds  for  divorce? 

— how  to  increase  your 
desirability  in  a  man's 
eye. 

— how  to  tell  if  someone 
really  loves  you. 

— things  that  make  a 
woman  "cheap"  or 
"common." 


1  to   you    know   how   to  re- 
tain a  man's  affection  always? 

J  low  to  attract  men?  Do  you 
know  the  things  that  mo4  irri- 
tate a  man?  Or  disgust  a  woman? 
Can  you  tell  when  a  man  really 
loves  you — or  must  you  take 
his  word  for  it?  Do  you  know 
what  you  MIST  NOT  DO  un- 
less  you  want  to  he  a  "wall 
flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that 
make  women  like  you?  Why  do 
"wonderful  lovers"  often  be- 
come thoughtless  husbands  soon 
after  marriage — and  how  can 
the  wife  prevent  it?  Do  you  know  how  to 
make  marriage  a  perpetual  honeymoon? 
In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places  a 
magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.  No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty, 
deep  sincerity,  and  resolute  courage.  But 
while  Madame  Glyn  calls  a  spade  a  spade 
— while  she  deals  with  strong  emotions 
and  passions  in  her  frank,  fearless  man- 
ner— she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book 
can  safely  be  read  by  any  man  or  woman. 
In  fact,  anyone  over  eighteen  should  be 
compelled  to  read  "The  Philosophy  of 
Love";  for,  while  ignorance  may  some- 
times be  bliss,  it  is  folly  of  the  most  danger- 
ous sort  to  be  ignorant  of  the  problems  of 
love  and  marriage.  As  one  mother  wrote  us: 
"I  wish  I  had  read  this  book  when  I  was  a 
young  girl — it  would  have  saved  me  a  lot 
of  misery  and  suffering. " 

Certain  shallow-minded  persons  may 
condemn  "The  Philosophy  of  Love."  Any- 
thing of  such  an  unusual  character  generally 
is.  But  Madame  Glyn  is  content  to  rest  her 
world  wide  reputation  on  this  book — the 
greatest  masterpiece  of  love  ever  attempted ! 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Philosophy  of  Love."  Simply 
fill  out  the  coupon  below — or  write  a  letter 
— and  the  book  will  be  sent  to  you  on  ap- 
proval. When  the  postman  delivers  the 
book  to  your  door — when  it  is  actually  in 
your  hands — pay  him  only  $1.98,  plus  a 
few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content — read 
it  from  cover  to  cover — and,  if  you  are  not 


more  than  pleased,  simply  send  the  book 
back  in  good  condition  within  five  day3 
and  your  money  will  be  refunded  instantly. 

Over  75,000,000  people  have  read  Elinor 
Glyn's  stories  or  have  seen  them  in  the 
movies.  Her  books  sell  like  magic.  "The 
Philosophy  of  Love"  is  the  supreme  culmi- 
nation of  her  brilliant  career.  It  is  destined 
to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  ex- 
ceedingly difficult  to  keep  the  book  in  print. 
It  is  possible  that  the  present  edition  may 
be  exhausted,  and  you  may  be  compelled 
to  wait  for  your  copy,  unless  you  mail  the 
coupon  below  AT  ONCE.  We  do  not  say 
this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupon 
NOW.  Mail  it  to  The  Authors'  Press, 
Auburn,  N.  Y.,  before  it  is  too  late.  Then 
be  prepared  to  read  the  most  daring  book 
ever  written! 


I~r 


The  Authors*  Press.  Dcpt.  416,  Auburn,  N.  Y 
Please  send  me  on  approval  Elinor  Glyn's  master- 
piece. "The  Philosophy  of  Love."  When  the  post- 
man delix'crs  the  book  to  my  door.  I  will  pay  him 
only  Si.o8,  plus  a  few  pennies  postage.  It  is  under- 
stood, however,  that  thi.»  is  not  to  be  considered  a 
purchase.  If  the  book  does  not  in  every  way  come 
up  to  expectation?.  I  reserve  the  right  to  return  it 
any  time  within  five  days  nfter  it  u  received,  and 
you  agree  to  refund  my  money. 


n 


TV  Luxe  leather  Edition— We  have  prepare*]  a  Lin  r 
tion.   handsomely  hound  tn   Roval  Blue  lienuine   Leather  and 
l-ttrrrd  in  Cold,  with    Cold  Topi  and  Hlur  Silk  Marin 
ptp#n»B  spared— makes  a  fforireous  gift.     If  you    prefer  this 
I  -ather  edition — a*  moat  people  do — simply  *i«?n  below, 
place  a  cross  in  the  little  square  at  the  right,  and  par 
the  postman  only  S2.98  plus  poscajre. 


□ 


Name 

your  name  and  address  plainly) 


<  it  j    ind  State. 


IMPORTANT 


i  possible  that  you  mar  not  be  at  home 
cost  man  call*.  *end  cash  in  advance.  Also  if  you  re- 
tide  outside  the  U  S.  A.,  payment  mu-t  be  made  in  advance 
Reirular    Edition    12.12       Leather    Edition,    ti.tl.     Ci.-h    with 


■     cou 


J 


(Nine) 


After  Thirty— ran  a  woman  still  gain 

the  charm  ofJ4  Skin  You  Love  to  Touch "? 


OOME  women  have  a 
better  complexion  at 
thirty  or  thirty-five  than 
they  ever  had  in  their 
twenties. 

The  reason  is  simply 
that  they  have  learned  to 
take  better  care  of  their 
skin. 

At  twenty,  contrary  to 
popular  tradition,  a  girl's 
complexion  is  often  at 
its  worst. 

Too  many  sweets  — 
late  hours — and,  above 
all,  neglect  of  a  few 
simple  rules  of  skin  hy- 
giene, result  in  a  dull, 
sallow  color,  disfiguring 
blemishes,  and  ugly  little 
blackheads. 

By  giving  your  skin 
the  right  care  you  can 
often  gain  a  lovelier  skin 
at  thirty  than  you  ever 
had  before. 

Remember  that  each 
day  your  skin  is  chang- 
ing; old  skin  dies  and  new  takes  its 
place.  Whatever  your  complexion 
has  been  in  the  past — by  beginning, 
now,  to  give  this  new  skin  the 
treatment  it  needs,  you  can  gradu- 
ally build  up  a  fresh,  clear,  radiant 
complexion. 

The  cause  of  blackheads 
and  blemishes 

Blackheads  are  caused  by  dirt  and 
oil  collecting  in  the  pores  of  your 
skin.  A  large-pored  skin,  or  one 
that  is  much  exposed  to  dust  and 
soft'Coal  smoke,  is  especially  sus- 
ceptible  to  blackheads.  Blemishes 
are  generally  the  result  of  infection 
from  bacteria  carried  by  dust  into 
the  pores. 

Don't  neglect  delects  like  black- 

Copyright.  1923,  by  The  Andrew  Jergens  Co. 


Often  the  best  of  life  doesn't  begin  for  a  woman  until  she 
is  thirty.  Often  it  is  only  then  that  she  begins  to  realize 
herself  and  her  otvn  possibilities.  Don 't  think  of  your  age, 
ivhatever  it  is,  as  a  limitation — think  of  it  as  an  oppor- 
tunity! Use  the  knowledge  you  hare  gained  from  life  to 
overcome  past  faults  and  disadvantages.  Make  up  your 
mind  to  be  lovelier  every  year — and  you  will  be! 


A  Special  Treatment  for 
Blackheads 

Every  night  before  retiring, 
apply  hot  cloths  to  your  face 
until  the  skin  is  reddened. 
Then  with  a  rough  wash- 
cloth work  up  a  heavy  lather 
of  Woodbury's  Facial  Soap 
and  rub  it  into  the  pores 
thoroughly,  always  with  an 
upward  and  outward  mo- 
tion. Rinse  with  clear  hot 
water.then  with  cold.  If  pos- 
sible rub  your  face  for  thirty 
seconds  with  a  piece  of  ice. 
To  remove  blackheads  al- 
ready formed,  substitute  a 
flesh  brush  for  thewashcloth 
in  this  treatment.  Then  pro- 
tect the  fingers  with  a  hand- 
kerchief and  press  out  the 
blackheads. 

Special  treatments  for  each 
different  skin  need  are  given 
in  the  booklet,  "A  Skin  You 
Love  to  Touch,"  which  is 
wrapped  around  every  cake 
of  Woodbury's  Facial  Soap. 
Follow  the  treatment  you 
need  regularly  and  see  how 
much  clearer  your  skin  will 
become  and  what  a  world  of 
difference  it  will  make  in  its 
attractiveness. 


heads  or  blemishes.  They  can  easily 
be  overcome  by  the  following  two 
treatments : — 

To  Free  your  Skin  from  Blemishes 

Just  before  you  go  to  bed,  wash  in  your 
usual  way  with  warm  water  and  Wood- 
bury's Facial  Soap,  finishing  with  a  dash 
of  cold  water.  Then  dip  the  tips  of  your 
fingers  in  warm  water  and  rub  them  on 
the  cake  of  Woodbury's  until  they  are 
covered  with  a  heavy,  cream-like  lather. 
Cover  each  blemish  with  a  thick  coat  of 
this  and  leave  it  on  for  ten  minutes,  then 
rinse  very  carefully,  first  with  clear  hot 
water,  then  with  cold. 

Use  this  treatment  until  the  blem- 
ishes have  disappeared,  then  con- 
tinue to  give  your  face,  every  night, 
a  thorough  bath  in  the  regular 
Woodbury  way,  with  Woodbury's 
Facial  Soap  and  warm  water,  end- 
ing with  a  dash  of  cold  water.  In 
this  way  you  can  guard  against  a  re- 
appearance of  the  blemishes. 


Get  a  cake  of  Woodbury's 
today,  at  any  drug  store  or 
toilet  goods  counter.  A  25-cent  cake 
of  Woodbury's  lasts  a  month  or  six 
weeks  for  regular  use,  including  any 
of  the  special  Woodbury  treatments. 
Woodbury's  also  comes  in  convenient 
3-cake  boxes' 

Three  Woodbury  skin  preparations 
— guest  size — for  10  cents 

The  Andrew  jergens  Co. 

902    Spring  Grove  Ave.,  Cincinnati.  Ohio 
For  the  enclosed  10  cents  —  Please  send  me  a 
miniature  set  of  the  Woodbury  skin  prep- 
arations, containing: 

A  trial  size  cake  of  Woodbury's  Facial  Soap 
A  sample  tube  of  Woodbury's  Facial  Cream 
A  sample  box  of  Woodbury's  Facial  Powder 
Together  with  the  treatment  booklet,     "A  Skin  You 
Love  to  Touch. " 

If  you  live  in  Canada,  address  The  Andrew 
Jergens  Co..  Limited,  902  Sherbrooke  St., 
Perth,  Ontario.  English  Agentt.H.  C  Quelch 
&Co.,4LudgateSquare,  London,  E.  C  4. 


Name 


Street  , 


City 


State. 


Cut  out  this  coupon  and  send  it  to  us  today 


(Ten) 


# 


'. 


.  ».-**      * 

'■'  •"■rfk 

>» 

RV 

^*\ 

r 


Now  That  Winter's  Here — 

"IF  winter  comes,  can  spring  be  far  behind — "  was  first  the  thought 

of  a  poet,  and  then  a  novelist  took  it  for  the  theme  of  his  story. 
Now  we  are  moved  thereby,  to  a  brief,  humble  editorial. 

For  winter  is  here,  in  fact  and  fancy,  for  numberless  motion-picture 
workers.  The  shut-down  of  so  many  of  the  big  studios,  even  tho  it  is 
temporary,  has  turned  the  world  upside  down  for  great  and  small  alike  in 
this  industry.  But,  of  course,  anyone  with  half  an  eye  could  see  that  things 
could  not  go  on  the  way  they  were :  with  production  costs  mounting  higher 
and  higher;  pictures  in  quantity  piling  up  and  piling  up:  salaries  going  the 
same  gait  from  prop  boy  up ;  time,  meaning  money  being  flung  away  ; 
competition  forcing  the  expenditure  of  unprecedented  sums,  and  so  on  and 
so  forth,  ad  nauseam. 

Now  there  never  was  a  great  revolution  accomplished  without  the 
shedding  of  blood.  No  change,  however  trivial,  has  ever  taken  place 
without  a  disturbance  of  some  sort.  There  can  be  no  readjustment  with- 
out pain.  And  you  who.  are  down  in  the  valley  now,  who  are  out  of  jobs 
and  facing  the  chill  of  an  unknown  future,  no  matter  how  intolerable  you 
find  the  situation,  take  heart.  The  discomfort  and  suffering  is  only  a 
question  of  time — nothing  else ;  and  when  you  know  a  thing  is  temporary 
and  will  pass,  you  can  stand  it.  If  one  just  finds  the  courage  to  stick  it 
out — why  spring  will  come  again,  and  the  movies  and  its  great  army  of 
adherents  will  once  more  take  their  rightful  places  in  the  sun. 

These  things  we  know  to  be  true. 


^raph   by   Aug.   Rupp,   Berlin 


u 


(Eleven) 


White    Studio 


Billie  Burke 


Not  content  to  be  the  beautiful  wife  of  the  most  noted  beauty 
connoisseur  in  the  country,  Mrs.  Florenz  Ziegfeld,  profession- 
ally known  as  Billie  Burke,  must  add  new  laurels  to  her 
crown  each  year  in  the  drama.  This  year  she  opens  late  in 
a  comedy  whose  title  is  not  yet  announced 


(Twelve) 


Classic's 
Favorites 


These  Two  Men  Are  Classic'^ 
Favorite  Movie  Stars  and  We 
Dont    Care  Who    Knows    It 


Photographs  by  Richee 


Theodore  Roberts  is  the  d.*an  of 
cinema  character  actors.  He  has 
played  more  fathers,  uncles  and 
grandfathers  than  any  other  man 
on  the  screen.  He  is  lovable, 
crotchety,  irascible,  endearing,  un- 
reasonable, peppery,  gallant  and 
adorable  as  the  case  may  be.  He 
has  just  completed  "The  Ten  Com- 
mandments," in  which  he  portrayed 
the  patriarch  Moses  with  great 
dramatic  dignity.  Just  at  present 
he  is  on  tour  in  vaudeville 


The  spectacular  rise  to 
fame  on  the  screen  of 
Ernest  Torrence  is 
known  to  everyone. 
From  the  lightest  of 
musical-comedy  come- 
dians he  became  the 
heaviest  of  moving- 
picture  villains.  He  is 
booked  up  for  months 
ahead  always.  In  "The 
Covered  Wagon,"  altho 
he  was  unregenerate  to 
the  end,  he  had  his  en- 
dearing moments,  and 
in  "Ruggles  of  Red 
Gap"  he  was  wholly 
amusing.  In  "West  of 
the  Water  Tower"  he 
has  a  profoundly  mov- 
ing part — a  disappoint- 
ed father.  We,  person- 
ally, go  to  see  any  pic- 
ture that  boasts  of  him 
in   its  cast 


'Thirteen) 


Music 

Hath 

Charms 

By 

MAUDE  CHEATHAM 


A  great  deal  of  fun  is  poked 
at  the  necessity  for  music  as 
an  aid  to  emotion,  but  it 
really  serves  a  practical  pur- 
pose. Left  is  Gladys  Hulette 
having  her  heart  stirred  by 
the  studio  orchestra.  Below 
is  Marshall  Neilan's  string 
quartette,  of  which  he  makes 
persistent  use  in  all  his 
pictures.  This  shot  was 
taken  during  the  making  of 
"The  Rendez-vous" 


"  /~\  F  all  the  liberal  arts,"  said  Napoleon  the  Great, 

I     J    "it    is   music   which   has   the   greatest    influence 

^~>^     over  the  passions." 

This  pertinent  comment  is  recalled  as  we  contemplate 
an  illuminating  phase  of  the  motion-picture  industry, 
which  is  the  development  of  music  as  a  technical  tool, 
both  in  the  filming  and  presentation  of  photoplays. 

Music  and  drama  have  always  been  more  or  less  closely 
allied  and  as  far  back  as  Shakespeare  and  his  fellow 
dramatists  of  the  Elizabethan  period — which  was  pre- 
eminently an  age  of  minstrelsy — plays  were  studded  with 
exquisite  lyrics  to  be  sung  to  music.  In 
fact,  in  glancing  thru  Shakespeare's 
few  stage  directions  there  will  be  found 
many  such  orders  as  "Music  and  Song," 
clearly  showing  his  idea  of  combining 
the  two  arts  in  telling  a  story. 

The  dramatic  use  "of  music  probably 
had  its  birth  in  the  early  melodramas 
which  interpolated  incidental  melodies  to 
create  atmosphere  and  heighten  certain 
effects.  The  suggestion  of  the  raging 
storm — the  villain's  deadly  work  and  the 
pensive  home  -  coming  of  the  lovely 
heroine — all  these  were  intensified  by  de- 
scriptive music.  It  glorified  the  love 
scenes  too,  endowing  them  with  the 
glamour  of  romance  that  even  the  clever- 
est actor  and  stage  setting  failed  to  meet. 

Every  human  emotion  has  its  own 
musical  note,  or  perhaps  a  combination 
of  notes  that  coincides  and  emphasizes  its 
meaning. 

Richard  Wagner's  wonderful  success 
in  setting  great  dramatic  themes  to  music- 
is  given  a  concise  description  by  Bernard 
Shaw,  an  ardent  admirer  of  the  composer. 
He  says:  "The  main  leading  motifs  are 
so  emphatically  impressed  upon  the  ear 
while  the  spectator  is  following  a  strong 


dramatic  expression  that  a  requisite  association  is  formed 
unconsciously." 

This  is  precisely  what  is  being  done  today  in  motion 
pictures. 

To  Geraldine  Farrar  is  given  the  credit  of  first  realizing 
the  tremendous  aid  music  brings  to  actors  and  directors 
in  their  work  before  the  camera. 

When  she  began  filming  her  operatic  success,  "Carmen/' 
Miss  Farrar  found  it  impossible  to  get  into  the  spirit  of 
the  story  without  the  familiar  music  and  asked  that  the 
score  be  played  in  the  studio  the   same  as  if   she  were 


(Fourteen) 


illg    III     till'    lllC.lli  !  \o\\     tin-' 

seldom  a  -mil   demanding  emotional 
ression  i  I  wit   is  made  without  ap 
iate  musical  setting 
The  great    studios   in    I  loll)  wood 
ilarl)    emplo)    mans    skilled   mu 
ins,  read\    \\  itli  a  large  repei  I 
in  ordei    to   inert   .ill   dramatic   exi 

While    1  irge    orchestras    are    Fre- 
quentl)   neede<l   for  certain  elaborate 
es,   the    usual    combination    con- 
-  of   a   piano   or    movable   organ, 
in  and  cello,  which   furnishes  the 
accompaniment     for    tie    tense    mo- 
ments  that    thrill    thousands   of    film 
s  thruout  the  world. 
Under    tins    influence    the    actor 
loves      his      self -consciousness      and 
readily  drops  into  a  natural  grace,  as 
well   as    responding    to   the   rhythm, 
emotionally. 

It  quickens  the  blood  that  warms 
the  heart  and  tho  the  wise  ones 
insist  that  its  appeal  is  only  to  the 
emotions— never  binding  the  intelli- 
gence, for  it  carries  no  definite  ideas, 
it    certainly    creates    eloquent    hack- 


At  the  top  of  the  page  is 
Glenn  Hunter  making  a  scene 
from  "West  of  the  Water 
Tower."  Note  the  three 
musicians  doing  their  best  to 
help  Glenn  toward  the  proper 
mood.  Above  is  Jane  Novak 
playing  for  Victor  Schert- 
zinger  and  her  sister  Eva  on 
the  studio  organ.  It  doesn't 
seem  to  be  going  so  well. 
Right:  Music  is  a  very  pleas- 
ant accompaniment  to  kiss- 
ing, we  are  sure  Monte  Blue 
thinks,  and  doubtless  Irene 
Rich  finds  it  pleasant  too — 
the    music,    we    mean 


grounds  upon   which   the  sentiments  and   passions   play. 

Cecil  De  Mille  keeps  a  violinist  on  his  pay-roll  the  vcar 
around  and  uses  this  music  for  every  scene.  When  the 
occasion  demands  it.  he  adds  other  instruments.  This 
he  does  entirely  for  his  players  and  he  allows  them  to 
choose  their  favorite  selections. 

He  believes,  however,  that  music  lessens  the  director's 
critical  capacity,  which  should  be  ever  active,  and  I  have 
seen  him  many  times  sitting  with  his  fingers  in  his 
as  he  watched  a  scene  being  filmed  to  the  seductive 
music  of  a  splendid  orchestra.  For  this  reason  too.  Mr. 
De  Mille  insists  that  his  players  keep  their  voices  pitched 
very  low — he  does  not  want  to  be  swayed  by  the  quality 
of  their  tones,  which  form  a  subtle  avenue  for  emo- 
tional expression — and  one  to  which  he  is  peculiarly 
susceptible. 


(Fifteen) 


CLASSIC 


Left:  Ruth  Dickey 
and  her  ten-piece 
orchestra  were 
transported  on  sand 
sleds  to  the  sandy 
desertlike  location 
Cecil  De  Mille  se- 
lected for  some  of 
the  scenes  of  "The 
Ten  Command- 
ments."  In  the  pic- 
ture Charles  de 
Roche  and  Leatrice 
Joy  take  a  hand  to 
"s  p  e  1 1"  the  musi- 
cians. Below  is 
Eric  von  Stroheim 
and  his  regular  or- 
chestra on  a  peak  of 
the  P  a  n  a  m  i  n  t 
mountains  on  the 
edge  of  "D  e  a  t  h 
Valley."  Altho  heat 
prostrations  threat- 
ened, they  played 
away  for  the  suc- 
cessful climax  of 
"Greed" 


He  often  tells  his  cast:  "Remember,  cameras  have 
no  ears.  Act  your  feelings.  Dont  be  content  to  speak 
them.  When  the  picture  is  shown  on  the  screen,  it  must 
stand  on  the  acting  and  nothing  else." 

In  his  new  mammoth  production,  "The  Ten  Command- 
ments." music  has  become  one  of  the  several  fascinating 
elements  in  the  upbuilding  of  the  various  periods  in 
which  Mr.  De  Mille  seeks  to  interpret  the  Mosaic  Law. 

Fred  Niblo  always  has  music  when  directing  his  master- 
pieces. In  studying  the  reactions  of  his  actors  to  this 
influence  he  has  made  a  significant  discovery.  Said  he : 
"I  find  that  women  respond  far  more  readily  to 
melodies  played  in  the  lower  register  and  men 
to  those  pitched  in  the  treble.  This  is  but 
the  natural  psychological  attraction 
of  masculine  and  feminine  in 
tone." 

With  an  eight-piece  orches- 
tra playing  the  dramatic  arias 
from     "Pagliacci,"     as     in- 
spiration  for  a   series   of 
tragic  scenes  being  made 
by  the  strolling  players 
in  his  new  production, 
"Scaramouche,"    Rex 
Ingram  stopped  to  re- 
mark   that    everyone 
responds  to  music  to 
some  degree. 

"I  know  little  of  the 
technique  of  this  art," 
said  Mr.  Ingram,  "yet        \ 
a  Wagnerian  opera 
stirs  me  tremendously. 
While  I   invariably  use 
music  in  my  scenes,  delv- 
ing   into    the    preferences 
and  prejudices  of  my  play- 
ers to  find  what  moves  them, 
I  believe  it  must  be  used  care- 
fully, for  it  gives  a  false  stimulus 
to  the  action.     Sensitive  natures  de- 
pend   upon    the    emotionalism   of    the 
music  to  carry  their  scene  rather  than  their 
own  acting.     They  are  so  swayed  by  the  rhythm 


that  they  think  they  are  expressing  it  thru  pantomime 
when  in  reality  they  are  merely  feeling  and  their  body 
is  placid." 

The  many-sided  brilliance  of  Eric  von  Stroheim  would 
naturally  include  a  knowledge  of  music.  He  plays  the 
violin  like  a  professional  and  brings  to  it  that  vitality  that 
characterizes  his  other  achievements.  Understanding 
music  and  human  nature  so  perfectly,  this  genius  arranges 
his  music  scores  as  he  plans  his  continuity,  practically 
making  an  opera  of  his  pictures  while  filming  them. 
(Continued  on  page  86) 


(Sixteen) 


Mme.   Olga   Petrova 


Tow  nsrn'i 


This  brilliant  Polish  woman  has  trifled  with  many  arts,  obtaining  a  measure  of  success 
in  all  she  has  touched.  At  once  a  playwright,  an  actress,  an  author,  a  poet,  a  producer 
and  director,  a  magnificent  poseuse,  she  still  retains  a  beautiful  feminine  charm  and  an 
incomparable  social  grace.  Someone  has  said  that  glamour  never  happens  on  women 
who  do  things.  But  Olga  Petrova  is  glamourous.  She  is  at  present  on  tour  acting  in 
a  condensed  version  of  her  own  play,  "The  Hurricane" 


(Seventeen  j 


The  Mutual 

Admiration 

Society 

By 

HARRY  CARR 


Blanche  Sweet  takes  two  pages  to  tell 
what  she  thinks  of  her  husband;  but 
Marshall  Neilan  heeded  only  two  lines 
to  tell  what  he  feels  about  his  wife 


Left  is  a  recent  portrait  of  "the  most  extraordi- 
nary personality  on  the  screen,"  Blanche  Sweet. 
Below,   as   Anna   Christie   in    O'Neill's   drama   of 
that  name 


AMI 

Edwin   Bower  Hesser 


I  HAVE  always  wondered  about 
these  stars  who  are  directed  by 
their  own  husbands. 

Whether  at  the  breakfast  table  the 
lord  and  master  tastes  the  coffee  and 
says :  "This  is  worse  than  your  close- 
up  in  that  love  scene  in  the  third 
reel." 

Or  if  perhaps  she  waits  until  he 
gets  his  face  iathered  and  he  is  slid- 
ing down  the  difficult  slope  north  of 
the  upper  lip  before  she  reproaches 
him  with  giving  all  the  good  scenes 
to  the  vamp  lady  in  the  picture. 

Well,  Blanche  Sweet  says  not. 
Positively  no. 

Her  husband  is  Marshall  Neilan. 

A  great  many  picture  experts  agree 
with  Blanche  that  he  is  the  one  great 
genius  that  the  cinema  has  thus  far 
produced. 

He  and  Blanche  have  been  in 
pictures  together  since  the  early 
Biograph  days  when  she  was  a  little 
dancer  called  in  for  a  special  scene  in 
one  of  the  first  Griffith  pictures  and 
""Mickie"  was  a  boy  driving  an  auto- 
mobile. 

The  writers  of  "success  stories" 
like  to  refer  to  Marshall  Neilan  as 
the  chauffeur  who  became  one  of  the 
greatest  directors  in  the  world.  Far 
be  it  from  me  to  crush  the  illusions 
and  artistic  yearnings  of  any  gent 
now  piloting  a  taxicab ;  but  the  fact 
is  Mickie  was  an  actor  and  the 
ravishingly  handsome  young  Valen- 
tino of  his  day  on  the  screen  while 


(Eighteen  > 


,'l  ASSH 


still  ,i  mere  bo)      1 1 is  auto  <  areei  was 
But,  anyhow,  this  is  what  Blanche  u 

■  i  |i,\   are  .ill  w  i  ong  about   Mi<  kie 
iround  the  studio  thinks  that   Mickie 
less,  happ\  go-luck)    idlei    who   drif 
to   the   studio   and    just    sorl    of   ma 
thing  up  as  he  goes  along. 

I    used   to  think   so  myself   unti 
were  mai  i  ied. 

"  rhe  fact  is  that  Mickie  is  doing  1 
hardest   work  when  he  appears  to  be 
pla\  ing 

"I  can  always  tell  at  home  when 
he  is  working  out  a  big  scene  in  his 
mind.     Our  home  life  straightwa) 
takes  on   an   atmosphere  of   jazz 
and  excitement. 

"Mickie  whuis  me  a  round  to 
jazz  emporiums  at  loud  and  un- 
usual hours  of  the  night.     W  e 
dance  at  ro.nl  houses  and  Mickie 

to    the   best    fox 
trotters     and     we     whirl     thru 
a  round  oi  pleasure  until  1  am 
positively      dazed      and      dizzy. 

"1     have     learned     from     e\ 
perience  to  know  that  at  these 
times.     Mickie    is    working    out 
some  big  situation  in  a  big  story. 

"There  are  many  minds — big, 
creative  minds  which  work  like 
this. 

"No  doubt  there  are  some  crea- 
tive   writers    who    need    quiet    and 


Left  is  another  "Anna  Christie 
character  study.  On  another  pag 
this  photoplay  is  discussed  as  th 
best  of  the  month.  Below  is  th 
Irish  "Mickie"  Neilan  who  rank 
among  the  first  ten  directors  o 
the  screen 

Kvans 


solitude:  but  the  Mickie  Neilans  of  this  world  nt;<<\ 
the  stimulus  of  motion  and  excitement.      It   seen 
rouse  their  thoughts  and  stimulate  their  imaginations 
— just    as    a    race-horse    needs    another    horse 
pace-maker. 

"Mickie  very  seldom  talks  about  his  pictures  al 
home.  I  am  glad  he  doesn't.  It  would  be  miserable 
to  have  a  home  life  made  up  of  Kleig  lights  and  bab) 
spots  and  scenarios. 

"Sometimes  he  brings  up  the  subject  of  some  play 
and  discusses  the  situation.  In  the  earlier  days  of  our 
married  life  I  used  to  torture  my  brain  trying  to  help 
him  with  these  situations.  I  know  better  now.  1 
know  from  experience  that  he  never  really  talks  of 
the  play  he  is  thinking  about.  When  he  talks  of  one. 
I  know  that  he  is  working  out  the  details  of  - 
other  one.  So  1  have  learned  that  the  way  1  can  best 
help  the  family  fortunes  is  to  sleep  with  my  bool 
my  bedside  like  a  fireman  and  be  ready  to  go  tearing 
around  the  dance  halls  and  the  jazz  places  while  im 
talented  husband  wrestles  with  the  muse. 

"Sometimes   it   takes   Mickie   a   long   tithe  to   work 
out  a  story.     1  know  that  he  had  the  idea  of  "The 
{Continued  on  penn   S4  | 


{Nineteen^ 


Odious 


and  Pictorial 


The  "Scaramouche" 
Of  the  Stage 


It  is  interesting  and  a  bit  exciting  to  have  two 
"Scaramouches"  running  on  Broadway  at  the 
same  time.  It  invites — no — it  challenges  com- 
parison. Indeed,  it  makes  comparison  inevitable. 
Classic,  which  serves  the  interests  of  both  stage 
and  screen,  finds  itself  in  a  difficult  position — for 
one  "Scaramouche"  is  unquestionably  superior  to 
the  other.  Making  due  allowance  for  the  limita- 
tions of  both  mediums,  we  believe  the  motion- 
picjure  the  finer,  truer  and  more  entertaining 


White  Studios 


This  is  Sidney 
Blackmer  him- 
self and  above, 
in  the  charac- 
ter of  Andre- 
Louis  Moreau. 
To  us  he  is 
still  Sidney 
BLackmer,  a 
rather  earnest, 
serious  -  mind- 
ed, likable  chap 


Goldberg 


White   Studios 


Above  is  Margalo  Gillmore  as  Aline 
de  Kercadiou,  who  makes  of  her  a 
pretty,  petulant,  sweetly  feminine 
and  altogether  human  and  under- 
standable person.  She  looks  as  pretty 
as  it  is  humanly  possible  in  the  lovely 
soft  colors  of  her  billowing  costumes, 
but  she  did  suggest  the  ladies  that 
conceal  boudoir  lamps,  telephones, 
powder  boxes  and  so  forth 


(Twenty) 


-a 


Comparisons 


Contrasts 


I*he  ' 'Scaramouche" 
Of  tho  Screen 


Ramon  Novarro  in  the  title  role  is  satisfyingly 
picturesque  and  disturbing.  He  swashbuckles  a 
bit,  is  scornful  and  sardonic  at  times,  romantic 
and  tender  at  others.  At  no  time  does  ohe  get  a 
thrill  out  of  Blackmer's  Scaramouche.  It  is 
kindly  and  gentle,  quietly  determined,  persistently 
idealistic  and  not  very  exciting.  This  does  not 
seem  to  us  consistent  with  the  character,  who,  if 
you  recall,  'was  born  with  the  gift  of  laughter 
and  a  sense  that  the  world  was  mad" 


Hoover    Art    Studios 


This  is  Alice  Terry  as  the  Lady  Aline 
de  Kercadiou,  the  beloved  of  Andre- 
Louis.  There  was  a  consistent 
hauteur  and  dignity  in  her  perform- 
ance, tho  we  found  it  less  moving 
than  Miss  Gillmore's.  Even  lacking 
the  undeniable  aid  of  color,  she  was 
surpassingly  pretty.  The  white  wig 
also  helped  the  illusion  of  the  period 


Melbourne   Spurr 


This  is  Ramon 
Novarro  him- 
self, and  we 
call  your  at- 
tention to  the 
similarity  in 
pose  and  cos- 
tume with 
Sidney  Black- 
mer  across 
the  page. 
Above  is  his 
Scaramouche, 
a  romantically 
youthful  and 
beautiful 
figure 


ty-one : 


The  Things 

We  Cant  Escape 

in  the  Movies 


Drawings  and  Text 
by  Eldon  Kelley 


HE  ALWAYS  GETS  HIS  MAN 

It  is  practically  assured  from  the  first  reel  that  no  half-breed 

trader,  however  bent  on  trouble,  can  cope  with  one  of  the 

Northwest  Mounted   Policemen.     No  thrill  here 


THE  CHILD  WHO 

BRINGS    THEM 

TOGETHER 

Lonely  Wall  Street 
husband  —  Social 
Butterfly  wife — 
about  to  live  their 
own  lives  when — 
"Daddy,  is  dat  my 
mumsie?"  lisps  the 
little  child.  Hus- 
band, wife  and  audi- 
ence break  down 


THE     SUPERPRODUC- 

TION,  "WHAT  ARE  THE 

WILD  WIVES  DOING?" 

Containing  for  the  most  part 
a  cut-back  to  ancient  Egypt 
(including  a  few  news-reel 
shots  of  the  late  lamented 
Tut-ankh-Amen's  tomb)  and 
showing  Cleopatra  in  all  her 
glory — and  little  else 


(Twenty- two) 


'Something  old, 

Nothing  new — 
Much  that's  horrowed. 
Naught  that's  truer' 

(With  apologies  to  whoever  said  it  first) 


THE  RURAL  DRAMMER 

Showing  the  indispensable  picket  fence  and  the  compromis- 
ing situation   that  makes  it  hot  for  the   gal.     Ye   Gods  and 
little  Gishes! 


THE  COSTUME  FLOOD 

Imogene,  the  daughter,  mind  you,  of  an  effete 
aristocracy,  disguises  herself  in  boots  and 
britches  and  indulges  in  numerous  imbroglios. 
No  one  penetrates'  her  disguise — but  the 
audience 


THE     INEVITABLE 

WALL  STREET 

STORY 

Adolphus  Mugg, 
financier  and  only 
father  of  the 
beautiful  Miss 
Mugg,  has  just 
lost  all  on  the 
street.  Little  does 
he  dream  that  the 
man  who  ruined 
him  is  the  news- 
boy he  thought- 
lessly ran  over 
years  before  in 
his  Rplls  Royce. 
Does  the  young 
man  marry  Miss 
Mugg  before  the 
show  is  over?  Of 
course! 


"S 


THE 


CINDERELLA 
STORY 


"Oh,"  she  cap- 
tions, "how  you 
frightened  me." 
Poor  thing,  she 
is  working  as  a 
servant  in  the 
mansion  of  her 
aunt,  who  has 
bilked  her  out  of 
her  rightful  for- 
tune. Does  she 
fall  in  love  with 
the  rich  young 
man  next  door? 
Ten  guesses! 


(Twenty- three) 


The  Powers  Behind  the  Screen 


Who's  Who  in  the  Motion-Picture  Business 
By  STANTON   LEEDS 

Editor's  Note. — This  is  the  fifth  and  last  of  the  series  of  five  articles  on  the  busi- 
ness end  of  the  motion  picture  and  a  discussion  and  a  description  of  the  truly  great 
personalities  that  have  put  the  movies  on  the  map 


w<= 


AT 
O. 


about  the  boy  politician,  the  pride  of  the 
P. — what  about  Will  H.  Hays?  In  ducking 
out  of  politics  for  a  fat  job  in  motion  pictures 
did  he  sell  his  Indiana  birthright  for  a  mess  of  pottage? 
Should  he  have  stuck  to  the  Cabinet,  strung  along  with 
President  Harding,  or  was  being  boss  of  the  screen  worth 
more,  as  his  friends  declare? 

Meanwhile,  is  he  boss  of  the  screen  ?  Hardly.  With 
men  like  Adolph  Zukor,  Qarl  Laemmle,  William  Fox, 
to  say  nothing  of  William  Randolph  Hearst  and  Frank 
J.  Godsol  with  their  reorganized  Goldwyn  company,  and 
entirely  forgetting  a  dozen  or  so  other  fast  steppers 
already  in  power  or  rapidly  getting  there — with  these  in 
the  motion-picture  game  is  it  likely  a  Republican  poli- 
tician is  bossing  the  works? 

It  is  not.  The  truth  is  that  Mr.  Hays  is  working  with 
these  men,  his  backers  and  employers,  and  using  his  keen 
political  sense,  his  gift  for  maintaining  harmony,  to  their 
advantage  and  the  screen's.  Outside  of  his  original  mis- 
take, his  calm  acceptance  of  the  weird  belief  that  there 
was  something  the  matter  with  pictures,  that  they  were 
really  naughty,  his  backers  seem  to  feel  that  he  has  done 
very  well. 

But  the  assumption,  very  generally  taken  for  granted 
thruout  the  country,  that  so  far  as  motion  pictures 
are  concerned  Mr.  Will  H.  Hays  is  it  in  the  sense 
that  Judge  Landis  is  it  in  baseball — this  assumption  is 
mistaken.     The  power  behind  the  screen  lies  elsewhere. 

It  is  vested  in  such  as  Zukor, 
whose  history  is  the  history  of 
the  growth  of  pictures  from 
nickelodeon  to  a  big-ten,  three- 
ring  circus ;  in  men  like 
William  Fox,  who  has  fought 
it  alone;  in  such  as  Carl 
Laemmle  and  his  right-hand 
bower,  R.  H.  Cochrane;  in 
such  an  amazing  and  vari- 
ously gifted  person  as  William 
Randolph  Hearst  who,  when 
asked  if  there  were  money  in 
pictures,  replied,  "my  money 
is  in  them." 

There  are  others,  but  for 
the  moment  consider  these — 
consider  Carl  Laemmle  in 
particular.  During  these  ten 
years  when  Zukor  has  been 
large  in  the  limelight,  during 
this  time  when  H.  E.  Aitken 
and  many  others  disappeared 
altogether  from  the  field,  dur- 
ing this  time  that  saw  at 
least  the  temporary  eclipse  of 
such  men  as  Samuel  Goldwyn, 
P.  A.  Powers,  R.  A.  Rowland, 
W.  W.  Hodkinson,  Lewis 
Selznick,  J.  D.  Williams,  R.  S. 
Cole,  J.  Stuart  Blackton  and 
so  on  —  during  this  time 
Laemmle  has  persisted. 


Undeniably  one  of  the  "Powers,"  is  Carl  Laemmle, 
president  of  the  Universal  Pictures  Corporation 


People  got  into  the  way  of  shouting  at  his  pictures, 
Universal  pictures,  "cheap."  But  Universal  went  right 
on.  Others  made  more  expensive  pictures.  Others  went 
under.  Laemmle  and  Universal  went  on.  Year  in,  year 
out,  with  the  pace  pulling  this,  that  and  the  other  runner, 
Laemmle  kept  them  coming  to  see  his  pictures. 

The  price  seemed  to  please  them,  and  the  pictures,  and 
when,  all  of  a  sudden,  out  of  a  clear  sky,  this  same  Carl 
Laemmle  produced  the  most  expensive  picture  ever  made, 
it  seemed  time  to  seek  information  concerning  this  in- 
dividual who  kept  his  head  above  water  where  so  many 
others  had  drowned. 

It  seems  that  the  man  knows  figures.  Others  may  guess 
about  art  and  have  all  sorts  of  notions,  but  he,  Carl 
Laemmle,  bases  his  ideas  on  bed-rock,  facts,  the  food  of 
the  fattest  bankrolls.  Also  he  remembers  actual  pictures. 
Knowing  what  they  paid,  he  has  a  fair  notion  of  what 
other  pictures  will  pay  if  they  follow  similar  lines,  for, 
after  all,  the  number  of  possible  plots  is  strictly  limited. 
In  short,  the  hot  air  that  artists  and  dreamers  are  given 
to — this  doesn't  bother  Laemmle.  He  has  (and  right  in 
his  head)  the  statistics. 

All  morning  he  studies  these  same  statistics.  In  the 
afternoon  he  sees  anyone  who  calls.  If  the  idea  stands 
the  acid  test  of  the  figures,  it's  a  Universal  idea. 

An  entirely  different  type,  William  Fox  is  generally 
credited  with  being  himself  the  best  film  editor  in  the 
business.     Before  the  time  of  pictures,  he  had  a  small 

vaudeville  circuit  and  he  saw 
the  possibility  of  using  films 
in  those  same  theaters.  Rather 
than  be  dependent,  he  got  into 
the  habit  of  making  his  own 
pictures.  In  more  ways  than 
one,  they  are  his  very  own. 
Either  assertively  masculine 
or  correspondingly  feminine, 
they  have  a  quality  that  keeps 
audiences  saying,  "if  that 
isn't  the  truth!" 

Their  humanity,  their  story 
value,  however,  is  only  part  of 
the  story  so  far  as  William 
Fox  is  concerned.  From 
political  life,  he  picked  as  a 
partner  a  young  Irishman,  a 
former  reporter  and  once 
secretary  to  the  Police  Com- 
missioner of  New  York,  Win- 
field  R.  Sheehan.  A  man 
whose  abilities  are  so  extraor- 
dinary, whose  vision  is  so 
far-sighted  that  he  has  been 
given,  to  hold  him,  almost  a 
controlling  interest  in  the  Fox 
enterprises,  the  boyish  appear- 
ing Winnie  Sheehan  is  one  of 
the  comers  in  pictures,  one  of 
that  industry's  assets. 

His  future  is  problematical, 
{Continued  on  page  85) 


* 


(Twenty-four) 


La  Pucelle 


JOAN   OF  ARC,  THE   MAID   OF   ORLEANS 
Famous  Heroines  No.  V.     Posed  by  Pola  Negri 

Everyone  knows  of  the  peasant  girl  of  Domremy  who  watched  her  sheep  on  the  hillside 
and  saw  the  visions  that  raised  her  from  the  ranks  of  common  mortals;  that  fired  her 
with  the  divine  determination  to  free  her  country  of  the  English  yoke;  that  placed  her 
at  the. head  of  the  armies  of  France,  which  she  led  to  unforgetable  victory.  She  was 
finally  betrayed  into  the  hands  of  her  enemies  and  burned  at  the  stake  in  1431,  when 
she  was  just  nineteen  years  old.  Her  true  story  reads  like  a  golden  legend.  Her 
martyrdom  was  the  most  shameful  in  history,  but  her  glory  redeems  the   dark   past. 


(  Twenty- fire ) 


Foreign 

Cineman  Glances  Over 


Above  is  a  scene  from  a 
German  film  called  "Such  Are 
Men."  Mr.  Ziegfeld's  influence 
seems  to  have  extended  to  the 
Eastern  hemisphere.  Right  is 
the  beautiful  Russian  star,  Mme. 
Kovanko,  who  has  the  lead  in 
a  photoplay  based  on  Tur- 
genef's  "The  Song  of  Love 
Triumphant" 


FRANCE 

THERE  are  certain  advantages  in  failure 
and  the  failure  of  French  films  to  conquer 
the  American  market,  tho  marking  a  defi- 
nite commercial  setback  for  French  .producers, 
is  already  beginning  to  show  artistic  benefits 
which  might  have  been  much  longer  in  develop- 
ing had  the  effort  to  invade  America  been  suc- 
cessful. t  As  pointed  out  last  month,  French  as 
well  as  other  foreign  producers,  with  the  vast 
transatlantic  market  luring  them,  have  been 
concocting  film  monstrosities  supposedly  con- 
ceived after  the  American  pattern  but  in  the 
end  failing  to  be  either  American  or  anything 
else ;  a  mongrel  product  in 
which  American  invention 
was  grotesquely  travestied 
and  European  artistrx 
basely  betrayed.  The  mis- 
take of  the  foreign  produc- 
ers was  that  they  chose  to 
compete  with  America  in 
the  one  field  in  which  they 
had  no  chance,  lavishness 
of  production,  while  they 
ignored  the  one  element 
which  alone  could  place 
them  on  a  footing  with 
American  productions,  the 
advantages  of  Old  World 
background  and  Old  World 
artistry.  This  error  has 
evidently  been  perceived 
now,  and  the  result,  so  far 
as  France  is  concerned,  is  a 
series  of  films  which,  diverging  widely  from  the  American 
standard,  yet  can  hold  its  head  up  beside  the  best  American 
productions.  The  completeness  of  the  about-face  in  French 
film  methods  may  be  seen  in  the  fact  that  within  the  last 
two  or  three  months  at  least  half  a  dozen  productions  have 
appeared  in  which  extreme  simplicity  of  setting  is  the  rule 
and  in  which  the  native  soil  is  dramatized  and  native  talent 
is  given  the  full  burden  of  the  film. 

A  beginning  in  this  direction,  and  a  most  successful  one, 
was  made  with  "Crainquebille,"  Anatole  France's  master- 
piece, with  the  star  role  entrusted  to  De  Feraudy,  one  of  the 


Above  is  Pedro  de  Cordoba  in  an 
English  film,  "I  Will  Repay."  Right 
is  a  scene  from  the  picture  version 
of  Mallarme's  immortal  poem, 
"Genevieve" 


(Twenty-sir) 


Films 


Tho  European  Studios 


neatest   character   actors   in    Prance.     I 
foot  of  this  film  is  French,  with  no  effort  to 
disguise  us  nationality,  and  the  result  was  thai 
it  was  sold  at  once  for  the  American  market 
This  success  has  paved  the  wa>  for  a  aeri< 
productions   in  the  same  manner,   real   native 
products,  both  subject  and  treatment   faithful 
to  the  -"il  and  spirit  of  France,      ^mong  the 
new   films  of  this  kind  arc  "Little  Jacques," 
[tales    Claretie's    classic,    a     French    "Oliver 
Twist"  with  a  strong  strain  of  Gallic  intensity 
running    thru    it;    "Genevieve,"     Mallarme's 
classic  pastoral  romance,  picturized  with  all  its 
beauty  and  poetry  charmingly  preserved;  "The 
Urchin     of     Paris."     a     homely,     humorous 
domestic  drama  which  loses 
none  of  its  interest    tor  be- 
ing   written     for    an    older 
generation  .      "Faith  fill 
Heart."    the    traged)    of    a 
French  port  town  against  a 
sombre  background  of  har- 
bor life ;  and  several  other 
films  of  a  kindred  nature. 

Pictorially,  "<  renevieve" 
is  perhaps  the  most  beauti- 
ful of  the  series,  the  pho- 
tography and  poetic  treat- 
ment being  faultless,  but 
e  m  o  t  i  o  n  al  1  y  "L  i  t  tl  e 
Jacques"  is  the  most  effec- 
tive. The  story  is  hardly 
original,  verging  on  the 
melodramatic,  but  it  is  so 
well  told,  so  truthfully  ex- 
ecuted, as  to  give  the  nar- 
rative the  quality  of  stirring  reality.  The  picture  is  a  great 
advance  over  the  abortive  efforts  d  /'.  linerieaine  which  pre- 
ceded it. 

ITALY 

Simultaneously  with  the  French  reversion  to  native  sub- 
jects and  native  treatment,  the   Italian  producers  reveal  a 
similar    tendency,    after    having    exploited,    like    the    other 
European  producers,  ill-starred  efforts  to  make  films  in  the 
(Continued  on  page  81) 


Above  is  a  Russian  picture 
based  on  the  life  of  the  great 
Shakespearean  actor.  It  is  called 
simply,  "Kean."  Left  is  a  ven- 
detta about  to  be  consummated. 
It  is  from  an  Italian  film  called 
"Supreme  Love."  Below  is  a 
Swedish  picture  romantically 
titled   "The   Eyes  of   Love" 


Left  is  a  bit  from  a  French  film,  so 

typically  French  in  every  aspect  that 

one    might   call    it   "one   hundred   per 

cent.  French" 


(Twenty- seven  > 


Au 

Sauce 

Piquante 

Cinema  Spice  for 
Jaded  Appetites 


.Melbourne   Spurr 


Some  of  us  like 
our  movies  highly 
seasoned,  and  then 
again  some  of  us 
can  take  them  or 
leave  them  alone. 
We  for  one,  like 
them  well  flavored. 
It  saves  mental 
indigestion  any- 
way. We  dont  go 
to  the  movies  to 
be  put  to  sleep,  but 
to  be  entertained, 
and  no  one  can 
deny  the  entertain- 
ment v  a  1  u  e — per 
capita,  we'd  better 
say — of    this    page 


Nickolas   Muray 


Clarence  S.    Bull 


Upper  left:  Norma  Talmadge 
as  an  Ouled-Nail  dancing  girl 
in  "Dust  of  Desire"  is  most 
provocatively  beautiful. 
Above:  Jean  Haskell,  a  little 
Goldwyn  treasure,  gives  a 
pleasant  tang  to  many  an 
otherwise  flat  movie.  Left: 
Dolores  Rousse,  a  delicious 
bit  from  Fox's  box  of  spices 


(Twenty-eight) 


THREE  men.  that  golden 
morning  in  Northern 
Canada,  were  thinking  of 
one  thing,  a  woman,  and  they 
thought  of  her  according  to 
their  three  points  of  view.  To 
Michael  Devlin,  of  the  North- 
west Mounted,  a  woman  was 
something  to  be  possessed.  He 
had  known — and  possessed 
many  in  his  thirty  hard-lived 
years,  but  none  like  this  one, 

wild  and  elusive  and,  for  all  of  her  life  lived  among 
trappers,  miners,  drunken  Indians,  fiercely  virginal.  Rose 
Bocion  .  .  .  the  hoofs  of  his  horse  on  the  hard  forest 
path  beat  out  the  name,  Rose,  a  blossom  to  be  plucked. 
a  fragrance  to  give  delight  or  what  were  roses — or 
women — for? 

With  hot,  desirous  memory  he  conjured  her  up  now 
and  she  danced  before  him  down  the  path,  the  sun 
sprinkled  on  her  dark  hair,  the  young  curves  of  her, 
the  lips  that  invited,  the  eyes  that  mocked,  and  the  look 
of  his  face  was  not  good  to  see.  "Damn  her!"  he 
muttered,  "she  gets  into  a  man's  blood!  I'm  drunk  with 
her.  She's,  a  fever  I've  had  since  that  day  I  found  her 
on  her  raft  drifting  toward  the  Anger  o'  God  Rapids  and 
brought  her  ashore  to  the  Trading  Post.  That  gave 
me  a  right  to  her,  didn't  it?  I  thought  she  felt  it,  too, 
but  last  night " 

His  great  hand  with  the  white  furrow  of  an  old  wound 
across  it  tightened  on  the  reins  with  the  suggestion  of 
crushing  something.  Last  night  he  had  held  her  in  his 
arms,  and  it  had  been  like  clasping  the  wind.  She  had 
not  been  there.  And  when  he  had  demanded  of  Mc- 
Collins,  the  old  factor  who  had  adopted  her,  the  meaning 
of  the  change,  he  sensed  in  her,  that  canny  Scot  had  been 
evasive  and  taken  refuge  in  philosophizing. 

"The  mair  I  know  wummen  the  less  I  know  about 
'em !  But  one  thing  certain,  they  dont  gie  their  love  for  a 
debt  that  is  owed  but  for  a  gift  whaur  they  will." 

Michael    Devlin    uttered    an    oath,    and    because    his 


Tiger  Rose 

Written  in  Short-Story  Form 
by     ' 
DOROTHY  DONNELL 


instinct  was  the  simple  primi 

five  one  of  hurting  when  he 
felt  pain  he  lashed  at  hi-* 
patient  horse.  "If  it's  that 
dude  engineer  chap.  Norton. 
I'll  teach  him  to  meddle  with 
what's  mine!"  he  muttered. 
"When  I  get  back  from  this 
trip  I'll  settle  it— I  didn't  drag 
her  out  of  the  river   for  him 

to  kiss " 

In  the  Company's  Store. 
McCollins  the  factor  was  thinking  about  Rose  too;  the 
anxious,  timid  thoughts  of  old  age  which  knows  humbly 
that  it  is  helpless  to  aid  youth  because  it  speaks  another 
language.  He  had  lived  a  long  existence  here  in  the 
Northland,  he  had  read  few  books,  known  few  people, 
yet  he  had  seen  Life.  When  he  thought  of  Rose  Bocion 
he  thought  of  her  as  a  duty,  something  to  be  guarded, 
protected,  a  flower  to  be  sheltered  from  harsh  storms. 

'"Tis  a  hard  thing."  he  reflected  as  he  sorted  the 
settlement  mail  which  had  just  arrived  by  canoe,  "that 
we  must  pay  so  dear  for  experience  in  this  world  and 
then  'tis  no  use  to  anyone;  we  cant  gie  it  to  them  we  lo'e. 
I  hae  ma  doots  about  this  young  city  mon.  He  doesna  be- 
long up  here  and  Rose  does.  An'  there's  a  look  in  her  eyes 
these  days  that  wummen  dont  wear  unless  the  thocht  o' 
some  mon  puts  it  there.  But  there's  nae  use  meddlin'  wi' 
young  folks.  They  must  cut  their  own  fingers  before 
they  can  learn  that  a  knife  can  hurt,  an'  there's  the  pity  !" 
The  other  man  who  was  thinking  of  Rose  Bocion  wa» 
tall  and  good  to  look  at.  and  wore  his  rough  homespun 
with  an  easy  grace,  all  of  which  the  girl  was  aware  of. 
tho  she  was  not  looking  at  him  as  she  sat  on  the 
broken  oak   limb  swinging  her   feet  and  singing  a  wild 

folk-song  about  a  maiden  who  loved  a  loupyarou 

To  Bruce  Norton,  engineer  in  charge  of  the  railroad 
surveyors,  women  in  general  were  something  of  a 
nuisance;  in  particular,  incomprehensible  creatures  of 
mysterious  moods  who  wanted  to  marry  one.  But  this 
girl   before   him,    with   her   naive   remarks,   her  amazing 


(Twenty-nine) 


simplicity  and  her  beauty  which  was  half  that  of  a  wild 
wood  creature,  and  half  the  age-old  lure  of  Eve.  vaguely 
disturbed  him.  Rose  .  .  .  Rose,  a  flower  of  the  forest 
instead  of  the  garden.  Last  night,  in  his  board  shack  he 
had  written  a  poem  about  her,  called  her  "Tiger  Rose." 

"You  know  about  thas  loupgarou?"  she  asked,  paus- 
ing abruptly  in  her  song.  Under  the  elfin  masses  of  her 
hair  her  eyes  grew  wide  and  solemn,  her  voice  dropped 
a  full  octave  to  the  deeps  of  awe,  "he  is  ver'  bad  to  fall 
in  love  wiz,  because  on'y  half  he  is  nize  han'some  young 
man  and  the  res'  of  the  time  he  is  a  wolf.  The  loup- 
garou eat  the  heart  ri'  out  of  a  girl  who  love  wiz  heem. 
Yes,  thas  so  !    Ask  anybody  !" 

Bruce  leaned  against  a  tree,  arms  folded,  watching  the 
play  of  emotion  on  the  vivid  face  under  lazy  eyelids. 
"You  dont  believe  that,  Rose!     Aren't  you  a  Christian?" 

She  nodded  with  conviction,  "Yas,  I'm  a  Christian, 
sure  as  hell !"  she  affirmed,  and  looked  startled  at  his 
shout  of  laughter,  "all  the 
same  I  know  what  I  know ! 
Me,  I  saw  a  woman  thas 
had  her  heart  eaten  by  the 
loupgarou — always  she  put 
the  hand  over  the  place 
where  the  wolf  man  hurt 
her,  always  she  hunt  for 
heem  wiz  face  that  mek 
like  this  !"  Amazingly  the 
young,  fresh  curves  before 
his  eyes  took  on  haggard- 
ness,  the  eyes  were  haunt- 
ing wells  of  tragedy.   Bruce 


TIGER  ROSE 
Fictionized  by  permission  from  Warner  Brothers' 
production  of  the  adaptation  by  Edmund  Goulding 
of  the  play  by  Willard  Mack.  Directed  by  Sydney 
Franklin  and  personally  supervised  by  David 
Belasco.     The  cast,  starring  Lenore  Ulric: 

Rose  Bocion  ("Tiger  Rose") Lenore  Ulric 

Michael   Devlin Forrest   Stanley 

Father  Thibault. . .' Joseph  Dowling 

Pierre Andre   De    Beranger 

Dr.  Cusick Sam  De  Grasse 

Bruce  Norton Theodore  Von   Eltz 


CLASSIC 

Michael  Devlin  of  the 
Northwest  Mounted 
finds  Rose  Bocion  drift- 
ing down  the  river  on 
a  raft  toward  the 
Anger  o'  God  Rapids, 
pulls  her  out  just  in 
time,  carries  her  back 
to  the  trading  post, 
where  she  collapses 


Norton  straightened 
as  tho  a  whip  lash 
of  memory  had 
flicked  him  on  the 
heart.  His  face  grew 
grim. 

"There  are  men 
who  make  a  woman 
look  like  that — damn 
them  !"  he  said  slowly, 
"I  knew  one  once. 
Wolf  man  fits  him 
very  well.  Wolves  are 
dangerous.  They 
should  be  killed." 

He  got  hold  of  him- 
self hurriedly,  smiled 
at  her.  "Go  on !  Tell 
me  more.  I  know 
you're  not  Mr.  Mc- 
Collins'  real  daughter, 
but  I  dont  know 
whose  daughter  you 
are.  Perhaps  you  just 
growed  like  Topsy — 
that's  the  way  you 
seem,  like  a  part  of 
all  this "  his  ges- 
ture brought  the 
dappled  forest,  the 
blue  rushing  river 
with  the  surveyors  staking  out  a  line  along  it,  the  far  hills 
into  the  woods. 

Sitting  lightly,  swinging  her  feet  in  their  Indian  moc- 
casins, Rose  told  him  her  simple  Odyssey,  her  lonely  child- 
hood in  the 'far  deep  woods  with  only  her  trapper  father 
and   the   tame    wildcat    for   companionship,   her    father's 

death "I  buried  heem,"  she  said  simply,  "the  ground 

was  froze  and  it  was  ver'  hard  work.  He  wanted  a  priest 
to  read  prayers  before  he  died.  He  theenk  mebbe  he  go 
to  hell  wizout.  Me,  I  don'  theenk  so.  Monsieur  le  bon  Dicu 
is  a  gentilhomtne." 

What  a  child  she  was,  Bruce  thought,  feeling  her  words 
tug  at  his  heart.  Before  such  marvelous  simplicity  he 
felt  old  and  disillusioned  and  paternal.  He  was  only 
twenty- four,  and  one  can  be  older  at  twenty- four  than 
at  any  other  age.  "Then  you  came  to  the  settlements?" 
he  prompted,  for  she  had  fallen  into  one  of  her  rich 
silences.     That  was  the  reason  he  had  noticed  her  first 

and  taken  her  from  his 
general  category  of  women 
who  talked  incessantly.  If 
Rose  hadn't  anything  to 
say,  she  said  nothing. 

"I  mek  a  raft,"  she  nod- 
ded, "but  the  river  he  is 
ver'  bad.  I  goin'  be  drown 
mebbe  but  Michael  Devlin 
hear  me  yell  and  comes. 
Papa  McCollins  got  no 
daughter.  I  stay.  Thas 
five  year  now." 

"Michael  Devlin,"  Bruce 


(Thirty) 


i  ISSIC 

frowned,  "the  big  Mounted,  eh       I   suppose  you 
ml  to  linn 

Rose    was    puzzled       Grat'ful:      I    don'    know     thas 
fill-'    He  breeng  me  red  ribbons  from  the  beeg  town. 
It  mu>'  be  ver'  nize  in  the  town  " 

Bruce  shook  Ins  head.  "You'd  hate  il !  Nothing  green 
<>i  sweet  grey,  dirt)  -tone  canyons  where  the  sun  nevei 
ihines,"  be  went  on  to  p. nut  a  sordid  picture  of  ugliness 
and  dirt  and  people,  all  hurrying,  hating  each  other, 
thinking  of  money,  lighting  each  other  for  money,  but 
.it  the  end  Rose  onl)  smiled  She  slid  down  from  her 
branch  and  stood  before  him,  looking  up  with  unwavering 

"But  you  would  be  there,"  she  said.  "]  tink  me  I  lak 
any  place  where  you  wire  there  too!'1 

Under  the  tight  jersey  she  wore  her  low  breasts  n 
and  fell  swiftly.  Her  cheeks  were  the  color  of  sun- 
ripened  fruit,  but  the  warm  tint  did  not  deepen  altho 
Bruce  Norton  could  feel  himself  blushing.  She  was  not 
such  a  child  after  all,  seventeen  or  eighteen  perhaps,  and 
lovel)  enough  to  turn  any  man's  head.  He  adopted  a 
fatherly  tone,  taking  one  hard  little  hand  in  his  own. 
"The  place  for  Roses  is  out  of  doors,  not  shut  up  in  stone 
5!  I'll  send  you  a  picture  of  the  kind  of  houses 
people  live  in  in  the  city  when  I  go  back,  houses  like 
mountains-  — " 

Terror  sounded  in  her  voice,  "You're  going  away,  yas? 
Dont  go!    I  love  you — I  love  you  lak  hell !" 

Bruce  Norton  stood  still,  staring  startled  into  the  im- 
placable  face  of  Memory.  "Think  what  you  came  here  to 
do !  Think  of  the  vow  you 
made  beside  your  mother's 
bed-  your  mother  who  died 
of  a  broken  heart  !  Are  you 
free  to  play  at  love-making?" 

As  tho  lie  could  forget 
for  more  than  a  few  mo- 
ments at  a  time  the  thing 
that  had  brought  him  up  into 
this  wilderness,  the  thing 
that  had  shadowed  his  youth, 
the  thing  that  lay  between 
him  and  any  hope  for  the 
future!  But  just  for  now. 
just  for  a  few  days  might 
he  not  he  free  from  it.  free 
to  he  young  and  happy ? 

He  lifted  the  brown  little 
paw  he  held  and  kissed  the 
back  of  it  ceremoniously. 
"1  in  not  going  a\\a\  yet. 
little  Rose."  he  smiled,  "you 
dont  mean  what  you  just 
said,  of  course.  Some  day 
when  you've  grown  up  voull 
marry  Devlin  or  some  one 
who  lives  up  here  and  be 
very  happy  hut  now  before 
I  go  we'll  be  friends,  wont 
we  ?" 

She  looked  at  him  slant- 
ingly, hid  her  eyes  behind 
smooth  creamv  lids.  "  Ml 
ri"" 


\oii     lak     (has    Into  !  .     I     lal-     thl 

Indian  summci   with  its  poignant  hint 
goldi  •  beauty  and  sunshine  without  pr< 

future,  made  of  the  Northwest  woods  in  th< 
a  magic  place,  an  enchanted  land  to  B 
out  yesterdays  01  tomorrows,    P><  1  ause  he  km 
ness  of  lus  momenl  he  made  the  mosl  of  it.     While  his 
surveyors  languidly   drove  then  while  th< 

murmured  a  background  to  their  voii 
together  under  the  trees  and  he  talked  .is  he  had  n< 
talked  to  anyone  before,  of  the  books  thai  h<   had  • 

the    shy    unspoken    DO)     dreams    he    had    dreamed 

chatted   too.   in   her   quainl    broken    English,   and   made 
wreaths  of  crimson  and  yellow  maple  leaves     Her  mood* 

wire    sudden    in    their   changes,    one    moment    sin 
teasing  elf.  crowned  with  red  haws,  the  next  and  sh< 
become  a  tragedy  queen  reciting  a  weird  folk  I 

And  then  one  evening  at  dinner  in  the  factor'-  house 
McCollinS  said  casual,  )  :  "We're  tae  have  another  I  ni/en 
in  the  settlement.  Meester  Norton,  a  mon  frae  your  own 
part  o'  the  wurruld.  The  new  company  doctor  1-  rooming 
tomorrow.  His  name  is  Glendenning— Robert  'den 
denning." 

Bruce  Norton  laid  down  his  knife  and  fork,  hut  said 
nothing.  Surprised  at  the  silence,  the  old  factor  glanced 
across  the  table  and  saw  a  strange  thing;  he  saw  a  man  die 
before  his  eyes  and  go  on  breathing,  Indeed  in  a  mo 
ment  Norton  spoke,  too.  about  some  trivial  subject,  but  he 
was  a  dead  man  speaking  nevertheless,  a  man  who  had 
definitely  resigned  his  hold  on  life. 


sighed  Tiger  Rose,  "if 


She  came  closer,  her  face 
ghastly.  "They  'ave  foun' 
heem?"  "They  haven't — yet," 
Cusick  snapped,  "the  damn 
fool  could  have  gotten  away — 
but  he  said  he  had  to  come 
back  to  see  you.  Where  can 
we  hide  him?" 


(Thirty-one) 


CLASSIC 


Only  at  the  end  of  the  meal  did  he  refer  to  the  new 
company  doctor.  "Tomorrow,  I  think  you  said  Doctor 
Glendenning  was  to  arrive?" 

McCollins  nodded,  puzzled.  "Aye,  he  wrote  that  he 
wud  drive  himself  froom  the  Landing.  He'll  be  here 
by  noon  I'm  thinkin'.  Do  ye — perhaps  ye  might  be 
knowin'  him?" 

Bruce  Norton  shook  his  head.  His  voice  had  an  edge, 
"I  have  never  had  the  pleasure  of  meeting  the  doctor 
personally.  But  I  had  a — a  friend  who  knew  him  some 
years  ago.    I — have  heard  of  him." 

He  went  out  into  the  darkness  and  presently,  not  know- 
ing where  his  steps  were  lea*-  g  him,  he  found  himself 
in  the  grove  where  he 
had  spent  enchanted 
hours  this  last  week, 
as  a  ghost  returns  to 
the  scene  of  old 
happiness.  The  moon 
was  up  now  and  in 
the  white  light  that 
lay  across  the  grass 
he  saw  Rose,  and  as 
she  came  toward  him 
he  knew  that  she  was 
no  longer  a  child  or 
an  elf  but  a  woman,  a 
woman  to  be  held 
close,  to  be  kissed.  .  .  . 

He    kept    his    arms 
rigid  at  his  sides   for 


Above:  He  started  to 
his  feet  with  the  groan 
of  a  savage  beast  and 
had  made  two  bounds 
for  the  door  when  the 
revolver  in  Rose's  hand 
spoke  shrewishly 


fear  that  they  might  go  out  to  her.  "I  am  going  away, 
Rose,"  he  tried  to  speak  matter-of-factly,  "I  have  some- 
thing I  must  do " 

Her  cry  stripped  the  words  from  his  lips :  "You  tak' 
me  too !  I  will  be  ver'  good — I  dont  be  any  trouble. 
You  tak  me !" 

"I— cant " 

She  was  Tiger  Rose  now,  fighting  for  what  she  wanted. 
"Ees  it  then  some  other  girl?  I  will  keel  her — I  will 
scratch  her  dam  face !  I  will  mek  an  image  of  her  and 
stick  pins  into  her  heart !" 

Bruce  held  the  quivering  little   figure  by  the   wrists. 

"There's  no  one  else,  Rose.     I  cant  explain " 

He  felt  the  fierce- 
ness ebb  from  her. 
The  small  face  under 
the  wild  dark  hair 
seemed  to  shrink  still 
smaller  :  "Then — you 
don'  want  me?  Scuse 
please — Michael  Dev- 
lin, he  lak'  me,  I  didn' 

think " 

Her  agony  awoke 
echoes  in  his  own 
soul,  taught  him  his 
heart  "No,  no.  Rose! 
Not  that,  not  that— 
God,  if  I  only  could 
stay  with  you,  marry 
you,  live  here  all  my 


Left:  Tiger  Rose  in 
agonized  suspense 
watches  the  tramping 
feet  of  her  lover's 
hunter  until  at  last  they 
lead  him  up  to  bed. 
But  they  soon  came 
back 


(Thirty-two) 


years        "    Somehow  she  «.i>  in  his  arms      1 1 1*  \  clung 
thcr,  two  children  frightened  of  the  dark       Against 
haii    Ik-   whispered   wild   things,   1  >r .  >U<.- 1 »    word 
tenderness,  and  at  last  a  little  of  the  truth      Yean  ago  •» 
man  had  wronged  his  sister,  lefl  her  to  die  in  disgi 
l'lu-  shock  had  killed  their  mother.    He  had  been  search 
for  the  man  ever  since,  and  now    he  knew    where 
to  find  him.   .   .   . 

"1   see,"    riger   Rose  said  quietly,  "you  d<>  nol   need 
to  tell  me  what  you  inns'  <\o.    But     afterward     — " 
He  shook  his  head  dumbly,  his  hands,  ^>n  either  side 

Of   her    face    straining    it    hack    to   his   gaze    as    if    he    were 

committing  it  to  memory,  "1  have  given  you  my  trouble 

to  hear."  lie  said  bitterly,  "1  ha\e  made  jPbu  grow  tip. 
Rose      Will  you  ever  forgive  m< 

"Forgive?      I    don'   know   thas    word."   she  smiled   thru 
her    teats.    "1     guess    when    you're    in    love    wil 
someone    thas    all    the    word    you    know  !" 
He    did    not    ki>s   her   good-bye.    be- 
cause he  knew   that   if  he  kissed   her 
he  would  nol  . 

A  heavy-eyed  Rose 
pouring  the  factor's  coffee 
next  morning  when  Mich  J 
Devlin,  wearing  his  uni 
form,  a  g  g  r  essi  vel  y 
brought   his  news. 

"I'll  be  staying  here 
a    few     days,    sir,    if 
you  can  put  me  up." 
he  announced,  por- 
tentously,     "may  he 
y  o  U     haven't 
heard?     There's 
been    murder' 
done !    The  new 
company  doctor 
was    shot    early 
this    morning 
between  here 
and   the    Land- 
ing, and  what's 
more  it's  known 
w  h  o     did     it !" 
He  shot  a  spite- 
ful glance  of 
triumph  at  Rose: 
"no  more  nor  less 
than  the  fine  city 
dude     that's     been 
staying  under   your 
roo  f — one    of    the 
Injuns    s  a w    h  i  m 
running    thru     the 
woods',!" 

McCollins'     cup     went 
down  with  a  clatter.     "So 
that  was  the  meanin'  of  his 
face   last   night!      Deviin,   I've 
been  a  God-fearing  mon  a'  ma 
days,  but  yon  laddie  is  no  common 
criminal.     I  hae  na  doot  the 
mon  needed  a  bit  o'  killin'  an 
I'm  dommed   if    I   dont   hope 
Norton  gets  awa !" 

The  Mounted  Policeman 
laughed  unpleasantly.  "Small 
chance!     We've  got  fifty  men 

on  horseback  beating  up  the  woods — he'll  be  behind  bars 
before  night — ouch!"  he  uttered  a  yelp  of  anguish  as 
R.ose  neatly  overturned  a  cup  of  scalding  coffee  on 
his  hand. 

The  settlement  joined  the  man  hunt.   All  day  the  baying 


The  policeman's  revolver  in  his  hand,  Bruce  came 

to  the  side  of  Tiger  Rose.     "My  brave  little  girl! 

But    it's    no    good,    dear.      I've    decided    to    face 

the   music" 


Of    dogt   and    tin-    fai   "It    ihoUtl   of    till 

the  straining  i  •    Bo<  ioi  d  behind 

i  ounter  in  the  i  oni|  weighed 

out  sugar,  and  measured  ofl  calico  sh<  ing  to  b 

I  e    Bon    I  hell   to   let    hei    I 

Dieu,.you  couldn*  htlp  heem,  but  tnebbe  You  jus' 

the  other  way  one  hi'  minute " 

I  Hisk    hiiti^    like   cobweb*    ui    tl  if    the    room 

when  Doctor  Cusick,  the  settlement  physician,  • 
closing  the  door  behind  him.    He  was  a  middle-aged  man 
with  a  face  chiseled  by  old  emotion  «rorn 

by    Strong  currents.      lie   spoke    rapidly.       "Rose,    I    think 
you  are  a  f^irl  who  can  be  trusted  not  to   faint  or  go  into 

hysterics  if  1  tell  you  something." 
She  came  closer,  face  ghastly,    "I  hey  'ave  foun1  htm?" 
"They  haven'l  yet,"  Cusick  snapped,  "the  damn  fool 

could    have   gotten   away    clean,    but    he   cJlO 

come   back,   said   he   had   to   see   you   again. 
Well,    love's    a   disease    there's    no    cure 

for  but  time!     I   found  htm  on  the 

hack  road  and  brought  him  here. 

under  the  buggy  robes.     Where 

can  we  hide  him  ?" 

She  pointed  to  the  trap-door 

in    the    rough    flooring. 

"Down  there  among  the 

boxes Queek !      I 

hear  them  come.    Mon 

Dieu.    all    the    day    I 

'ave    the   great    fear 

but     now     I      fear 

nothing!      Now 

there   is   somesing 

I  can  do " 

( )ne  moment  she 
stood    folded    in 
Bruce    Norton's 
arms,    then 
violently      s  h  e 
thrust    him 
away.   "W'e  are 
mad!     Me.     I 
t'ink  thas  a  dam 
bad    time    for 
mak'  love." 
"She's  right,  my 
boy !"  Cusick  said 
grimly,  "^et  down 
into  the  cellar.  To- 
morrow we'll  figure 
some    way   to    start 
y  o  u   toward    the 
Stat 
The  trap-door  slid  into 
place.      Rose    turned    to 
the  doctor.  "W "y  you  do 
eet  ?      W"y   you    help   US?" 
usick  looked  suddenly  old. 
"Because  his  shoes  fit  me!"  he 
answered'  slowly,    "if    he    hadn't 
killed    that    skunk    I    should    have. 
You  see   Norton's   sister  hap- 
pened to  be — my  wife.    Hark! 

neone's  coming " 

When    Devlin    opened    the 


door.  Rose,  humming  a  little 

song,      was      measuring      out 

castor-oil  with  a  steady  hand. 

Her  face  had  lost  its  pallor,  her  eyes  shone,  she  gave  the 

policeman  a  gay  nod.     "Mebbe  you  lak'  the  house  to  stan' 

treat  wiz  this,  yas?     Bon  nuit.  Mis'eu  Doctor!     Come  in 

tomorrow  and  see  w'y  Papa  got  him  seek  in  his  back " 

{Continued  on  page  78) 


(Thirty-three) 


Waxman 


Eleanor  Boardman 


Tradition  chained  this  young  girl  to  a  narrow 
path,  bound  her  to  a  past  generation,  linked  her 
with  a  staid  old  family  atmosphere.  But  early 
in  life  she  asserted  her  right  to  be  a  person  on 
her  own  account  and  not  just  an  echo  of  past 
formality.     A  pretty  pioneer,  Eleanor! 


(Thirty-four) 


-J 


Rhythm  and 
Rebellion 

By 

MAUDE  CHEATHAM 


Right  is  a  recent  portrait  and  below  is  Eleanor 
Boardman's  appealing  Amelia  Sedley  in  "Vanity 
Fair."    Her  current  picture  is  "The  Day  of  Faith" 


ELEANOR   BOARDMAN   spells  Re- 
bellion!   You  would  never  gins-,  it 
when   you    sec   her  on    the   screen    in 
those  sweet,  sympathetic  roles  that  have 
brought  a  delightful   rhythm  to  a  num- 
ber of  recent  pictures. 
"That's  just  it."  wailed  Eleanor,  "They 
always  give  me  goody,  goody  parts  when 

1  would  rather  play  characters " 

I  laughed.  It  was  amusing  to  find 
a  girl  with  her  lovely  angelic  face, 
and  eyes  that  flood  quickly  with 
womanly  tears,  craving  to  mask  her 
charms  in  vampire  and  worldly  I 
It  is  nearly  always  the  other  way 

Her    rebellions    date    away    hack. 
In   fact,  they  first  hurst   forth   when 
she  suddenly  discovered  that  her  pio- 
neer spirit  had  been  placed  in  a  staid 
old  Philadelphia  atmosphere.    Accord- 
ing to  the  program,  her  life  la)  cut  and 
dried  before  her.     Traditions  chained 
her  to  a  narrow  path. 

When  she  asserted  her  indepetn' 
to   think    for   herself,    which    she    fre- 
quently   did.    she    was    rebuked.       She 
was   expected   to  be  merely  an  echo   of 
past   generations. 
"Families  are  a  wonderful  institution." 
admitted    Eleanor,   "hut   they  have  a   dis- 
ressing  way  of  arresting  any  development 
individuality.      Seldom    is    a   child    given 
freedom    really    to    grow — to    become    a 
nite  personality." 

magine  the  battles  were  spirited.     She  was 

bird    hopping   about    on    the    family    limb, 

at  the  sun  and  longing  to  try  her  wings 

teen  she  ran  away  to  .New  York. 
"For  the  first  time  I  really  breathed."  she  explained. 
"Of  course.  I  had  a  hard  struggle.  1   expected  this,  and    I 
also  had  several  bad  experiences  but  these  taught  me  to  live. 


(Thirty-f.tej 


[  could  feel  myself  waking  up,  a  delicious  sensation  of  vivid  reali- 
ties swept  me  along  and  I  began  to  feel — to  thrill — to  grasp  dimly 
what  it  was  all  about.  I  think  I  had  been  numb  before.  And  then 
I  found  that  life  is  very  short  when  you  begin  to  live — there  is  so 
much  to  crowd  into  the  days.  Our  span  is  so  brief — in  point  of 
years — we  must  fill  it  to  the  brim." 

It  wasn't  very  long  before  Miss  Boardman  landed  in  a  Broadway 
chorus,  then  she  won  a  small  part  in  Arthur  Hopkins'  "A  Very 
Good    Young    Man."      She    lived    in   a 
dingy     little     boarding-house     and 
spent  most  of  her  salary  on  bal- 
let  lessons   as   a  part  of   her 
dramatic  training. 

This  is  illuminating,  for  a 

it  discloses  the  directness  ,</ 

of  her  ambitions.     To- 
day, she  is  as  slim  and  m 
straight    as    a    young 
tree,     with     every 
muscle    in    full    co- 
ordination ;   she  has 
mastered  that  rarest 
of    all    accomplish- 
ments,   a    perfect 
gliding   walk    in 
which    every    move- 
ment is  of  grace. 

We'll  admit  that 
Eleanor  Boardman 
forced   her   first   steps 
toward  a  career  but  her 
sudden    and    phenomenal 
jump  into  motion-pictures, 
playing   leading   roles   after 
two  films,  shows  she  is  a  petted 
child  of  the  fairies. 


CLASSIC 

She  was  both  down  and  out.  She  had 
no  job  and  no  money ;  things  were  hope- 
lessly quiet  in  New  York  and  she  was 
beginning  to  wonder  if,  after  all,  she  wa< 
to  be  beaten.  And  then  came  the  won- 
derful opportunity  to  come  to  California 
with  a  chance  at  the  Goldwyn  studio. 

She  hasn't  lost  the  thrill  of  it  yet, 
despite  her  level  head  and  poise,  and  I 
rather  suspect  she  pinches  herself  some- 
times, to  see  if  it  is  really  true. 

After  luncheon  we  drove  up  to  her 
home  on  Whitley  Heights  where  she  lives 
alone  with  a  funny  little  maid.  Eleanor 
says  that  people  with  opinions  should 
travel  the  single  path. 

The  house  is  typical  of  its  owner.  It  is 
extremely  artistic  and  there  is  a  spacious- 
ness in  the  large  living-room  with  its 
friendly  fireplace,  grand  piano'  and  rows 
of  books.  Long  windows  on  three  sides 
offer  magnificent  views  of  Hollywood 
and  the  hills.  A  few  pieces  of  rare  tap- 
estry decorate  the  walls — "I  hate  new, 
shiny  things — they  have  no  background." 
she  explained. 

(Continued  on  page  76) 


Upper  left  is  Eleanor  Board- 
man  in  her  own  back  yard. 
Above,  she  tries  to  paint  a  little, 
and  we'll  aver  we'd  like  to  'sit 
for  her  whether  she  knows  how 
or  not.  Left,  a  Waxman  portrait- 


(Thirty-six) 


Nickolag    .\fur.i% 


Lowell  Sherman 

Who  is  the  hero  of  one  of  the  most  picturesque  and  colorful  dramatic  successes  on 
the  New  York  stage.  That  is  "Casanova,"  in  which  he  was  billed  as  an  "Arch-Rogue," 
but  turned  out  to  be  rather  a  gentle  than  a  villainous  Casanova.     It  looks  as  tho  he  had 

deserted  the  movies  for  good 


(Thirty-seven) 


The  stars  of  "The  Marriage  Circle,"  which 
Lubitsch  is  making  for  Warner  Brothers. 
They  are:  Marie  Prevost,  Adolphe  Menjou, 
Ernst  Lubitsch,  Monte  Blue,  Creighton  Hale, 
and   Florence   Vidor 


When 

Lubitsch 

Directs 

By  HARRY  CARR 


WHEN  Lubitsch  is  directing  a  picture,  he  has  an 
odd  way  of  entertaining  a  visitor.     At  the  end 
of  the  scene,  he  comes  over  to  where  you  sit  and 
gives  you  a  little  character  sketch  of  the  actor  who  has 
been  performing. 

For  instance,  when  Florence  Vidor  finished  her  scene 
and  the  camera  stopped  clicking,  he  came  over  and  painted 
her  psychic  picture:  "She  haf  beauty;  but  she  got  dis- 
tinction ;  she  got  good  family.     It  show  on  the  screen." 

Which  made  us  all  wonder  what  he  was  going  to  say 
about  Marie  Prevost.  Marie  has  many  ardent  admirers, 
but  I  think  that  even  Marie 
herse.lf  gulped  a  little  with 
astonishment  when 
Lubitsch  picked  her  as  one 
of  the  finest  actresses  he 
has  seen  in  America  and 
gave  her  the  big  part  in 
bis  new  picture,  "The 
Marriage  Circle,"  upon 
which     he     is     staking    his 


career. 


Marie  Prevost  says  of  Lubitsch:  "To  act  even 
one  scene  under  Jiis  direction  is  not  only  an  educa- 
tion but  a  revelation."  Lubitsch  says  of  Marie 
Prevost:  "She  is  a  goot  actress — she  haf  life  und 
animation  und  she  got  emotion.  But  she  got 
boomer  too.  No  actress  is  goot  in  a  heavy  role 
unless  she  haf  got  also  a  sense  of  hoomer." 


"When  1  first  came  to  America,"  said  Herr  Lubitsch, 
"my  position  was  a  very  difficult  one.  The  war  was  just 
over.  I  didn't  know  a  soul.  I  arrived  in  Hollywood  one 
drizzling  cold  foggy  night  when  it  seemed  that  even  the 
climate  was  against  me.  As  a  matter  of  fact,  I  was 
treated  everywhere  with  kindness  and  sympathetic  cor- 
diality ;  but,  of  course,  I  couldn't  know  that  was  going 
to  happen.  Consequently,  in  my  first  picture,  I  had  to 
make  all  kinds  of  concessions  to  what  they  told  me  the 
American  people  wanted.  I  made  my  first  one  that  way. 
This  one  I  am  going  to  make  to  please  Lubitsch." 

So,  just  as  he  tossed 
away  all  the  other  stale 
ideas  that  movie  convention 
had  built,  so  he  airily 
ignored  the  actresses  whom 
Hollywood  had  stamped 
"great"  and  picked  out  a 
graduate  bathing  young' 
lady  for  his  great  acting 
part. 

At  the  end  of  one  of  her 


(Thirty-Eight) 


CLASSIC 


Irenes,  Lubitsch  came  bustling  oul  of  the 
let,  dragged  me  oul  of  the  studio  and 
around  l>ehind  an  alle)  and  explained 
himself 

"\K  peechaai  I  donl  know  if  he  ia 
^m>.l  1  [e  cani  know  about  a  peechaar  until 
von  see  him  on  the  screen  but  Marie 
Prevost  she  is  gi  tot.  She  is  a  g 
she  li.it  life  and  animation  and  sh< 
emotion.  But  she  got  hoomer  too.  No 
actress  is  goot  in  a  heavy  role  unless  they 
i  sense  o\  hoomer,  especiall)  what 
.ill  vamps." 

Marie,  herself,  is  a  very  frank  oul 
■poken  young  lady.  And  being  such,  she 
makes  no  secret  of  the  fact  that  •die  is 
ered  by  what  lias  happened  to  her. 
It  isn't  so  long  since  Marie's  chief  claim 
to  artistic  distinction  consisted  of  the  most 
beautiful  legs  in  the  world.  They  got  her 
I  job  at    Mack  Sennett's  old  comedy   lot. 

Mario  was  sitting  on  a  camp  stool  on 
the  edge  of  the  Lubitsch  set  a-  she  talked 
about  it.  She  was  all  covered  up  this  time 
in  a  very  beautiful  evening  gown.  But  she 
just  the  same  candid,  unspoiled  Marie 
as  in  the  one-piece  bathing-suit  days. 

"Over  at  the  Sennett  lot,"  she  said.  "I 
was  one  ^i  the  few  K'ds  who  could  really 
swim.  I  had  to  double  for  the  girl  stars 
and  sometimes  I  even  doubled  for  the 
men.  In  those  days,  it  didn't  matter  what 
happened  to  me  if  the  pulchritude  of  the 


Above    is    the    great    director    in    an    informal    moment    and 

below   he  is  directing   Florence   Vidor   in   a  troublesome   bit. 

He   says   of   her:    "She   haf   beauty;  but   she   haf  distinction; 

she  got  goot  family.     It  show  on  the  screen" 


real  actresses  was 
n<  <x  damaged.  To 
say  the  least,  life 
was  not  monoto- 
nous. I  never  knew 
whether  I  fas  going 
to  be  alive  or  dead 
at  the  end  of  the 
day. 

"Incidentally,  the 
shock  to  my  family 
when  they  saw  me 
on  the  screen  was 
considerable.  And 
they  were  not  the 
only   ones   shocked. 

"One  of  the  trag- 
edies of  my  young 
life  was  one  'of 
these  shocks.  I  was 
very  much  enamored 
of  a  young  man 
\vho>e  mother  was 
a  very  strict  Presby- 
terian with  a  natural 
horror  of  young 
women  who  made 
their  living  play- 
acting. 

"My  hoy  friend 
tried  to  convince  her 
that  I  was  different. 
His  arguments  pre- 
vailed to  the  point 
where  I  was  invited 
to  a  family  dinner 
to  be  put  thru  my 
(Cont'd  on  page  SO  i 


Thirty-nine) 


"On 
Location" 


Above  is  the  awe-inspiring  tract  of  land  known  as  Death  Valley  for 
the  appropriate  reason  that  sixty-three  out  of  sixty-five  miners  died 
of  thirst  when  they  went  prospecting  there  in  1849,  and  many  others 
have  died  since.  It  is  in  the  southeastern  part  of  California  and  the 
hottest  place  in  the  world.     Von  Stroheim  completed  "Greed"  there 


In  the  oval  is 
a  location 
picked  for 
"Cap'n  Dan." 
It  is  off  the 
coast  of  Cali- 
fornia. Below 
is  the  historic 
Weeks  Hall 
Estate,  "Shad- 
ows -  on  -  the- 
Teche,"  in  and 
around  which 
D.  W.  Griffith 
shot  many 
scenes  for 
"The  White 
Rose."  It  is  in 
western 
Louisiana  on 
the  bayou 
Teche 


Above  is  an  ancient  Roman 
ruin,  one  of  the  beautiful  and 
authentic  backgrounds  for 
"The  Eternal  City."  It  is 
just  outside  of  Rome 


In  no  one  field  of  endeavor, 
artistic  or  commercial,  is  there  to 
be  found  so  much  beauty,  interest 
and  variety  as  on  the  screen,  not 
to  mention  its  educational  value. 
Movie  maligners'  most  frequent 
taunt  is  that  we  are  "commercial." 
We  offer  the  evidence  on  these  two 
pages  in  refutation 


Right  is  a  section  of  the  endless  Florida 
swamps,  unwholesome  and  treacherous, 
where  King  Vidor  took  his  company  to 
make  "Wild  Oranges,"  the  Hergesheimer 
story,  for  Goldwyn 


(Forty) 


i 


From  (j reen land  s 
icy  mountains 

To  India  s  coral 
strands  — 

[Or  thereabouts) 


Across  the  page  is  an  American  desert,  but  the  picture  above  was 
taken  in  the  Egyptian  desert  at  Ghizeh,  near  Cairo.  For  most  of  us 
that  are  sit-by-the-fires,  the  view  of  the  great  pyramids  and  the 
mysterious  sphinx  to  be  had  in  the  movies,  will  constitute  our  travel- 
ing experience.     William  Fox  had  "The  Shepherd   King"  made  here 


Above  is  a  view  in  our  own 
most  beautiful  spot,  Yellow- 
stone National  Park,  where 
Rupert  Hughes  took  all  of 
the  final  scenes  in  "Law 
Against  Law" 


These  wonderful  locations  are 
spread  practically  all  over  th 
globe  and  you  must  appreciate  that 
it  costs  a  great  deal  of  money  to 
take  whole  companies  to  these  far 
places.  This,  however,  seems  to 
us  a  justifiable  expense,  far  more 
worthy  than  the  building  of  lavish 
sets.    The  artistic  return  is  greater 


Left  is  a  beau- 
tiful vista  up 
in  the  Cana- 
dian Rockies. 
Tom  Mix, 
seeking  au- 
thenticity for 
his  picture, 
"W  here  the 
North  Begins," 
selected  this 
mountain 
chain  for  it. 
Below  is  the 
e  x  q  u  isitely 
beautiful  Bay 
of  Naples  in 
whose  haunt- 
ing vicinity 
"The  White 
Sister"  was 
made 


Left  is  a  doorway  and  the  moldering  walls 
of  a  thirteenth-century  abbey,  Beaulieu  in 
Hampshire,  England.  This  interesting  ruin 
served  as  a  background  for  J.  Stuart 
Blackton's  "The  Virgin  Queen" 


(Forty-one) 


Photograph    by    Evans,    L.    A 


A  Midwinter  Maid 


Colleen  Moore  has  adopted  a  new  manner,  like  Mae  Allison  and  Lillian  Gish.     It  is  a 

roguish  flapper  sort  of  halo,  and  we  find  it  very  becoming.     As  the  unrestrained  flapper 

heroine    of   "Flaming    Youth,"    she   has   at   last   come   into    her    own.     All   the    critics 

commend  her.    More  power  to  ye,  Colleen! 


(Forty-trio) 


Classic 
Considers— 

The  Great  and  the  Near  Great 


-i..nc    View 


ttdc 

Rarri- 

I.orvir.n 


CECILIA   LOFTUS 

Just  because  she  is  back  over  here  in  the  United  States  again  amusing  and 
delighting  us  as  she  used  to  do  more  years  ago  than  we  can  remember. 
Because  age  has  not  withered  her  charm  and  vivacity,  nor  has  custom  had 
a  chance  to  stale  her  infinite  allure.  Because  she  literally  stops  the  show 
whenever  she  offers  her  imitations  on  the  Keith  circuit.  But  mostly 
because  we  shall  never  forget  her.  tho  we  have  forgotten  her  name,  when 
she  played  with   E.   H.   Sothern   in   "If   I   Were   King" 


GEORGE  WALSH 

For  the  very  good  reason  that  he  has  taken  a  new  lease  on  life  in  the 
movies  and  has  the  most  promising  future  ahead  of  him  of  any  other  star 
who  started  when  he  did.  Because  he  is  June  Mathis'  choice  for  Ben  Hur. 
and  we  remember  that  she  discovered  Valentino.  Because  also,  altho  he  is 
a  wonderful  athlete  and  has,  without  exception,  the  most  perfect  physique 
of  any  male  star  of  the  screen,  he  has  gone  in  for  things  that  required  brain 
rather  than  brawn  and  gotten   away  with  it 


OTTO  H.  KAHN 
Chiefly  because  of  the  dignity  and  charm  of  his  letters  to 
Caruso,  which  were  published  in  Caruso's  biography.  And 
because  he  is  at  once  a  banker,  a  philanthropist,  a  financier 
and  a  liberal  patron  of  the  arts.  He  is  president  of  several 
railroads,  director  of  numerous  trust  comoanies.  honorary 
member  of  various  opera  and  theatrical  companies,  including 
our  own  Metropolitan;  a  Chevalier  of  the  Legion  of  Honor 
of  France,  a  Knight  of  the  Order  of  Charles  II  of  Spain,  a 
Commander  of  the  Order  of  the  Crown  of  Italy,  and — a 
Citizen  of  the  United  States 


Carence 
S.  ilull 


<  Forty-three) 


W  Somerset  Maugham  Is  With  Us  Again 

By  B.  F.  WILSON 


EVERY  time  I 
see  Somerset 
Maugham  he 
is  in  the  act  of  being 
sketched.  The  last 
time  I  saw  him  a 
well-known  news- 
paper artist  was 
sweating  blood  in  a 
mad  endeavor  to  get 
the  famous  author's 
features  down  on 
his  sketch-pad ;  this 
time  a  very  young 
Mexican  boy  with 
an  unspellable  name, 
who  by  the  way  has 
an  uncanny  gift  of 
caricature,  was  try- 
ing to  catch  a  straw 
of  likeness  from  the 
inscrutable  face  of 
his  subject. 

The  portrayal  of 
this  English  writer 
has  been  the  despair 
of  every  artist  and 
cartoonist  on  both 
sides  of  the  Atlan- 
tic.  They  have 
all  tried  and  failed. 
Every  well-known 
caricaturist  from 
Max  Beerbohm  on 
down  has  had  a 
sling  at  it — but  Mr. 
Maugham  says :  "I 
can  draw  only  one 
conclusion — my  face 
must  be  so  utterly 
void  of  interest  that 
there  is  nothing  to 
work  from." 

This,  however,  is 
polite  rot.  The  face  of  the  author  is  one  you  could  never 
forget.  Disillusionment  marks  the  lower  part  with  deep 
lines  about  the  mouth.  The  keen  eyes  ordinarily  cynical, 
can  upon  occasion  warm  into  human  tolerance.  When  he 
laughs — a  rare  occurrence — he  is  transformed.  He  seems 
momentarily  to  throw  off  the  cloak  of  worldly  scepticism 
and  becomes  almost  boyish  in  expression. 

He  had  visited  this  country  again  for  the  purpose  of 
rehearsing  his  latest  play,  "The  Camel's  Back,"  which  the 
Selwyns  have  produced.  He  very  rarely  behaves  in  this 
fashion — in  fact,  he  never  goes  near  the  theater  when  a 
play  of  his  has  been  accepted  for  production.  I  asked 
him  why  he  had  done  so  this  time. 

"I  had  rather  an  unfortunate  experience  with  my  last 
play,"  he  replied.  "You  know,  I  dont  exactly  care  to 
have  my  plays  rewritten  by  the  managers.  So  I  decided 
that  I  would  attend  the  rehearsals  personally.  I've  been 
frightfully  busy  of  late  with  nothing  but  rehearsing'. 
You  know,  I  have  just  had  a  play  put  on  in  London  which 
I  am  glad  to  say  has  turned  out  to  be  a  sensation.  The 
name  of  it  is  'Our  Betters.'  It  was  produced  in  this 
country  some  years  ago,  but  unfortunately,  it  didn't  seem 


Maurice  Beck  and  Helene  Macgregor,  London 

England's  most  distinguished  author-playwright,  Somerset 
Maugham,  came  over  to  this  country  for  the  rehearsals  of 
his  play,  "The  Camel's  Back,"  a  scene  from  which  is 
pictured  on  page  46  of  this  issue.  This  is  positively 
the  only  interview  he  gave  and  Classic  is  fortunate  to  have 
secured  it.     "Rain"  is  also  from  his  gifted  pen 


to   please   American 
audiences." 

I  recalled  having 
heard  that  it  was 
one  of  the  most 
brilliant  farces  ever 
seen  in  this  country. 
Its  author  was  at 
that  time  compara- 
tively little  known 
over  here.  It  was 
before  the  days  of 
"The  Moon  and 
Sixpence,"  "The 
Circle,"  and  others. 
Also  before  the  days 
of  "The  Demi-Vir- 
gin," "Getting 
Gertie's  Garter,"  etc. 
Even  when  the  first 
two  were  produced, 
they  made  very  little 
money  for  their 
owners,  while  the 
parties  of  the  second 
part  reaped  a  golden 
harvest.  Which  goes 
to  show  you  that 
you  never  can  tell 
what  an  American 
audience  will  like. 

"The  English 
stage  is  in  a  period 
of  stagnation,"  he 
continued.  "Nobody 
is  writing  any  plays, 
no  one,  comparative- 
ly speaking,  is  pro- 
ducing any.  I  think 
America  at  the  pres- 
ent time  is  the  theat- 
rical center  of  the 
world.  A  producer 
over  here-  can  see 
possibilities  and  can  take  chances  that  a  European  man- 
ager would  never  dare  to.  He  hasn't  any  money  he 
can  afford  to  lose.  You  people  over  here  have  a  whole 
mass  of  theaters  which  of  course  have  to  be  filled.  Your 
managers  have  so  much  money  that  they  can  say  when 
a  play  is  offered  them,  'Now  look  here,  this  is  a  new  idea. 
I  wonder  how  it  will  get  over.  I  think  I'll  try  it  and  see 
what  happens.'  Very  few  of  the  writers  in  Europe,  there- 
fore, have  turned  out  plays  recently.  They  feel  it  a 
waste  of  time.  I  happen  to  be  particularly  fortunate,  but 
after  I  get  back  to  Europe  I  dont  intend  writing  any  more 
plays  immediately. 

"They  are  going  to  turn  'The  Moon  and  Sixpence' 
into  a  play  to  be  produced  here  next  season.  I  hope  they 
will  be  able  to  get  Lionel  Barrymore  for  the  lead. 

"I  expect  to  be  here  for  about  six  weeks  then  I  shall 
return  to  London,  shut  myself  up  in  my  house  and  get 
to  work  on  my  novel.  It  is  going  to  be  a  long  one.  the 
provisional  title  is  'The  Painted  Veil.'  However,  I  have 
had  so  much  misfortune  with  titles  that  I  dont  know  what 
I  shall  really  call  it.  Every  time  I  get  a  very  good  one 
(Continued  on  page  84) 


(Forty-four) 


Right  is  the 
beautiful  Japan- 
ese Print  scene 
from  "Artists 
and  Models." 
In  the  oval  is 
Otis  Skinner  in 
another  of  his 
delightful  char- 
acteriiations. 
This  season  it 
is  S  a  n  c  h  o 
Panza,  the  phi- 
1  o  s  o  p  h  i  c  a  1 
squire  of  Don 
Quixote 


Below  is  thr 
Stone  family: 
Fred,  his  witc 
Allene,  and  Ml 
daughter  Doro- 
thy, bright  star 
of  the  new 
musical  extrav- 
aganza "Step- 
ping Stonei." 
Dorothy  made 
a  great  hit — 
almost  stole  the 
show  from  her 
father 


The  Photographer 


Takes  the  Stage 


White 

Left  is  Beryl  Mercer  in 
her  interesting  role  of 
Queen  Victoria.  Beside 
her  is  George  Forren  as 
Gladstone.  Below  is  the 
banquet  scene  from  the 
hit  of  the  season,  "The 
Swan,"  by  Ferenc  Molnar. 
The  set  is  so  dignified  and 
lovely  that  the  audience 
bursts  into  irresistible  ap- 
plause before  a  word  is 
spoken 

White 


tpeda 


(Forty-five) 


Classic's 

Monthly  Department 

of  the  Theater 


White 


White 


Above    is    a    scene    from    a    curious    drama    called    "Spring 

Cleaning,"    in   which   a   man    (Arthur    Byron)    introduces   a 

prostitute    (Estelle   Winwood)   into   his   own   home  by  way 

of  showing  up  his  wife  and  her  friends 


Above:     One  of  the  nne  plays  of  a  wonderful  season, 

"Tarnish."     Ann     Harding     is     pictured     with     Mrs. 

Jacques  Martin 


White 


Above  is  a  moment  from  the 
Maugham  comedy-drama,  "The 
Camel's  Back."  The  actors  are: 
Violet  Kemble  Cooper,  Arthur 
Lewis  and  Charles  Cherry.  Right 
is  "The  Failures,"  a  rather  more 
grim  than  usual  Theatre  Guild 
offering.  Left  to  right:  Winifred 
Lenihan  as  the  actress,  Jacob  Ben- 
Ami  as  the  author,  Erskine  San- 
ford  as  the  musician,  Dudley 
Digges  as  the  Art  Theater  manager 


Bruguiere 


(Forty-six  I 


Variety 
Is  the  Spice 

of  This  Season 


Ir.i  1>    Schwan 


Four  of  the  leads  in  "One  Kiss."     Clare  Kummer's  "comedy 

with   music."     They   are:   Oscar   Shaw,   Louise   Groody,   Ada 

Lewis  and  John  Price  Jones 


Above  is  Roberta  Arnold  in  a  typical  Golden  produc- 
tion,   "Chicken    Feed,"    which    deals    with    wives    and 
their  nearly  always  inadequate  allowances 


White 


Above  is  Jane  Cowl  as  Melisande, 
with  J.  Sayre  Crawly  as  Arkel,  in  a 
scene  from  the  most  tragically  beauti- 
ful of  all  Maeterlinck's  haunting  and 
beautiful  dramas,  "Pelleas  et  Meli- 
sande." Left  are:  General  Stuart 
(James  Durkin),  Robert  E.  Lee 
(Berton  Churchill)  and  Stonewall 
Jackson  (David  Landau),  all  from 
Drinkwater's  "Robert  E.  Lee,"  which 
took  a  bad  flop 


Richard  Burke 


(Forty-seven) 


Walter  Hampden, 
Playing  Superbly, 
Makes  "Cyrano  de 
Bergerac"  The 
Play  of  the  Month 


This  is  the  second 
of  Mr.  Macgowan's 
monthly  articles  on 
the  stage  for 
Classic.  An  un- 
fortunate accident  at 
the  height  of  Mr. 
Hampden's  success 
in  "Cyrano"  caused 
a  three  weeks'  sus- 
pension of  perform- 
ances. They  have, 
however,  now  been 
resumed  and  those 
interested  may  see  it 
at  The  National 
Theater,  New  York. 


Mary  Dale  Clarke 


The  World's  Most  Famous  Nose 


By  KENNETH  MACGOWAN 


AFTER  creating  the  greatest  nose  in  all  history  any 
writer  ought  to  be  satisfied  to  die.  Edmond  Rostand 
Lwas  not.  He  insisted  on  living  on  into  his  thirties, 
his"  forties,  even  his  fifties.  And  all  to  no  purpose.  The 
author  of  "Cyrano  de  Bergerac"  never  created  a  facial 
blemish,  let  alone  a  whole  character,  to  equal  the  nose  or 
the  soul  of  the  Gascon  cadet. 

Perhaps  Rostand  made  a  mistake  when  he  did  so  well 
by    Cyrano.      Certainly    the    fellow    threw    "L'Aiglon," 
"Chanteclair,"  and  all  the  rest  of  his  plays  in  the 
shade.     More  than  that,  he  was  too  Francis 

tremendous    a    hero    to    get 
himself     very     much 
acted.      Coquelin  ^^ 

learned  the 


hundred  pages  on  which  Cyrano  monopolized  attention 
in  the  two  hundred  and  fifteen  pages  of  the  play,  and 
actor  after  actor  has  stood  in  awe  of  Coquelin  ever  since. 
Richard  Mansfield  played  this  Gargantuan  part  over  here, 
and,  tho  a  few  American  actors  have  talked  about  reviv- 
ing the  play,  the  only  one  who  had  done  so  up  to  the 
present  season  —  Robert  Lorraine  —  cautiously  turned 
Englishman  and  emigrated  before  he  tried  it.  A  great 
part  and  a  great  acting  tradition  have  almost  killed  a 


great  play. 


Bruguiere 


But    now    Walter    Hampden    comes 
cheerily     along,     and     revives 
"Cyrano"     as     a     mere 
(Continued  on 
page  92) 


(Forty-eight ) 


The  Movie  of  the  Month 

By  LAURENCE  REID 

Mr.  I\',i(j  StltCtS  "Anna  Christie"  c;.<  ///<•  /'. 

Photoplay  of  This  Month  and  Explains  Why 


EUGENE  O'NEIL'S  Pulitzer  prise  play.  "Anna 
Christie"  (Firsl  National),  cornel  to  the  screen  a 
vigorous,  --tirrin^  document.  Here  is  one  instance 
where  the  producer  has  not  made  a  single  departure  from 
the  original.  ( )n  the  contrary,  he  lias  approached  the 
author's  vital  subject  with  deep  appreciation  of  its  dra- 
matic sweep,  it-,  rich  characterization — and  its  very  human 
attributes-  -with  the  result  that  we  have  a  picture  of 
breadth  and  substance — a  picture  comparable  to  "A 
Woman  of  Paris"  in  its  direct,  progressive  action,  tho 
carrying  a  much  more  significant  theme. 

Thomas  H.   Ince.  like  Chaplin,  has  marked  out  a  clear 
path  for  himself.      Defiant  of  censorship,  he  has  had  the 
audacity    and    the    sincerity    to   tell   the   truth    as    (  )'Xeil 
painted     it — 
without  throw- 
ing a  sop  to  the 
sentimentalists. 
\nd    so    we 
have     "Anna 
Christie"  —  one 
of   the   boldest 
dramas  of  life 
in    the    raw 
that    has    ever 
been    screened. 

In  certain 
States,  we  can 
hearthecensors 
crying :  "This 
is  too  strong  ;  it 
is  liable  to  of- 
ferfd."  On  the 
other  hand, 
those  of  us 
who  would  see 
life  expressed 
realistically  are 
crying  in  the 
wilderness  for 
just  such 
screen  treat- 
ment as  is  re- 
vealed here. 
Mr.  Ince  has 
gambled.  H  e 
has  chosen  no 
path  which 
beats  around 
the  bush.  He 
has  seen  his 
goal,  striven 
for     it      and 

reached  it — and  the  O'Neil  drama  is  his  profit.  The  en- 
comiums we  passed  on  to  Charles  Chaplin  will  have  to 
be  shared  with  Thomas  H.  Ince.  One  has  plunged  into 
the  superficialities  of  life,  the  other  into  the  realities.  And 
yet  how  like  each  other  are  these  stories — -in  the  manner 
of  their  compact  treatment. 

Eugene  O'Neil,  a  realist,  sketches  life  as  he  sees  it. 
That  life  may  expose  raw  crudities — but  it  is  invariably 
moving  and  compelling.  Woven  deep  in  the  fabric  is 
a  vital  spiritual  note.     We  will  say  that  there  is  more 


These  are  the  people  who  most 
Christie"  better  than  all  the  other 
right:  George  tyarion,  John  Wray, 


of  a  spiritual  quality  in  "Anna  Christie"  than  in  all  the 
sugar-coated  slices  of  sentiment  which  masquerade  under 
the   name  of   humanity.      It   carries  a  comforting  quality 

in  its  revelation  of  human  frailties  because  it  strikes 
at  the  very  \itals  of  character — showing  us  how  tricks 
of  circumstance  guide  our  destinies  If  the  cenSOCT 
would  look  beneath  the  raw  surfaces  and  see  the  rugged 
heart-heat  inside,  they  would  have  no  occasion  to  point 
thumbs   down. 

It  is  seldom  that  such  a  bold  document  reaches  the 
screen  with  its  vital  ingredients  intact.  Surely  Ince  hasn't 
been  guided  by  the  idea  that  his  throbbing  opus  will  be 
passed  along  to  the  tender  fledglings.  Yet,  even  these 
fledglings  will  take  nothing  from  it  but  worthy  impulses. 

The  director 
has  kept  faith 
with  the  play 
— right  d  o  w  n 
to  the  most  un- 
imi>ortant  de- 
tail. We  may- 
miss  the  rug- 
gedness  of  the 
spoken  line,  but 
compensation 
is  effected  thru 
the  range  of 
the  camera  to 
catch  a  most 
authentic  at- 
mosphere. Ince 
has  so  shaped 
his  scenes  and 
guided  his 
players  —  that 
we  seem  to  be 
actual  partici- 
pa  n  t  s.  He 
makes  us  feel 
O'Neil's  psy- 
chology of  dis- 
tressed souls — 
that  emotions 
guide  the  heart 
and  mind.  The 
author  has 
played  upon 
the  superstition 
.that  molds 
the  character 
of  sailor-folk. 
His  figures 
have  tasted  the 
dregs  of  life — yet  all  are  playboys  and  playgirls. 

O'Neil  knows  his  subject  and  Ince  has  kept  faith  with 
the  text.  He  releases  no  sentimentalities,  nor  any  con- 
ventional sops.  He  takes  the  subject  and  penetrates  into 
the  cross-currents  of  the  human  heart — showing  us  a 
superstitious,  child-like  old  sailor  who  ridiculously  tries 
to  defy  the  deep  with  a  futile  cry :  "Dat  old  davil  sea !" 
He  would  keep  his  daughter  away  from  it — knowing  the 
anguish  he  has  caused  his  wife  who  had  waited  in  vain 
(Continued  on  page  95)' 


profitably    helped    to    make    "Anna 

screen  plays  of  this  month.     Left  to 

Blanche  Sweet  and  William  Russell 


(Porty-mneJ 


The  Celluloid  Critic 


T 


WO  adaptations  of  highly 
successful  novels  bid  for 
recognition  in  the  First  Na- 
tional entries,  "Ponjola,"  and 
"Flaming  Youth."  The  first  men- 
tioned is  an  adventure  yarn  fash- 
ioned from  a  familiar  formula, 
but  thru  a  clever  manipulation  of 
plot  and  incident  framed  against 
an  effective  background  —  and 
played  with  creditable  feeling,  it 
takes  oh  a  value  which  should  also 
cause  it  to 
become  high- 
ly popular  on 
the  screen. 

If  you  are 
not  in  the 
know  con- 
cerning the 
title,  let  us 
state  that 
"Ponjola"  is 
the  Kaffir 
word  for 
whiskey.  And 
it  serves  as 
the  medium 
toward  the 
degeneration 
of  a  man  who 
has  given  too 
much  thought 
to  business 
and  romantic 
reverses  exe- 
cuted   by    a 

crooked  partner  and  an  unapprecia- 
tive  girl. 

The  idea  will  be  recognized  as 
having  served  the  screen  many 
times  before.  But  its  treatment  is 
different.  It  features  the  exploits 
of  a  beautiful  young  Englishwoman 
who  journeys  to  South  Africa  to 
escape  the  embarrassment  of  the 
law. 

While  in  Paris  she  is  balked  in  a 
suicidal  venture  by  a  stranger  who 
is  returning  to  the  veldt.  He  takes 
her  into  his  confidence — as  a  result 

she  takes  a  new  lease  on  life — and  even  goes  so 
far  as  to  accompany  him  to  South  Africa  disguised 
as  a  man. 

What  follows  is  an  extremely  conventional  line 
of  adventure  and  incident — with  the  masquerader  hold- 
ing the  interest  thru  her  radical  disguise.  While  her  sex 
could  be  easily  identified,  for  the  purpose  of  the  plot — 
she  gets  away  with  it.  And  regenerates  the  man  who  had 
run  away  from  his  character. 

There  is  a  deal  of  melodramatic  incident  and  a  fair 
quota  of  thrills  in  this  picture — which,  as  a  sample  of  its 
kind,  is  interesting  screen  fare.  Anna  Q.  Nilsson  makes 
a  startling  appearance  as  the  heroine.  She  has  not  spared 
the  shears  in  trimming  her  locks  and  she  makes  a  wonder- 
fully attractive  young  man. 

James  Kirkwood  employs  his  poise  and  repression  to 
good  advantage.  He  can  convey  more  soul  tortures  than 
most  of  his  contemporaries. 


ag^"% 

IL      v^S 

\mVto 

If  *xm/a 

Vl 

Hi        ^H 

'     1 

K*""  ■ 

i 

W/:        ''Uk, 

HRfe  i  f      1 

A' 


Above:  Young 
Douglas  Fair- 
banks  in 
"Stephen  Steps 
Out.1*  Left: 
Harrison  Ford 
and  Ethel 
Shannon  in 
"Maytime" 


Right:  Bar- 
bara La  Marr 
in  "The  Eter- 
nal City."  Be- 
low: Anna  Q. 
Nilsson  and 
James  Kirk- 
wood in  "Pon- 
jola" 


effort  to    be    naughty    but 
nice   is   the   little-  movement 
behind     "Flaming     Youth," 
which    is    the    latest    visualization 
of   flapperdom.     So   we  have   the 
usual  expose  of  the  fast  jazz  life, 
tho   it   is  shown   against   a  much 
more    effective    background    than 
what     is     customarily     depicted. 
Some  may  call  it  risque — but  it  is 
mostly  suggestion — without  much 
flair  of  subtlety.     We  are  offered 
an  undress- 
ing party  for 
the  big  swim 
(no  picture 
of   society 
fast- steppers 
is,    complete 
without    its 
s  w  imming 
epi  sode)  — 
and  so  on  un- 
til   we    dis- 
cover    that 
mamma's 
little    girl    is 
growing   up 
and   demands 
expression. 

Colleen 
Moore,     once 
the  story  gets 
under    way, 
gives  a  capa- 
ble   perform- 
ance   of    the 
jazz-crazed  flapper.     She  is  pert  in 
appearance  and  to  the  point  in  her 
craving  for  a  good  time.    She  gives 
pure  "white"  kisses  and  when  "red" 
kisses  are  forced  on  her  pouty  lips, 
she    flames    up    with    indignation. 
She  is  not  far  from  being  a  patho- 
logical     study — is      little      Patricia 
Fentriss.     She  observes  hectic  "do- 
ings" in  her  home  and  decides  to 
participate.     Her  mother  has  been 
discovered  in  the  arms  of  a  man — 
a   mother   who   has   succumbed  to 
the  giddy  life.    After  her  death  her 
most  faithful  admirer  shows  a  great  interest  in  the  girl — 
who   must   experience  a  harrowing  adventure  aboard  a 
yacht  before  she  is  lugged  out  of  danger. 

It  is  artistically  designed — this  picture,  and  its  petting 
and  "necking"  parties  will  doubtless  establish  long  lines 
at  the  box-office.  But  it  skims  the  surface  most  of  the 
time.  We  would  catalog  it  as  bright  and  playful,  but 
artificial. 

THERE  seems  to  be  no  end  to  a  picturization  of  the 
stormy  days  of  French  history.  Here  we  have  in 
"Under  the  Red  Robe"  (Cosmopolitan)  an  elaborate 
expose  of  the  silk  and  satin  period  when  Richelieu  ruled 
the  affairs  of  state  during  the  reign  of  Louis  XIII.  Un-  « 
fortunately  this  vital  character — one  of  the  dominant 
figures  of  his  time — is  allowed  to  pass  almost  unnoticed 
once  he  is  introduced — in  order  that  the  picture  conven- 
tions may  be  obeyed.     Thus  we  have  a  long,  tiresome 


(Fifty) 


Laurence  Reid  Reviews  the  Latest  Photoplays 


Alma  Ru- 
b  e  n  s  in 
"Under  the 
Red    Robe" 


Edward  Horton  in 
"To  The  Ladies" 


r  i>  in  a  ii 
developed  be 
t  \s  c  e  11     .1 
voung    scala 
gifted 
w  i  t  h    the 
I,  who  i> 
sentenced    l>\ 
Richelieu  to 
brine  luck  a 
rebel  or  • 
ler    the    loss 
of    his    head 
in   the   basket 
—  a  n  tl    th  e 
rebel's  sister. 

A  n  u  n  - 
wieldy  pal 
tern  —  this, 
which  falter^ 
in  robbing 
the  cardinal 
of  the  spot- 
light —  and 
p  e  r mi tt in g 
the  romance 
to  take  away 
the  historical 
value. 
Furthermore, 
there  is  little 
variety  in  the 
love  episodes. 
On  the  credit 
side  is  a  gor- 
geousness  of 
design  —  cap- 
italized in  an 
array  of 
beautiful  set- 
tings and  cos- 
t  u  m  e  s  — 
which  are 
truly  sugges- 
tive of  the 
period.  There 
is  not  so 
much  an  air 
of  solidity 
and  massive- 
ness  as  there 
is    one    of 

color  and  richness.  Occasionally  it  stirs  us  with  a 
dramatic  stroke — such  as  the  death  of  the  spy — and 
Richelieu's  humiliation  when  he  suffers  the  loss  of  his 
power  for  a  day.  It's  a  picture  which  has  a  distinct  ocular 
appeal,  but  which  is  not  skilfully  constructed  to  indicate 
the  real  intrigue  of  court. 

Most  of  the  acting  leaves  us  cold.  John  Charles  Thomas 
is  a  robust  and  fleshy  cavalier,  but  is  too  awkward  and 
too  stiff  of  posture  to  be  the  gay  charmer  of  Weyman's 
book.  Alma  Rubens  does  not  scale  any  emotional  heights 
as  the  heroine.  Robert  B.  Mantell's  Richelieu  is  too 
theatric  of  expression. 

ANOTHER  unwieldy  design  is  "The  Eternal  City" 
( Goldwyn-First     National),     which     has     little     in 
common    with    the    book.      True,    it    carries    Hall 
Caine's    atmosphere,    title — and    a     suggestion    of    his 


Below: 
Thomas 
Meighan 

and 
Lila   Lee 

In 

"Woman 

Proof" 


Bill  Hart  in 

"Wild     Bill 

Hickok" 


Colleen  Moore  in 
"Flaming  Youth" 


it  1  c 
Mllnt.       but 

thi  th 

i ng   impri 

live    about    it 
ide    f  roiu 
ime   Ron 
background  i, 

such    as    the 
F  a 

storming    the 
(  oliseum  — 

and  o  t  li  e  r 
ancient  land 
marks. 

We  are  of- 
fered an  arti- 
ficial story  of 
children  who 
grow  up  as 
lovers.  Xow 
comes  the 
( i  r  e  a  t  W  a  r 
with  the  boy 
enlisting  thru 
patriotic  en- 
thu  si  asm  — 
and  the  girl 
reading  the 
report  that  he 
has  been  kill- 
ed in  action. 
Which  plants 
the  reason 
why  she  be- 
comes victim- 
i  z  e  d  by  a 
wealthy  roue. 
One  may  see 
th  e  cl  imax 
indicated  far 
in  advance. 
It  is  a  cer- 
tainty that 
the  youth 
will  return 
from  the  war 
and  surprise 
his  erstwhile 
sweetheart 
with  another. 
So  when  he 
comes  back,  the  picture  has  lost  every  suggestion  of 
surprise.  The  puzzling  query  here  is  why  the  sponsors 
relied  upon  such  an  ancient  theme  in  their  modernization 
of  the  novel.  There  is  a  deal  of  storm  and  stress  before 
her  honor  is  vindicated.  Indeed,  the  scenes  become  in- 
volved with  much  melodrama — which  introduces  conflict 
of  a  propaganda  quality  when  the  Fascisti  are  introduced. 
The  hero  has  enlisted  as  one  of  Mussolini's  most  trusted 
lieutenants.  At  the  proper  moment  he  strikes  against  the 
arch-rebel  who  is  the  very  man  who  involved  the  girl  in 
scandal. 

The  picture  is  rambling  of  story  and  tries  to  cover  too 
much  ground.  The  spiritual  note  is  striven  for,  but 
poorly  indicated.  And  the  acting  is  anything  but  in- 
spired. Barbara  La  Marr  is  permitted  too  many  close-ups. 
so  that  her  portrayal  impresses  us  as  a  photographic 
(Continued  on  paqc  96) 


(Fifty-one) 


The  salary  of  June  Mathis  as 
editorial  director  for  Gold- 
wyn  pictures  is  $100,000.00  a 
year.  It  is  not  surprising 
that  she  should  have  a 
charming  home.  It  was  de- 
signed by  Louis  Benton,  of 
Los  Angeles,  and  decorated 
by  Miss  Mathis  herself  with 
the  assistance  of  the  designer. 
These  photographs  were 
taken  by  George  D.  Haight 


Above  is  the  dining- 
room  in  dull  blue 
and  rose  with  ivory 
woodwork.  The 
furniture  is  Circas- 
sian walnut,  the  rug 
an  oriental.  Right 
is  Miss  Mathis'  own 
study  with  its  typi- 
cal California  at- 
mosphere. It  is  done 
in  red  and  green 
and  the  furniture 
is  mission.  You 
should  have  great 
respect  for  this 
room,  for  it  is  here 
that  Miss  Mathis 
earns  her  salary 


(Fifty-two) 


Hollywood  Homes 

No.  XVI 
The  home  of  June  Mathis,  Goldwyn's  Editorial  Director,  is  pictured  here 


At  the  top  of  the 
page  is  the  view 
from  the  street. 
The  house  is  of 
soft  Italian  pink 
stucco  with  a 
dark-red  tiled 
roof.  The  plant- 
ing is  admirable 
and  the  lawns  and 
garden  unusually 
trim 


Left  is  Miss 
Mathis  in  her 
living  -  room  ar- 
ranging the  roses 
from  her  own 
garden.  A  charm- 
ing home  and  a 
charming  hostess. 
Note  the  odd 
effect  the  Cali- 
fornia sun  has  on 
the  tiles  of  the 
roof  at  the  top  of 
the  page 


(Fifty-three) 


FROM   the  movie  vocabulary  in  "The  Best  Moving 
Pictures  of  1922-23,"  by  Robert  E.  Sherwood: 

GROSS,  v.     To  make  money.    It  is  applied  only  to  pic- 
tures.    ("This  film  will  gross  a  million   dollars.") 

In  other  words,  William  Fox's  "Temple  of  Venus"  is  a 
million  dollars'  worth  of  grossness. 

+  +  + 

"God  never  meant  laughter  to  be  full  of  daggers  that 
dig  into  the  heart,"  says  the  heroine  in  "The  Temple  of 
Venus." 

This  fella,  now,  Fox,  just  knows  everything,  ain't  it? 

+        +        "b 

At  this  writ- 
ing, Gene  Sara- 
zen,  the  golf  en- 
thusiast, is  to  be 
married  to 
Pauline  Garon, 
the  First  Flap- 
per of  Filmdom. 

Looks  as  if  he 
had  an  almost 
perfect  ap- 
proach. 


Later :  Miss 
Garon  has  de- 
nied that  she  is 
betrothed  to  Mr. 
Sarazen,  thus 
laying  him  a 
mean  stymie. 

*r"         +         + 

If  you  ask  us, 
it's  our  opinion 
that  the  whole 
affair's  the  bunker. 


Whatever  harsh  words  may  be 
justly  spoken  of  the 
legitimate  stage,  at 
least  it  spares  us  the 
puerile  effect  of  the 
gel's  face  appearing 
deep  in  the  heart  of  a 
rose.  Nor,  as  in  "His 
Children's  Children," 
do  devils  ever  emanate 
from  wine-cups  and 
flaming  matches  to 
philosophize  in  illiter- 
ate subtitles.  We 
fatuously  thought 
such  trick  photog- 
raphy was  as  dead  as 
a  dinosaur's  egg. 


Courtesy    of   Ina    Anson 
ond  Goldwvn  Pictures 


Devils  in  their  proper  place,  to  be  sure,  are  not  without 
a  certain  dignity.  Embellishing  the  advertisements  of 
corn-cures,  dyspepsia  tablets  and  Underwood's  Picnic 
Ham,  for  instance,  they  are  hot  stuff. 

+         +         4* 

"His  Children's  Children"  also  offers  an  interesting 
example  of  the  proper  Christian  sentiment.  In  what 
might  be  called  a  prolog,  Grandpapa  is  shown  whooping 
it  up  on  the  observation  platform  of  his  private  car  with 


a  Fancy  Person.  A  lassie,  however,  from  a  nearby  group 
of  Salvation  Army  choristers  brings  him  the  Light. 
Grandpapa  morally  renovated,  his  mistress  becomes  most 
offensive  to  his  sight.  "Get  out !"  he  says  in  a  fine  frenzy 
of  righteousness.  "Here  are  your  things — go!"  And  out 
she  goes,  without  benefit  of  clergy,  or  any  spiritual  rein- 
forcement whatever. 

Now  that's  no  way  for  a  gent  to  treat  a  lady ! 

+         +         + 

Our  Own  Censorship  Standards 
A  casual  examination  of  the  platforms  of  the  various 
state  censorship  boards  has  practically  forced  us  to  form 
one  of  our  own.     So  far  as  we  are  concerned,  the  boards 

have  failed 
utterly  in  the 
proper  execution 
of  their  duties. 
And  then,  one 
always  gets  bet- 
ter results  when 
one  does  things 
oneself,  doesn't 
one? 

Our   rulings 
are  as  below : 

1.  There  will 
be  not  more  than 
three  bathing 
beauties  shown 
in  any  one  scene. 
All  bathing 
beauties  must 
enter  the  water. 
Bathing  suits 
obviously  de- 
signed not  for 
comfort  but  for 
the  exploitation 
of  the  female 
form  divine  will  be  frowned  upon. 
This  need  not  apply  to  news  reel  pic- 
tures of  beauty  contests. 

2.  There  will  be  no  mare  pic- 
tures of  swimming-pool  parties  coun- 
tenanced until  July  24,  1978. 

3.  Scenes  of  motion-picture  actors 
and  actresses  presumably  engaged  in 

a  set  of  tennis  will  be  strongly 
disapproved.  This  goes  for 
golf,  also. 

4.  No  actor  over  forty-five 
will  be  permitted  to  take  the 
part  of  a  student  in  scenes  of 
college  life. 

5.  Scenes  displaying  the  star 
in  improper  lingerie  will  either 
be  cut  out  entirely  or  given  a 
reasonable  amount  of  footage. 
A  little  knowledge  is  a  danger- 
ous thing. 

6.  The  wearing  of  caps  with  evening  clothes  by  male 
actors  will  be  discouraged. 

7.  All  scenes  showing  the  actual  consumption  of  food 
at  a  civilized  repast  will  positively  not  be  tolerated  unless 
the  performers  are  made  to  stop  acting  naturally.  (Very 
probably  to  be  continued.) 

+         +         + 

"Surely,"  said  the  Boss  (who  is  more  of  a  Darn  Good 
Pal  than  a  boss),  "you  are  going  to  write  something  about 
'A  Woman  of  Paris.'  "    And  so  we  are.    Charles  Spencer 
(Continued  on  page  90) 


(Fifty-four j 


The  Immortal  Clown 

With  Specially  Posed  Photographs  of  Larry  Semon 
by  Lejaren  a  Hiller 

IITERATURE  is  filled  with  portraits  of  the  tragic  clown,  the 
fun-maker  who  carries  in  his  heart  the  burden  of  ■  great  per- 

*"'sonal  sorrow,  but   who   laughs  away   the  hours   in   gay   hearted 
abandonment,    while   his   soul    sutlers   because   of   grief   lie   dare   not 
reveal    in    his    guise    of    purveyor    of 
merriment. 

In  all  literature  there  is  no  more 
tragic  figure  than  the  clown  made  fa- 
mous by  Caruso,  the  Pagliacci  of  the 
opera,  with  whom  we  have  all  laughed, 
over  whom  we  have  all  wept  ;  the 
shadow  of  whose  tragedy  has  brought 
to  the  stage  one  of  those  wonderful  and 
sublime  moments  which  are  the  very 
pinnacle  of  human  experience. 

There  have  been  many  sympathetic 
portrayals  of  Pagliacci  which  have 
added  dramatic  art  to  lash  the  imagina- 
tion and  awaken  in  the  heart  and  soul  a 
sense  of  grief  so  almost  divine  as  to  be 
next  to  unbearable. 

It  was  a  daring  thing  to  plan — to  give 
to     art-lovers      photographic      portrait 


Right:  Here  the 
clown  has  yielded 
gradually  to  con- 
viction and  the 
grim  determina- 
tion to  avenge 
betrays  itself  in 
his  features.  Be- 
low is  portrayed 
an  abject  and 
hopeless  despair. 
Revenge  has  not 
brought  relief. 
These  are  fine 
and  sympathetic 
studies.  Bravo, 
Mr.    Semon! 


Here  is  a  new 
Larry  Semon  tell- 
ing the  familiar 
story  of  Pagli- 
acci's  grief  and 
despair.  Above  is 
the  funny  man 
without  a  care  in 
the  world,  the 
old  Larry  Semon 
at  his  best.  Left  is 
the  first  hint  of 
his  wife's  unfaith- 
fulness, which,  in 
his  surprise,  he  is 
not  quite  ready  to 
believe 


studies    of    Pagliacci ;    to   believe   that    any 
man  could,  by  mere  facial  expression,  bring 
to    us    the   grief   portrayed   by   the   classic 
clown,    relive    for    us    the    scenes    of    that 
tragedy  in  silence,  making  us  remember  our 
hurt  and  crying  sympathy  which  the  voice 
of  Caruso  has  left  as  a  memory  in  our  ears. 
Lejarena  Hiller,  well-known  artist-photog- 
rapher, has  made  such  an  attempt,  and  he 
chose  from  his  long  sought-for  subjects  and 
original      of      his      picture-studies,      Larry 
Semon.    .    .    .    Semon,  who  has  made  us 
laugh  till  we  cried    .    .    .    Semon,  the  clever 
.    .    .    the     agile    .    .    .    the     merrymaker, 
without  a  suggestion  of  sorrow  in  the  world. 
"I    looked   and    looked    almost    in    vain," 
says  Mr.  Hiller,  "for  a  man  who  could  in- 
terpret these  master-studies,  but  could  find 
no  one.    However,  when  I  met  Larry  Semon. 
I  felt,  at  last,  I  had  discovered  my  man.     Mr.  Semon  has  shown  a  new- 
side  of  the  artist  in  him  thru  these  portraits.     He  portrays  his  own 
story  and  in  a  way  that  you  can  fairly  hear  the  sobs,  the  grief  of  one 
betrayed. 

The  studies  are  of  the  clown — in  his  usual  mood ;  the  funny  man 
without  a  care,  giving  of  his  fun.  What  did  he  know  of  grief?  What 
did  he  suspect  of  treachery  ? 

Then  the  first  hint  of  his  wife's  unfaithfulness;  the  surprised  man. 
not  quite  ready  to  believe,  not  quite  ready  to  yield  to  the  impulse  of 
jealousy.  Life  is  still  funny,  tho  something  in  it  is  becoming 
complicated. 

He  yields  gradually  to  conviction,  then  all  his  pent-up  emotions  are 
aroused    .    .    .    the  gay  nonchalance  for  which  he  is  famous,  droops 
{Continued  on  page  94) 


(Fifty-five) 


Flashes  From  the  Eastern  Stars 


Apeda 


Above :  Alice  Delysia,  of  "Topics  of  1923." 

Below:  J.  Hartley  Manners  and  his  wife, 

Laurette  Taylor,  back  in  New  York 

©  Underwood  and   Underwood 


Of  the  Stage,  on  the  Screen , 
Caught  by  the  Editor 


THE  pleasantest  thing  we  can  think  of  that  has  hap- 
pened so  far  in  the  movies,  is  that  Lillian  Gish  and 
Richard  Barthelmess  will  play  "Romeo  and  Juliet"  on 
the  screen.  There  is  no  debating  the  appropriateness  of 
the  choice.  Lillian  and  Dorothy  are  both  in  Italy  for  the 
filming  of  "Romola."  "Romeo  and  Juliet"  will  also  be 
made  there,  and  "Joan  Of  Arc,"  starring  Lillian  Gish,  will 
be  deferred  until  later.  *  *  *  Richard  Barthelmess  is 
in  the  midst  of  "The  Enchanted  Cottage,"  upon  comple- 
tion of  which  he  will  join  the  Gishes  in  Italy.  May 
McAvoy  has  the  lead  in  this  picture.  Holmes  Herbert  is 
playing  Major  Hillgrove,  the  blind  officer.  John  S. 
Robertson  is  directing.  He  will  also  direct  "Romeo  and 
Juliet."  *  *  *  Al  Woods  has  put 
into  rehearsal  a  new  play  by  John 
Hunter  Booth,  titled  "Softy."  Robert 
Ames  is  the  featured  player.  Elizabeth 
Murray,  Florence  Flinn,  Jack  Raeffael 
and  William  Calhoun  are  in  the  cast 
*  *  *  Flora  Le  Breton,  the  English 
motionrpicture  star,  who  is  creating  a 
very  favorable  impression  on  American 
producers,  thinks  New  York  is  about 
the  most  interesting  place  she  ever 
visited.  She  is  fascinated  by  the  elec- 
tric signs.  The  other  day  the  Wrigley 
Spearment  sign  attracted  her  interest 
so  long  that  she  stood  watching  it  for 
quite  a  long  time  until  the  crowd 
gathered  around  her.  Miss  Le  Breton 
was  not  aware  of  the  crowd  until  a  po- 
liceman came  up  and  informed  her  that 
she  was  obstructing  traffic  *  *  * 
Dr.  Daniel  Carson  Goodman,  author- 
producer,  and  Alma  Rubens,  star  of 
"Under  the  Red  Robe,"  now  playing  at 
Cosmopolitan  Theater.  New  York 
City,  have  announced  their  marriage. 
It  took  place  last  August  *  *  * 
Fourteen  gallons  of  chewing  gum  re- 
mover have  been  used  since  the  opening 
of  the  Music  Box  Theater  in  keeping 
theater  chairs  safe  for  the  spectator. 
The  liquid  has  been  used  to  separate  in- 
dividual piles  of  fully  masticated  gum 
from  furtive  parking  spaces  under  the 
theater  seats.  Fifteen  cuds  of  chewing 
gum  has  been  the  average  discovery 
following  performances.  The  objection- 
able wads  of  gum  have  been  found  on 
bannisters,  walls  of  the  theater,  carpets, 
under  seats  in  the  beautiful  lounge,  and 
under  arms  of  chairs.  Every  known  or 
suspected  place  is  explored  each  day  by 
the  cleaning  squad.  Do  you  do  this? 
We  hope  not  *  *  *  Gloria  Swanson 
does  an  apache  dance  in  her  newest 
Paramount  picture,  "The  Humming 
Bird,"  which  will  be  a  revelation.  For 
weeks  she  has  been  practising  the  weird 
dance  creation  with  Aurelio  Coccia,  who, 
for  the  last  ten  years,  has  been 
dancing  it  thruout  the  United   States. 

(Fifty-six) 


Above  is  John  P.  Brawn  on 
tour  with  Frank  Craven  in 
"The  First  Year,"  playing 
with  conspicuous  success 
the  Mr.  Livingstone  of  the 
play.  Below  are  the  dear(?) 
familiar  "L"  tracks  of  New 
York,  in,  on,  and  around 
which,  Director  Emmett 
Flynn  made  most  of  "Nellie 
the  Beautiful  Cloak  Model" 


_j 


Left  are  Pauline 
Frederick  and  Lou 
Tellegen  playing  to- 
gether in  "Let  No  Man 
Put  Asunder."  Right 
are  Jane  Cowl,  Rollo 
Peters  and  Kate  Terry, 
famous  sister  of  Ellen 
and  one  of  the  great 
Juliets  of  the  stage. 
Below  is  "Mother  Ash- 
ton,"  with  her  little 
niece  and  her  staff  of 
deft,  polite  and  atten- 
tive Japanese,  who  help 
make  her  newly  opened 
tea-room  the  success  it 
deserves   to   be,   and   is 


"The  apache  dance  is  cruel,  fierce,  and  wild,"  explained 
v  ia.  "Many  people  believe  that  it  has  been  exag- 
gerated by  dancers,  but  that  is  not  so.  One  night  in 
Paris  while  making  the  rounds  of  the  cafes  in  the 
Montmartre  district  in  search  of  color  for  my  dance,  I 
was  fortunate  enough  to  witness  a  little  triangle  drama 
between  two  apache  men  and  a  girl.  One  of  the 
apaches,  seeing  the  woman  with  his  rival,  picked  up  a 
bottle  and  smashed  it  to  fragments  on  the  floor.  He 
deliberately  cut  bis  hand  with  a  piece  of  the  glass,  ad- 
vanced to  the  defiant  girl,  seized  her  with  his  bloody 
hands  and  began  to  dance  to  the  strains  of  the  noto- 
rious Mattischiche.  It  was  a  fascinating  sight."  Miss 
Swanson  had  to  give  up  work  on  this  picture  for  nearly 
two  weeks  due  to  a  particularly  severe  case  of  "Kleig 
eyes"  *  *  *  Glowing  reports  of  the  effectiveness 
of  F.  Scott  Fitzgerald's  comedy,  "The  Vegetable,"  drift 
in  from  Atlantic  City,  where  Sam  H.  Harris  first  pre- 
sented the  play.  It  is  being  prepared  for  a  Broadway 
showing  with  Ernest  Truex  as  star.  *  *  *  Lee 
Kugel,  who  says  he  counted  them,  reports  that  3,000 
actors,  actresses  and  dancers  yesterday  afternoon 
stormed  the  doors  of  Morris  Gest  at  the  Princess 
Theater  seeking  engagements  in  Max  Reinhardt's 
"The  Miracle."  *  *  *  Homer 
Croy,  author  of  "West  of  the  Bail 

Water  Tower,"  has  just 
offered  a  prize  of  $100 
for  the  best  bit  of 
writing  done  dur- 
ing the  current 
school  year  by  a 
student  of  the  Uni- 
versity of  Missouri. 
The  award  is  very 
unusual.  Mr.  Croy 
says  he  doesn't 
want  any  red  tape 
connected  with  it 
and  wants  to  "en- 
courage some  stu- 
dent who  has  the 
writing  germ 
buried  in  his  soul 
and  who  thinks  no 
one  cares."  Mr. 
Croy  was  formerly 
a    student    at     the 


University  of  Missouri.     Just  at  present  he  is  a  kind 
of   literary    hero   among  the    undergraduates    because 
"West  of  the  Water  Tower"  has  become  a  best-seller 
and  has  just  been  produced   as  a   motion   picture   by 
Paramount,    with    Glenn    Hunter    in    the    .star    role. 
*     *     *     Probably  no  member  of  the  theatrical  pro- 
fession   has    traveled    more    extensively    than     Miss 
Georgette   Harvey  of  the   "Runnin'    Wild"   company, 
the  all-colored  musical  show  now  playing  in  New  York 
City.      Miss    Harvey,    tho    comparatively    a    young 
woman,  has  spent  fourteen  consecutive  years  playing 
thruout  Europe  and  Asia,  ten  of  which  were  spent  in 
Russia.     During  her  long  stay  in   the  latter  country 
she  witnessed  five  revolutions,  and  was  in  Petrograd 
at  the  time  of  the  overthrow  of  the  late  Czar.     Her 
recital    of    the    terrible    experiences    which    she    was 
forced  to  undergo  are  dramatic  in  the  extreme.     De- 
siring to  leave  the  country,  she  was  thwarted  at  every 
move  and  accomplished  it  only  after  traveling  across 
Russia  to  Siberia  and  the  far  East.     During  this  trip 
she  personally  saw  more  than  two  hundred  executions. 
An  uneviable  record !     *     *     *     After  four  months  of 
searching  the  market  for  a  suitable  story  for  George 
Fitzmaurice's  second  independent  production,  Samuel 
Goldwyn   announces    the   acquisition 
of   Joseph   Hergesheimer's 
novel,  "Cytheria,"  and 
work    will    begin    the 
latter    part    of    this 
month.    The  direc- 
tor is  now  in  Cuba, 
selecting  locations. 
*    *    *    Nita    Naldi 
is     in     New     York 
again   after   a   long 
stay  on   the  Coast. 
Her   plans  are   un- 
decided.   *  *  *  Col- 
leen Moore  has  been 
honeymooning,       a 
bit    late,     but    still 
honeymooning,     in 
this    greatest    of 
cities.  She  has  been 
buying      furniture 
for  her  new  home. 
She     has     been 
(Con.  on  page  102) 


(Fifty-seven) 


"I'VE  seen  people  clown  in  the  mouth  before,"  said 
Jarvis  with  mournful  relish,  "but  I  never  saw  one 
clown  in  the  mouther  than  Mr.  Ainsworth.  No,  sir. 
Thank  you,  sir."  Jarvis  always  thanked  you.  He  was 
imported  from  England,  and  he  knew  what  was  expected 
of  him, 

"No  desire  to  gather  him  roses  while  he  may,  eh?" 
Morrell  commented  sympathetically,  reaching  for  the 
bottle  of  Bourbon  on  the  tray  in  the  butler's  hands,  "finds 
no  comfort  in  the  jolly  old  flowing  bowl  and  all  that 
kind  of  thing?  Maybe  some  girl  has  turned  him  down. 
We  must  cherchez  la  femme  in  cases  where  a  fellow 
with  everything  he  wants  in  the  world  suddenly  discovers 
that  he  doesn't  want  anything." 

"I  dont  think  it's  that,  sir,"  Jarvis  shook  his  head,  "I've 
been  thru  three  affairs  of  the  'eart  with  young  gentlemen 
I've  'ad  the  honor  of  serving  and  I  know  the  symptoms. 
Thank  you,  sir." 

"It  cant  be  money  troubles,"  Morrell  reflected,  "his 
income  tax  looks  like  a  movie  star's  salary.  Liver, 
perhaps." 

"I've  been  butler  to  two  livers,  sir,  and  one  gout." 
Jarvis  sighed,  "there's  nothing  wrong  with  Mr.  Ains- 
worth's  'ealth,  I'm  certain.  If  I  may  venture  a  sugges- 
tion, sir,  I  think  he  needs  a  h'interest  in  life  and  if  he 
doesn't  get  it,"  he  made  an  eloquent  gesture  of  putting 
an  invisible  pistol  to  his  forehead  and  pulling  the  trigger, 
"I  was  once  second  footman  to  a  suicide,  sir.  Thank  you, 
sir." 

Left  to  himself  and  the  Bourbon  by  the  grateful  Jarvis, 
Tack   Morrell   laughed,  then   frowned.     He   had   known 


The 
Yankee  Consul 

By  NORMAN  BRUCE 


Dudley  Ainsworth  since  freshman  year  at  Yale  and 
between  them  existed  that  rare  thing  that  men  never  put 
into  words — friendship.  If  he  had  occasion  to  speak  of 
it,  Morrell,  shying  in  horror  from  sentiment,  would  have 
said  that  they  were  Dud  Damon  and  Jack  Pythias.  He 
had  noticed  his  chum's  depression  but  Jarvis'  report  gave 
him  the  first  hint  of'its  seriousness. 

"I  must  put  the  old  bean  at  work,"  he  told  himself,  "it's 
hard  to  think  with  nothing  to  do  it  with,  but  it's  got  to  be 
done  !    Let's  see,  if  he  isn't  in  love  he  ought  to  be- " 

Dudley  Ainsworth,  lounging  in  shortly  afterward, 
barely  glanced  at  his  friend.  He  flung  himself  into  a 
chair,  fumbled  for  a  cigaret  and  when  the  match  went 
out,  irritably  tossed  the  unlighted  cigaret  away.  The 
muscles  of  his  handsome  young  face  were  drawn  so  taut 
that  he  looked  as  tho  he  were  wearing  a  mask  but 
his  hands  shook,  and  catching  Morrell's  glance  he  thrust 
them  into  his  pockets. 

"Damn !"  he  said  drearily,  "Damn  everything !" 

"Come  out  to  dinner  with  me."  Jack  suggested,  "I  can 
manage  the  wine  and  the  women  and  I  might  even  be 
persuaded  to  oblige  with  a  song!" 

Ainsworth  shook  his  head.  "Have  to  dress,  and  I'm 
sick  of  dressing.  D'you  ever  stop  to  think,  Jack,  how 
many  more  times  we'll  have  to  dress  before  we  die? 
How  many  shirt  studs  we'll  have  to  put  in — Gad !  When 
I  look  ahead  to  forty  years  of  tying  my  necktie  and  brush- 
ing my  hair,  I  feel  as  tho  I  couldn't  go  thru  with 
it !"  His  voice  had  risen  to  the  pitch  of  hysteria.  Jack 
Morrell  was  shocked.  Lord,  but  the  poor  chap  was  in 
a  bad  way — in  another  moment  he'd  be  bursting  into 
tears ! 

"Dont  worry,  your  hair  wont  last  another  forty  years, 
m'boy !"  he  said  flippantly,  "do  come  along,  Dud !  I  want 
you  to  meet  a  girl,  reg'lar  stunner,  my  sister's  chum  at 
Vassar,  but  she  doesn't  wear  blue  stockings,  and  she 
doesn't  flap  either.  Hairpins  instead  of  a  bob,  and  uses 
her  head  for  something  besides  a  parking  place  for  a  hat. 
You'd  like  her." 

It  appeared  that  Ainsworth  wouldn't  go  across  the 
street  to  meet  Helen  of  Troy.  Women  talked,  which  was 
bad,  or  else  they  expected  to  be  talked  to,  which  was 
worse.  Argument  and  pleading  were  of  no  avail,  and 
then  Morrell  played  his  trump  card. 

"The  trouble  with  you,  Dud,  you're  out  of  the  game, 
you're  sitting  on  the  side-lines  instead  of  being  out  on 
the  field  where  you  belong.  A  job  is  what  you  need. 
Look  here,  I'm  willing  to  bet  you  ten  thousand  dollars 
that  if  you  go  to  work  for  a  month  and  live  on  what  you 
can  make  life  will  look  entirely  different  to  you." 

Ainsworth  stared  wanly.  "A  job !  What  d'you  sup- 
pose anyone  would  hire  me  to  do — I'm  the  most  useless 
object  on  God's  green  earth.  I'm  as  worthless  as  a  corpse 
and  I  take  up  a  good  deal  more  room.  Job !  I  couldn't 
get  a  job  to  pound  sand  in  a  rat  hole !" 

For  reply,  Jack  turned  to  the  telephone.  "Listen,  girlie. 
I'm  not  doing  this  to  exercise  the  'phone,"  he  added 
earnestly  after  giving  a  number.  "I  know,  sweetie,  that 
the  line  is  busy  and  the  party  dont  answer  and  all  that. 
Why  not  be  original  and  get  me  the  number?" 

Dudley  Ainsworth  listened  with  a  wry  smile.    He  told 


(Fifty-eight) 


CLASSIC 


himself  that  the  plan  was  preposterous,  that  he  wouldn't 
be  a  part \  to  u.  and  yet  he  made  no  move  to  interfere, 
■ven  when,  from  the  one  Bided  conversation  on  the  'phone, 
he  deduced  that  he  had  been  lured  i>y  the  Happ)  l>a\s 
Travel  Bureau  to  sell  steamship  tickets  and  distribute 
gaudy  booklets  over  a  counter  for  twenty  two  dollars  and 
titty  cents  a  week,  somewhat  less  than  he  usually  ipenl 
on  cigars.  Morrell  hung  up  the  receiver  triumphantly. 
"There  you  arc'  Remember  the  conditions,  one  month's 
work  and  vou're  to  live  on  your  pay.  It  at  the  end  of 
the  time  you  dont  confess  life  is  worth  living,  I'll  hand 
you  a  check  for  ten  thousand!" 

"You're  a  fool.  Jack,"  Ids  friend  remarked  listlessly, 
"hut  I'm  desperate  enough  to  try  it.  And  if  it  doesn't 
succeed  1  wont  want  your  money,  I'll  just  let  you  treat 
BM  t»  a  cyanide  cocktad.  I'm  tired  of  sticking  around 
this  stale,  flat  and  unprofitable  world  waiting  for  some- 
thing to  happen ." 

"I  have  a  hunch  you'll  find  your  job — interesting." 
Morrell  said  cryptically,  "well,  so  long!  Of  course  I  dont 
mingle  much  with  the  proletariat,  and  our  stations  in  life 
will  be  different  from  now  on.  hut  maybe  I'll  drop  in  noV 
and  again  to  wring  your  horny  hand  of  toil." 

The  first  two  days  at  the  travel  bureau  were  unusual 
enough  to  provide  a  young  millionaire  who  had  never 
been  into  such  a  place  with  a  few  novel  impressions. 
Faithful  to  the  terms  of  the  wager,  Ainsworth  took  a 
frightful  room  in  a  lodging-house  on  Twenty-third 
Street  where  the  sheets  smelled  of  boiled  cabbage  and  the 
carpet  was  like  decayed  vegetation,  and  since  he  must 
choose  between  three  meals  a  day  in  dirty  lunchrooms 
or  one  meal  a  day  in  a  decent  if  modest  restaurant  he 
decided  on  the  latter  and  found  himself  really  hungry  for 
the  first  time  in  weeks.  He  was  even  able  to  smile  feebly 
at  the  thought  of  Jar  vis'  horror  if  he  could  see  the  tin  tub 
in  the  lodging-house's  one  bathroom  and  the  pink  powder 
scattered  on  the  lav- 
atory by  the  hall- 
bedroom  manicurist 
— a  determined 
blonde. 

But  on  the  third 
morning  the  dark 
cloud  of  depression 
settled  down  again. 
It  was  all  so  futile — 
the  booklets  of 
standardized  tours 
with  their  specious 
pictures  of  pagodas 
and  Roman  ruins, 
the  cheap  people 
who  came  in  to  talk 
about  cheap  cabins. 
With  the  morbid 
fancy  of  a  sick  and 
jaded  mind,  Ains- 
worth seemed  to  see 
the  Inverted  Bowl 
of  old  Omar  and  un- 
derneath, crawling 


"For  love  of  ze  good 
Saint  Mike  zat  you 
Americans  worship, 
do  not  leave  mt — I 
am  in  so  great  trouble 
— but  I  cannot  tell 
you  jus'  now  —  I 
write "  The  ven- 
tilator clicked  shut  as 
another  woman's  hand 
drew  the  girl  away 
from  the  window 


aimless  .is  ants,  the  human  millions  caught   m  tin-  tr.t 

tent  e      F  rora   these  thoughts  Iv 
familial  voice  asking  casually  for  a  ticket  to  San  Domingo 

"San    Domingo,"    stuttered    Auisworth,    "for    I: 
sake   win    would  you   want  a  ticket   to  San   DomingO?1 
"In  order  to  travel   there,  "I   COUrSC,  my  good   fellow' 

Morrell  s.ud  blandly.  "Steamship  Mariposa,  sailing  this 

afternoon.     I  Mine.  COme,  hurry  up'" 

"1  say,  Jack,  if  you're  really  K<>inu  to  San  DomingO,  111 

come  along,"  Ainsworth  automatically  placed  a  blue  ticket 

in  an  envelope  and  pushed  it  over  the  Counter,  "sou  wen- 
wrong — there's  no  kick  to  this  job,  and  the  fellow  in  the 
room  above  mine  plays  '<  >ld  Black  Joe'  on  a  cornet 
all  the  evening!" 

"Tut.  tut,  what  are  the  working  classes  coming  t< 
Morrell  grinned,  "think  of  your  wager  I  Picture  me 
sitting  under  palm  with  a  book  of  verses,  a  jug  of  wine, 
and  a  charming  Thou,  but  as  for  you  work  hard,  my 
boy — work  wins,  you  know !  See  you  later !"  With  an 
airy  wave  of  his  hand  he  strolled  out,  almost  colliding 
in  the  doorway  with  an  agitated  young  lady  of  such  un- 
usual beauty  that  Ainsworth  who  had  been  about  to  dash 
after  his  friend  stood  still  in  his  tracks  staring  dazedly  at 
the  dark  pale  loveliness  revealed  by  the  lifting  of  the  heavy 
black  veil  she  wore. 

'"As  the  Mariposa  she  sail  yet?"  the  young  lady  in- 
quired with  a  foreign  accent  which  Ainsworth  could  not 
quite  place,  '"ave  the  boat  to  San  Domingo  a'ready  de- 
part?" And  now  he  saw  that  she  seemed  to  be  laboring 
under  some  emotion.  The  bosom  of  her  dress  rose  and 
fell  swiftly  and  she  cast  frequent  glances  toward  the  door. 

Dudley  Ainsworth  had  led  an  entirely  average  life.  The 
women  he  had  known  had  been  dancing  partners  or  dinner 
neighbors,  charming,  carefully  trained  to  please,  perfectly 
understandable  even  to  the  meaning  of  the  conscious  look 
in  their  blue,  black  or  brown  eyes  when  they  gazed  at  him. 


(Fifty-nine) 


CLASSIC 


"I'll  be  damned  if  I  will!"    Ainsworth  returned  promptly.     What  would  have  happened  next  he 
did  not  know  and  he  did  not  particularly  care.     A  fellow  like  a  musical-comedy  king  giving 

orders  to  a  citizen  of  the  United  States! 


But  this  woman  was  different,  tantalizing,  mysterious. 
She  was  like  a  flirt  of  a  scarlet  fan  in  a  carnival  crowd, 
laughter  in  stormy  moonlight,  she  was  like 

Confusedly  he  heard  his  own  voice  assuring  her  that 
the  Mariposa  had  not  gone.  Dizzily  he  was  conscious  of 
following  her  hurrying  figure  to  the  door,  of  standing 
bareheaded  on  the  pavement  watching  a  foreign-looking 
gentleman  and  a  lady  with  diamonds  in  her  ears  hurry 
her  into  a  taxicab  which  a  moment  later  was  lost  in  the 
tide  of  traffic,  but  not  before  he  had  caught  a  memory  of 
a  wild  white  face  pressed  to  the  window,  the  gesture  of  a 
little  hand,  whether  in  farewell  or  entreaty  he  did  not 
know. 

A  snicker  brought  him  back  to  his  surroundings  and 
the  conciousness  that  he  lacked  a  hat.  Behind  his  counter 
once  more  Ainsworth  sold  several  tickets  with  entire 
disregard  for  such  small 
details  as  destination  and 
date,  then  for  the  third 
time  that  morning  the 
Steamship  Mariposa  was 
the  subject  of  excited  in- 
quiry. An  elderly  man, 
face  almost  hidden  behind 
an  underbrush  of  ginger- 
colored  whiskers,  stood  as 
close  to  the  counter  as  his 
girth  would  allow,  banging 
a  tattoo  with  a  rusty  cotton 
umbrella. 

"Looky  here,  young 
man,"  he  addressed  Ains- 
worth belligerently,  "my 
name  is  Abijah  Boos." 

He     seemed     to     expect 


THE  YANKEE  CONSUL 

Fictionized  by  permission  from  Associated  Ex- 
hibitors' production  of  the  screen  adaptation  by 
Raymond  Griffith  and  Raymond  Cannon  of  the 
musical  comedy  by  Henry  M.  Blossom,  Jr.,  and 
Alfred  G.  Robyn.  Directed  by  James  W.  Home. 
The  cast: 

Dudley  Ainsworth Douglas   MacLean 

Jack  Morrell Arthur  Stuart  Hull 

Leopoldo Stanhope  Wheatcrof t 

Donna  Teresa Eulalie  Jensen 

Don  Raphael  Deschado George  Periolat 

Maria Patsy   Ruth    Miller 

John  J.   Doyle Fred  Kelsey 

Duncan,  ship's  purser L.  C.  Shumway 

Ripley,  retired  consul Gerald  Pring 

Servant Bert    Hadley 


some  comment,  but  not  exactly  the  one  his  hearer  made. 
"Of  course,"  Ainsworth  murmured,  "it  couldn't  be  any- 
thing else.    What  can  I  do  for  you,  Mr.  Boos?" 

The  umbrella  increased  its  tempo.  "You  can  take  this 
here  passport  and  ticket  and  go  aboard  the  Steamship 
Mariposa  and  git  my  luggage  off'n  her  before  she  sails. 
I've  changed  my  mind.  I'm  going  to  stay  over  for  the 
Independent  Order  of  Woodman's  Ball." 

The  Unknown  Lady  had  asked  for  the  Mariposa — in 
ten  minutes  Dudley  Ainsworth,  before  whom  even  head 
waiters  were  wont  to  grew  servile,  was  hurrying  up  the 
gangplank  and  diving  down  into  a  hold  odorous  of  bilge 
to  seek  the  belongings  of  one  Abijah  Boos.  Over 
mountains  of  trunks  and  foot-hills  of  suit-cases  he  toiled, 
bruising  his  shins  and  barking  his  knuckles.  At  last, 
triumphant   he    emerged    from    the   nether    regions    and 

beckoned  a  steward :  "I 
have  a  couple  of  trunks 
down  here,"  he  said  briskly, 
"I  want  you  to  throw  them 
off  on  the  dock." 

The  man  stared,  grinned. 
"Sorry,  sir,  but  I  cant 
throw  that  far,"  he  snick- 
ered, jerking  a  thumb 
toward  a  porthole,  "you 
see  we're  ten  miles  out 
already !" 

Ainsworth  rushed  to  the 
port-hole — green  billows, 
foam  embossed,  and  not  a 
sign  of  land !  He  shrugged 
all  responsibility  from  his 
shoulders.  Morrell,  with 
his   idiotic   wager   had   got- 


(Sixty) 


CLASSIC 


him    into    this.    Morrell    must    gel    him    out        Bill    <lul    he 

wani  to  gel  out  -  wiuit  if  the  lad)  o(  the  black  veal  and 

c\cs  like  the  perilous  ICU  in   faiiv   lands   forlorn   wen-  mi 

board?    Ho  waa  amazed  .it  tin-  way  hit  pulses  quickened 
at  the  thought.    He  frit  suddenly  alive,  eager,  as  he  went 

lip  the  companion  \\a\    stairs  to  tin-   smoking  room. 

Morrell,  a  tall  glass  m  front  of  him.  greeted  him  with 
out  surprise  ami  listened  to  his  story  with  an  (Mil) 
perfunctory  interest.  His  rotund  countenance  wore  a 
worried  look  as  tho  he  were  waiting  for  the  worst  to 
happen.  "Do  you  notice  how  we're  rocking?"  he  asked 
feebly,  "always  did  hate  the  water!  I  gel  seasick  every 
time  1  take  a  hath  'fraid  I'm  not  going  to  he  able  to 
help  you  much.      Hut   you're  all   right,  you've  got   Boos' 

passport   and  ticket " 

"Think  1  look  like  that  bird?"  Ainsworth  displayed 
the  whiskered  countenance  on  the  passport  indignantly, 
"it  would  take  me  a  month  to  grow  a  crop  of  foliage 
like  that !" 

The  boat  gave  a  lurch,  climbed  a  steep  wave  and 
shuddered  violently.  Morrell  turned  green,  and  rose  in 
haste.  "Might  take  your  own  picture  and  stick  it  on 
the  passport."  he  murmured.  "I— got  a  camera  and  flash- 
light powders — oh  Lord,  I  think  we're  rolling:  worse 
-ugh!" 

Ainsworth  strolled  out  on  deck.  Perhaps  it  would  be 
better  to  go  back  with  the  pilot.  By  the  second  time 
around  he  was  certain  that  it  would.  Habit  reasserted 
itself — how  could  he  ever  have  dreamed  for  a  moment 
of  impersonating  a  man  with  an  unspeakable  name  like 
Abijah  Boos?  What  would  Jarvis  say ?  He  would  have 
to  use  the  contents  of  the  trunks  in  the  hold  and  he  knew 
beforehand  that  Abijah  would  wear  nightshirts.  Im- 
possible. He  stopped,  startled.  A  hand  was  rapping  on 
the  glass  window  of  the  stateroom  he  was  passing!  As 
he  drew  nearer,  the  girl  whom  he  had  seen  in  the  travel 
bureau  appeared  a  moment  at  the  port-hole.  Hurried 
words  reached  him  thru  the  ventilator:     "For  the  love 


Above:  The  Yankee  Consul  poses  for  his  picture 
blissfully  unaware  that  the  suit  of  armor  will 
soon  come  to  life  and  hack  at  him  with  the 
battle-ax.  Right,  below.  "A  joke?"  he  asked 
softly  .  .  .  "was  it  all  a  joke,  my  dear?  The 
things  I  said  to  you  .  .  .  the  things  you  said 
to  me?" 


of   ze  good   Saint   Mike  zat   you   Americans   worship. 

do  not  leave  me.     I  knew  firs'  time  I  see  that  you 

were  brave.     I   am   in  the  so — great  trouble  but   I 

cannot  tell  you  now,  I  write " 

The    ventilator    clicked    shut    as    another    woman's 

hand,  old,  but  bedizened  with  rings,  drew  the  girl 

away  from  the  window.     And  at  almost  the  same 

moment  the   foreign-looking  gentleman   who  had 

hustled  her  away  in  the  taxicab  strolled  out  on 

deck,  regarding  Ainsworth  with  the  smile  of  the 

cat  just  before  it  devours  the  canary.     "Ah-h!" 

Dudley  did  not  care  for  the  way  he  said  it.  the 

his  tone  was  polite,  "we  are  to  be  fellow  travelers. 

Permit    me     to    introduce    myself — Senor    Jose 

Leopoldo,  ver'  much  at  your  service.     And  you. 

senor.  are ?" 

Ainsworth  made  his  decision  rapidly.     "My  name 
is  Abijah  Boos,  and  I  am  traveling  to  San  Domingo 
for  my  health." 

Leopoldo  tapped  him  confidentially  on  the  chest  with 

a  dazzling  nail.    "Take  my  advice,  my  young  fren'."  he 

purred,  "San  Domingo  will  not  be  healthy  for  you.     If 

you  are  wise  and  do  not  wan'  lose  what  health  you  a'ready 

got,  take  a  steamer  back  as  soon  as  we  land  !" 

A  search  among  his  namesake's  effects  confirmed  Ainsworth's 

forebodings  as  to  that  gentleman's  taste  in  night-wear.     Another 

(Continued  on  page  100) 


'Ssxiy-ont) 


The  Principals 

of  a 

Notable 

Production 


Warner  Brothers 

Present 
John  Barrymore 
Beau  Brummell 


At  the  top  of  the  page  is 
Mary  Astor  in  the  role  of 
Lady  Marjorie  Alvanley. 
To  play  opposite  John 
Barrymore  is  a  distinction 
of  which  this  young  girl 
should  be  very  proud. 
Directly  above  is  Carmel 
Myers  as  Lady  Hester 
Stanhope.  People  are  talk- 
ing about  her  now  as  tho 
she  were  a  new  discovery 


Left  is  John  Barrymore, 
America's  most  distin- 
guished actor,  in  the  title- 
role  of  "Beau  Brummell," 
the  stage  play  that 
Richard  Mansfield  made 
famous.  Above  is  a  bit 
from  the  picture.  This 
film  promises  to  be  one  of 
the  ,  truly  great  of  the 
season,  certainly  one  of 
the    most     beautiful    and 


(Sixty-two) 


t 


Abbe 


The  Rejected  Suitor 

An  English  Imitation  of  a  Popular  American 


Gertrude  Laurence  does  an  imitation  of  Irene 
Castle  that  is  more  like  Irene  than  Irene  is  her- 
self. Miss  Laurence  is  an  English  beauty  and 
one  of  the  stars  of  the  starriest  of  English  Revues, 
Andre  Chariot's.  The  Selwyns  have  imported 
the  whole  troupe,  body  and  soul,  principally — 
well,  they  are  beautiful,  and  you  will  have  a 
chance  to  see  their — well,  every  shining  soul  in 
the  late  winter  when  the  Revue  will  reach 
New  York  City 


(Sixty  three) 


Dixit 

By  DOROTHY  DONNELL 


"Yes,"  he  continued,  when  the  important  matter  of 
which  kind  of  pie  was  settled,  "I  get  to  the  studio  at  nine 
o'clock,  work  around  here  all  day  and  afterwards  go  home 
like  a  regular  commuter.  Sometimes  I've  thought  that 
maybe  I  ought  to  go  in  more  for  complexes  or  inhibitions 
or  something  a  little  bit,  well — goofy !" 

Neither  on  the  screen  nor  off,  does  Richard  Dix  play  a 
part.  Every  man  knows  him  at  once  for  a  member  of 
the  order  of  Reg'lar  Guys,  the  chap  he'd  like  to  go  fishing 
with,  the  sort  of  boy  he'd  pick  for  a  son  or  a  son-in-law. 
Every  woman  recognizes  him  the  moment  she  sees  him 
as  the  Next  Door  Boy  she  went  to  school  with  and  made 
fudge  for — the  one  who  played  short-stop  on  the  high 
eleven  and  sat  evenings  on  the  front  porch  railing  while 
(Continued  on  page  87) 


Melbourne  Spurr 

Richard  Dix  is  that  rarity,  a 
Hollywood  bachelor.  He  is 
one  of  the  most  popular  of  the 
younger  leading  men  and  has 
just  signed  a  five-year  contract 
with  Famous  Players 

THE  original  little  bird  who 
tells,  people    things    has    its 
nest    in    a    date    palm    on 
Hollywood  Boulevard.    As  soon 
as  you  arrive  in  town,  you  hear 
its  piping: 

"They  say  he  isn't — well  you 

know 

Here's  the  real  dope  on  So- 
and-So " 

But  there  is  one  note  notice- 
ably missing  in  the  litany  of 
gossip.  That  chatty  little  bird 
has  got  nothing — not  a  single 
darn  thing  on  Richard  Dix. 

"No  use  trying  to  interview 
me — everybody  who  ever  tried 
it  says  I'm  too  normal,"  he  said 
apologetically  as  we  balanced  our 
trays  on  the  rails  in  McComber's 
Cafeteria.  Some  stars  should  be 
interviewed  only  in  a  dramatic 
setting  of  dark  Tudor  oak. 
sandalwood  scent  and  the  half 
light  of  flickering  candles,  but 
the  cheerful  noonday  atmosphere 
of  a  cafeteria  with  the  bracing 
smell  of  coffee  and  the  brisk 
clatter  of  china  as  accompani- 
ments seems  a  more  fitting  locale 
for  a  chat  with  Dix. 


(Sixty-four) 


> 


Norma  Shearer 

Is   one   of   the   younger    movie    set   in    Hollywood,    of    more   than    usual 

promise.    She  has  just  completed  the  engaging  role  of  Mimi,  in  "Lucretia 

Lombard,"  second  only  in  importance  to  the  star 


(Sixty- five) 


The  Hollywood 


N 


Above :  The  female 
apache  is  Viola  Dana, 
pretty  thoroly  disguised 
too.  The  young  man- 
about  -  to  -  end  -  it  -  all  is 
Warner  Baxter,  who  is 
playing  opposite  her  in, 
"In  Search  of  a  Thrill." 
Right:  Even  Farina,  the 
great  Hal  Roach  star,  has 
her  directorial  moments. 
Her-or-er-his  name,  by  the 
way,  is  Allan  Clay  Hos- 
kins.  Below:  Netta  Wes- 
cott,  the  English  beauty, 
visits  Tom  Forman's  com- 
pany while  they  were  mak- 
ing "The  Virginian" 


Transcribed  by 


OW  that  the  worst  of  the  excitement  is  over  and  we  can  all 

breathe  again,  it  is  discovered  that  the  casualties  of  the 

motion-picture  shake-up  were  not  quite  so  terrible  as  they 

sounded.    Sundry  and  various  people — mostly  scenario  writers — 

are  out  of  jobs;  but  the  good  old  wagon  is  trundling  along  just 

the  same. 

The  truth  is,  the  motion-picture  panic  was  brought  on  deliber- 
ately to  reduce  salaries  to  a  sane  point.     Last  April  arid  May 
there  happened  to  be  a  sudden  scarcity  of  actors  and  the  resultant 
emoluments  rose  to  a  point  that  sounded  like  a  handful  of  German 
marks.     Every  actor  bought   an   arithmetic  and   hunted   up  the 
highest  number  he  could   find  by  way  of  weekly   pay   envelope. 
There  were  various  other  business  complications,  but  this  was  the 
main  reason  for  the  closing  of  several  studios. 

Altho  some  of  the  big  stars  are  a  trifle  chagrined  to  find  themselves 

"rented  out"  by  the  Famous 
Players-Lasky  Company  to  other 
companies,  th?re  are  not  many 
out  of  work. 


Leatrice  Joy  has  been  passed 
along  to  Thomas  H.  Ince  who  is 
about  to  make  a  South  Sea  pic- 
ture something  on  the  order  of 
"Rain."  The  part  of  the  mis- 
sionary, in  this  instance,  will  be 
taken  by  Percy  Marmont  who 
made  such  a  hit  in  "If  Winter 
Comes."  The  indifferent,  cynical 
husband  will  be  played  by 
Adolphe  Menjou.  It  is  a  terrific 
tragedy. 


Even  Bebe  Daniels,  the  darling 
of  the  Lasky  lot,  has  been  rented 
out.       She     is     going     to     play 
Katherine,  in  a  modernized  ver- 
sion   of    "The    Taming    of    the 
Shrew,"  which  is  to  be  screened 
by  the  youngest  of  all  the  pro- 
ducers, Bennie  Zeidman.     Petruchio  will  be 
played  by  Norman  Kerry.     Bebe  feels  very 
much  excited  at  the  prospect  of  playing  in  a 
Shakespearian  production. 

Bebe  is  also  thrilled  by  the  fact  that  her 
young  and  girlish  aunt.  Elena  Griffin,  who 
was  formerly  an  actress,  is  going  back  to  her 
screen  career.  It  isn't  every  girl  who  has  an 
opportunity  to  chaperon  aunty  past  the  pit- 
falls that  lurk  in  the  cinema. 


Charlie  Chaplin,  I  understand,  is  again 
busy  with  soul  revelations.  Every  so  often, 
Charlie  feels  that  he  should  write  the  real 
story  of  his  life,  sparing  nothing;  just  ripping 
the  cover  off  his  innermost  ego  in  the  fashion 
of  Mary  MacLean.  The  trouble  is,  when 
Charlie  comes  to  read  it  over,  it  always  em- 
barrasses him  so  that  he  tears  it  up. 

Charlie  has  a  devoted  friend  who  is  one 
of  the  great  surgeons  of  the  world.  They 
have  the  most  ferocious  quarrels  over 
Charlie's     autobiography     and     the     doctor 


(Suty-sur) 


Boulevardier  Chats 


HARRY  CARR 

llways  ends  bj  storming  out  of  the  house  with  the  remark      "  \H 
I  ask  is  to  get  that  fellow  in  a  bed  in  my  hospital  sometime; 

I'll  show  him." 


So  mam  girls  are  pouring  into  Hollywood  looking  for  fame 
ami  fortune  in  the  movies  that  the  Hollywood  Chamber  of 
Commerce  is  issuing  a  circular  warning,  to  be  sent  to  the  four 

quarters  of  the  earth,  telling  pretty  girls  thai  the  movies  are 
already  overcrowded  and  there  isn't  a  chance  in  ten  thousand  of 
getting  a  living  joh  in  any  studio. 


The  overflow  of  talent  and  beauty  has  created  a  curious  industrial 
condition  in  Los  Angeles.  The 
employment  agencies  are  so 
crowded  with  youth  and  baffled 
beauty  humbly  looking  for  jobs 
stenographers,  etc..  that  a 
plain  girl  hasn't  a  chance. 

Los  Angeles  business  men, 
seeking  help,  have  grown  so 
amazingly  particular  as  regards 
the  pulchritude  of  their  hired 
help  that  one  man  even  sent  in 
an  order  for  a  girl  who  would 
look  well  with  his  new  set  of 
mahogany  furniture. 

The  disappointed  girls  who 
cant  even  stenog  will  face  a 
hard  winter.  The  charity  or- 
ganizations of  Los  Angeles 
have  helped  many  to  go  back  to 
the  homes  they  left. 


The  champion  scandal  of  the 
winter  has  been  provided  by 
Barbara  La  Marr,  who  electri- 
fied Hollywood  by  causing  the 
arrest  of  a  well-known  theatri- 
cal lawyer  on  a  charge  of  black- 
mail. According  to  her  accusation,  he  de- 
manded $25,000  to  suppress  a  divorce  suit 
about  to  be  brought  by  her  husband,  N. 
Bernard  Deely,  in  which,  the  lawyer  said, 
thirty-seven  co-respondents  were  to  be 
named.  Mr.  Deely  denies  that  he  had  any 
connection  with  the  affair.  Thru  the  help 
of  Miss  La  Marr's  manager,  a  trap  was  laid 
for  the  lawyer  with  marked  bills.  He  is 
now  out  of  jail  on  bail. 


When  the  detectives  searched  his  office, 
they  found  what  seemed  to  be  the  papers 
of  a  suit  for  divorce  in  which  Blanche 
Sweet  was  plaintiff  and  Marshall  Xeilan, 
her  husband,  was  defendant.  According 
to  the  allegations  of  the  suit,  Blanche  al- 
leged that  Mr.  Neilan  had  married  her  only 
to  defraud  her  of  her  legal  rights  and  had 
thereafter  refused  to  live  with  her.  Both 
Xeilan  and  Miss  Sweet  say  that  the  paper  is 
a  fake ;  that  they  are  living  together  happily 
and  that  no  divorce  suit  was  ever  thought  of. 


Above:  Ella  Hall,  the 
wife  and  star  of  Emory 
Johnson,  and  their  two 
cunning  youngsters,  pose 
for  their  picture  in  their 
own  charming  garden. 
Left:  Walter  Hiers  dem- 
onstrates his  versatility 
in  a  most  alarming  man- 
ner. We  trust  the  sword 
swallowing  is  not  to  be  a 
permanent  performance. 
Below:  The  beloved  clown 
of  the  screen,  Will  Rogers, 
is  introduced  to  "Our 
Gang"  by  little  Mickey 
Daniels,    their    leader 


(Sixty-seven) 


CLASSIC 


Above:  The  great 
prima  donna,  Mar- 
gar  etc  Matznauer, 
and  her  daughter 
Adrienne  meet 
Elinor  Glyn  on  a 
recent  visit  to 
Hollywood.  Right 
is  a  sketch  of  Jaq- 
ueline  Logan  as 
Bessie  Brook  in 
"The  Light  That 
Failed" 


Cecil  De  Mille  who  will  start  the  new  production  program, 
at  I^asky's,  with  "Triumph,"  has  just  returned  from  a  bear  hunt 
in  Sonora,  laden  with  trophies  and  with  the  profound  thanks 
of  an  old  mother  bear.  He  found  some  rough  gentlemen  bears 
and  slew  them,  but  all  that  his  hunting  companions  could  find 
was  a  mother  bear  with  a  cub.  In  spite  of  his  protests,  they 
insisted  they  would  hunt  her  to  death  the  following  day. 
Whereupon  Cecil  arose  at  the  dewy  hour  of  4  A.  M.  and 
covered  up  the  bear  tracks  and  popped  noisily  around  with  a 
gun  until  he  had  warned  the  mother  bear.  He  finished  the  trip 
more  popular  with  lady  bears  than  with  irate  hunters. 


He  celebrated  the  end  of  his  summer  vacation  with  a  grand 
outing  party  at  his  ranch  in  the  Little  Tujunga  Canyon  at  which 
he  gave  each  of  the  guests  a  jewel  of  great  price  as  a  souvenir. 
De  Mille's  ranch  is  a  wonderful  estate  but  extremely  inac- 
cessible in  the  heart  of  the  mountains. 


Renee  Adoree  cracked  five  ribs  and  all  but  mashed  her  face 
in  the  other  day  when  the  brake  of  her  automobile  kicked 
up  and  let  her  slide  down-hill   into  the   front  of  a 
rapidly  approaching  street-car.     Her  motor  was 
smashed  into  splinters  and  so  was  she — almost. 
She  is  now  in  a  hospital  dwelling  in  deathly 
terror  least  some  of  her  friends  will  visit 
her.     The  reason  for  Renee's  lack  of  so- 
ciability is  that  her  nose  was  badly  mis- 
used  by  the   street-car  and   she   has  to 
wear  an   immense  plaster   right  across 
the  front  of  her  countenance. 


When  Claire  Windsor  sailed  the  other 
day  for  the  wilds  of  Algeria  to  ap- 
pear  in   a  motion-picture   with   Bert 
Lytell,  she  is  reputed  to  have  left  an 
aching   heart  behind   her,   said   organ 
pounding' in  the  thorax  of  John  Steele, 
the  tenor.     Claire  runs  neck  and  neck 
with  Constance  Talmadge  in  the  number 
of  engagement  rumors. 


The  beautiful  Connie,  by  the  way,  has  re- 
turned to  the  Coast  after  a  Fifth  Avenue  vaca- 
tion, quite  content  to  be  a 
Californian.  She  has  always, 
until  now,  felt  like  an  exile 
when  in  Hollywood ;  but  the 
big  town  didn't  seem  to  have 
the  same  charm  this  time. 
For  some  reason,  very  few 
of  the  actors  want  to  return 
East  to  live  any  more. 


Tit    A 


Above:  One  of  the 
cast  of  King  Vidor's 
"Wild  Oranges" 
looks  things  over. 
Right  is  —  well, 
really,  the  picture  is 
self-explanatory 


W    I  AT  iH 


K    I     C    K 


Eugene  O'Brien,  who  is 
one  of  the  California  con- 
verts, is  in  the  throes  of 
house-building.  That  is  to 
say,  of  house-settling,  for  the 
edifice  has  been  completed. 
His  friends  accuse  Gene  of 
trying  to  carry  off  all  their 
furniture.  They  say  that 
whenever  he  comes  to  call 
now,  he  casts  baleful  and 
covetous  eyes  at  all  the  choice 
things  in  the  house  and 
wants  to  convince  you  they 

(Continued  on  page  74) 


(Siity  eight) 


Jin  Interview  with  Mrs.  O.H.P  BELMONT 

on  the  care  of  the  skin 


•■A  wiiman  who  neglect!  hr i  personal  ap- 
pearance loses  hall  h«  influence.  1'hc  wise 
care  ot  one' i  body  consti  ucti  the  frame  en- 
circling our  mentality,  the  ability  ot  which 
insure*  the  luccesi  oJ  one's  lite.  1  advise  a 
ilailv  kinc  «>t  Pond' a  I  wo  Creams." 

CUuk    *  ■    fitbuycC— 

JT  was  in  the  beautiful  great  hall 
of  Beacon  Towers  on    Sand's 
Point,  Port  Washington,  Long 
Island,  that  I  first  talked  with 
Mrs.  O.  H.  P.   Belmont. 

1  was  excited  and   eager  for  the  inter- 
view  because   I   knew   that  Mrs.   Belmont 
not    onlv    has   given    lavishly    to    women's 
causes  from   her  colossal   fortune,  has  been 
and  is  a  tremendous  worker,  but  also  is  par- 
ticularlv   interested   in  woman's  special  prob- 
lem of  how  to  keep  her  force  and  her  charm 
through  middle  life  and  later. 

From  all  this  I  expected  to  meet  a  very 
commanding  woman  the  day  1  visited  Beacon 
Towers.  But  Mrs.  Belmont,  on  the  con- 
trary, is  quiet  and  gracious  and  sweet.  She 
could  not  have  been  a  more  charming 
hostess. 

She  herself  opened  the  grilled  iron  door 
and  I  stepped  into  the  big  hall  with  its  im- 
pressive mural  paintings  of  the  life  of  Joan  ot 
Arc  and  its  wide  doors  opening  straight  onto 
Long  Island  Sound.  Here,  I  felt  instantly,  is 
the  spirit  of  beauty  strengthened  by  sincerity. 

After  we  had  admired  the  glorious  view 
she  showed  me  the  pictures  of  her  two  sons, 
and  of  her  grandson,  who  will  some  day  be 
one  of  England's  dukes,  and — very  proudly 
—  the  latest  snapshot  of  her  very  young  Lady- 
ship, a  small  great  granddaughter. 

"How  fine  textured  and  fresh  her  skin  is," 
I  thought.  And  she  has  just  acknowledged 
herself  a  great  grandmother!" 

'Begs  Women  not  to  D^Cjglect  Themselves 

""KTOW,"  she  was  saying  smilingly,  "I 
i.^1  suppose  you  want  me  to  tell  you  what 
1  think  is  the  relation  between  a  woman's 
success  and  her  personal  appearance." 

"Yes,"  I  admitted,  "Just  how  important 
do  you  think  personal  appearance  is?" 

"It  is  vital.  That  is  just  as  true  for  the 
woman  at  home  or  in  business  as  for  those 
who  are  socially  prominent. 

"Don't  you  know,"  she  said,  "how 
often  the  woman  with  an  unattractive  face  fails 
in  the  most  reasonable  undertaking  ?  Nothing 
is  so  distressing.  Neglect  of  one's  personal 
attractions  generally  comes  from  ignorance 
and  as  I  am  greatly  interested  in  the  success 
ot  women  in  every  possible  way,  1  urge 
them  not  to  neglect  themselves." 


The  Library  of  \Mrs.O.  H.  P.  Belmont 

at  Beacon  Towers  on  Long  Island,  >here 
this  interview  was  given. 

Mrs.  Belmont,  now  President  of  the 
National  Woman's  Party  is  known  all 
over  America  for  her  active  services  in 
securing  the  suffrage  for  women.  Mrs. 
Belmont  is  also  interested  in  better  condi- 
tions for  women,  is  strong  for  the  aboli- 
tion of  child  labor  and  for  the  improve- 
ment of  Children's  Homes.  She  is  a 
trained  architect;  her  three  magnificent 
residences — Villa  Isoletto  in  France, 
the  famous  Marble  House  at  Newport, 
and  the  imposing  country  home,  Beacon 
Towers  on  Long  Island,  being  the  products 
of  time  not  devoted  to  politics  and  business. 


Frtnckw»mm  '</>,  Cltanst  and  Prtttct 

Y<n   ipend  i  put  or*  each  year  in  Prance. 
Do  Frenchwomen  use  creami  much?" 

I  asked  Mrs.   Belmont. 

"In  Prance,"  ihe  said  "the)   have  alwayi 
used    cleansing    creami     and    protecting 

Cream*,  knowing  that   water  is  not  enough 

and   that   the   face   cannot    stand    much 

strain  and  exposure." 

"Then    you    think    women     should     use 
tw  o  iTearns?" 

"I  know   they  should.    That  is  why   I  ad- 
vise the  daily  use  of  Pond's  Two  Creams, 
so  that  women  can  keep   their   charm    and 
influence   as  long  as  they  need  them  —  and 
that  is  always,"  she  smiled. 

Use  this  Famous  <JftCethod 
/"MVE  your  skin  these  two  indispensables 
^-*  to  lasting  skin  loveliness — the  kind  of 
cleaning  that  restores  each  night  your  skin's 
essential  suppleness,  and  the  freshening 
that,  besides  protecting,  brings  each  time  the 
beauty  of  fresh  smooth  skin  under  your 
powder. 

For  this,  two  distinctly  different  face 
creams  were  perfected — Pond's  Cold  Cream 
and  Pond's  Vanishing  Cream. 

Every  night — with  the  finger  tips  or  a  piece  of  mois- 
tened cotton,  apply  Pond's  Cold  C're.im  freely.  The  ver\ 
fine  oil  in  it  is  able  to  penetrate  every  pore  of  vour  >kin. 
Leave  it  on  a  minute.  Then  remove  it  with  a  soft  cloth. 
Dirt  and  excess  oil,  the  rouge  and  powder  you  have  used 
during  the  day,  are  taken  off  your  skin  and  out  of  the 
pores.  How  relaxed  your  face  is.  'Do  thu  t-.vice. 
Now  finish  with  ice  rubbed  over  your  face  or  a  dash  of 
cold  water.  Your  skin  looks  fresh  and  is  beautifulk 
supple  again.  If  your  skin  is  very  dry,  pat  on  more  cream, 
especially  where  wrinkles  come  first — around  the  eyes, 
the  nose,  the  corners  of  your  mouth — and  leave  it  on 
over  night. 

After  every  cleaning,  before  you  poicder ,  and aliia\i 
before  you  go  out — Smooth  on  Pond's  Vanishing  Cream 
very  eienls — just  enough  for  your  skin  to  absorb.  Now 
if  you  wish,  rouge — powder.  How  smooth  and  velvety 
your  face  feels.  Nothing  can  roughen  it.  When  you 
get  up  in  the  morning,  after  a  dash  of  cold  water,  this 
cream  will  keep  your  skin  fresh  and  untired  for  hours. 
And  it  will  stay  evenly  powdered. 

Use  this  method  regularly.  Soon  your  face  will  be 
permanently  fresher,  smoother  and  you  can  count  on 
the  charm  of  a  fresh,  young  skin  for  years  longer  than 
would  otherwise  be  possible.  Begin  now.  Buy  both 
Pond's  Creams  tonight  in  jars  or  tubes  at  any  drug  store 
or  department  store.    The  Pond's  Extract  Comp-im. 

GENEROUS  TUBES 

MAIL  THIS  COUPON   WITH    ioc  TODAY 


The  Pond's  Extract  Co. 

132L    Hudson  St.,  New  York 
Ten  cent,  (toe)  is  enclosed  for   your  special   introduc- 
tory tubes  of  the  two  creams  every  normal  skin  needs- 
enough  of  each  cream  for  two  weeks' ordinary  toilet  uses. 


Tond's  Tiuo  Creams 

used  by  the  women  who  must  keep  their 

charm,  their  beauty,  their  influence. 

EVERY  SKIN  NEEDS  THESE  TWO  CREAMS 


Nime- 
Street- 
Citv— 


(Sixty-  nine) 


\1be  Movie  uhcyc  lopdedi 


Brown  Eyes. — Hope  you  haven't  broken  any  of  your  resolu- 
tions. Gertrude  Messenger  is  fourteen  and  Buddy  is  her  brother. 
That  was  Hope  Drew  in  "Hollywood."  Marie  Prevost  and  Harry 
Myers  in  Elinor  Glyn's  "How  to  Educate  a  Wife." 

Mildred  P. — Well,  I  will  try  to  believe  you,  but  as  Ovid  said : 
"We  are  slow  to  believe  what,  if  believed,  would  hurt  our  feel- 
ings." So  you  like  Mary  Hay.  So  do  I.  Richard  Barthelmess 
in  "The  Enchanted  Cottage."  All  right,  come  along  any  time. 
I'm  always  here. 

A  Reader. — Tom  Mix  has  deserted  the  Western  pictures  for  a 
story  of  the  North,  "North  of  the  Hudson  Bay."  Kathleen  Key 
supports  him,  but  Tony  the  famous  horse  is  not  in  the  cast. 

Bertha  C. — You  have  the  right  idea,  "God  made  the  country, 
but  man  made  the  dangerous  curves."  Watch  your  step.  Yes, 
Bert  Lytell  is  married  to  Evelyn  Vaughn.  He  is  in  Europe  now. 
Conrad  Nagel  is  with  Goldwyn,  and  is  playing  in  "Three  Weeks." 
Also  in  "Blood  and  Gold."  Yes,  I  shall  buy  me  some  buttermilk 
with  the  fee  you  enclosed. 

Margaret  M. — You  had  better  watch  your  calories,  and  re- 
member that  there  are  3,000  calories  per  pound  in  peanuts.  This 
is  nearly  three  times  as  much  as  in  any  other  food.  The  colon 
is  five  feet  long.  Why  Hope  Hampton  has  red  hair.  Oh  yes, 
Alice  Calhoun,  Miss  Dupont,  Wanda  Hawley,  Pat  O'Malley  and 
Warren  Kerrigan  in  "A  Man  from  Brodney's." 

Cherry  Stone. — Yes,  I  love  them  too.  Any  kind  of  shell  food. 
I  see  you  are  all  for  Richard  Barthelmess.  Yes,  he  is  twenty- 
eight,  and  born  in  New  York  City.  Married  to  Mary  Hay.  Pola 
Negri  in  "Shadows  of  Paris"  and  "Sans  Gene." 

Marguerite. — I  should  say  you  are  not  old.  The  oldest  widow 
on  the  U.  S.  pension  rolls  is  now  past  one  hundred  and  four 
years  of  age.  No,  Norma  Talmadge  is  not  playing  in  "The 
Garden  of  Allah"  now,  but  she  hopes  to  do  that  picture  some 
time.     Cullen  Landis  is  twenty-eight. 

Waipukuran. — No,  I  am  not  that  old.  I  dont  remember  the 
Battle  of  Waterloo  which  was  fought  on  June  18,  1815.  Yes,  I 
would  be  glad  to  have  the  views.  No,  I  have  never  been  to 
Honolulu,  but  I  should  like  to  go  some  time. 

Evelyn  Brown  Eyes. — Alas !  Many  an  enamored  pair  have 
courted  in  poetry,  and  after  marriage  lived  in  prose.  Barbara 
Castleton,  Albert  Roscoe  and  Raymond  Bloomer  in  "The  Net." 

Edna  B. — Thanks  for  the  card.  Guess  you  know  all  I  know 
about  Valentino,  so  there  isn't  any  more. 

Jeanie. — As  Charles  Kingsley  says :  "Never  lose  an  opportunity 
of  seeing  anything  beautiful.  Beauty  is  God's  handwriting,  a 
wayside  sacrament,  it  is  a  charmed  draught,  a  cup  of  blessing." 
Jack  Mulhall  is  married  to  Evelyn  Winans. 

Feathers. — Cheer  up,  no  man  is  free  who  is  not  master  of 
himself,  and  hope  is  a  splendid  thing  for  such  as  have  the 
strength  to  bear  it.  Eddie  Burns  in  "Jazzmania."  Rodolph 
Valentino  was  born  on  May  6,  1895.  No,  I  dont  know  his  favorite 
color.     What  next ! 

Bright  Eyes. — Knowledge  will 
introduce  you,  and  good  breeding 
will  endear  you  to  the  best  of  com- 
panies. So  you  should  like  to  see 
me  dancing  with  my  long  beard. 
You'd  be  surprised.  I  can  do  the 
new  finale,  too.  So  you  would 
like  to  see  more  of  Miriam 
Batista.  She  is  playing  right  along. 
Yes,  Mahlon  Hamilton  and  Betty 
Blythe  in  "Recoil,"  now  being  made 
abroad. 

Syrie. — Well,  the  highest  exercise 
of  charity  is  charity  towards  the 
uncharitable.     That      was      Orvtlle 


younger.  I  certainly 
another  birthday  too. 
Blue  is  not  married, 
her  husband's  name. 


This  department  is  for  information  of  general  interest 
only.  Those  who  desire  answers  by  mail,  or  a  list  of 
film  manufacturers,  with  addresses,  must  enclose  a 
stamped,  self-addressed  envelope.  Address  all  in- 
quiries: The  Answer  Man,  Classic,  Brewster  Build- 
ings, Brooklyn,  N.  Y.  Use  separate  sheets  for  matters 
intended  for  other  departments  of  this  magazine.  Each 
inquiry  must  contain  the  correct  name  and  address 
of  the  inquirer  at  the  end  of  the  letter,  which  will  not 
be  printed.  At  the  top  of  the  letter  write  the  name 
you  wish  to  appear,  also  the  name  of  the  magazine  you 
wish  your  inquiry  to  appear  in.  Those  desiring  imme- 
diate replies  or  information  requiring  research,  should 
enclose  additional  stamp  or  other  small  fee;  otherwise 
all  inquiries  must  wait  their  turn.    Let  us  hear  from  you. 


Caldwell  in  "The  Eternal  Two"  with  Corliss  Palmer.  Yes, 
Wallace  Beery  in  "Patsy."  Ramon  Novarro  in  "Thy  Name  is 
Woman."     He  is  now  in  Egypt  playing  in  "The  Arab." 

June. — Your  letter  is  mighty  interesting,  and  I  would  advise 
marriage  and  a  home  with  kiddies  for  you,  in  preference  to  a 
business  career.  You  dont  seem  to  belong  to  the  business  world. 
As  Robert  Louis  Stevenson  says :  "To  marry  is  to  domesticate 
the  recording  angel.  Once  you  are  married  there  is  nothing  left 
for  you,  not  even  suicide,  but  to  be  good." 

Mama's  Baby. — Well,  well,  well,  what  do  you  mean  by  saluting 
me  as  "Hello  Kid."  Well,  I  should  worry,  it  makes  me  feel 
am  over  eighty  years  old,  and  just  had 
Father  Time  and  I  are  twins.  No,  Monte 
Aileen  Pringle  is  married,  but  I  haven't 
No,  Richard  Dix  is  not  married. 
Tuesday. — Call  on  a  business  man  at  business  time  only,  and 
on  business,  transact  your  business  and  go  about  your  business, 
in  order  to  give  him  time  to  attend  to  his  business.  I  should  say 
you  are  frank.  Address  Constance  Talmadge  at  United,  5341 
Melrose  Avenue,  Los  Angeles,  California. 

American  Beauty. — What  do  you  expect?  He  that  would 
have  the  perfection  of  pleasure  must  be  moderate  in  the  use  of 
it.  Noble  Johnson  was  Friday  in  "Robinson  Crusoe."  No,  none 
of  the  players  you  mention  are  married.  So  long  for  this  time. 
Happy.— I'm  glad  of  that.  Address  Ruth  Roland  at  3828  Wil- 
shire  Boulevard,  Los  Angeles,  California.  The  little  boy  is  Edward 
Treboal.  Come  in  again  some  time,  but  you  must  shun  idleness, 
as  it  is  the  rust  that  attaches  itself  to  the  most  brilliant  metals. 
Mrs.  C.  R.  T. — That's  pretty  classy  paper  you  are  using,  was 
it  a  Christmas  present?  Lucille  LaVerne  was  Gloria's  Aunt  in 
"Zaza."  You  know  that  Mary  Pickford  adopted  her  sister 
Lottie's  child.     Tell  your  hubby  he  is  all  wrong. 

Tom  Mix. — So  you  think  I  am  very  successful.  'Tis  to  laugh. 
Most  people  would  succeed  in  small  things  if  they  were  not 
troubled  with  great  ambitions.  Yes,  Tom  Mix  is  with  Fox,  1401 
Western  Avenue,  Los  Angeles,  California.  He  has  brown  hair. 
Address  Rodolph  Valentino  at  Ritz-Carleton  Productions,  6  West 
Forty-eighth  Street,  New  York  City. 

Olive. — No,  I  never  lend.  Friendship  ends  where  loan  begins.  Flo 
Hart  was  Kenneth  Harlan's  first  wife.  Yes,  to  your  last.  Selah! 
Anna  S. — No,  Monte  Blue  is  not  married  now.  You  can  reach 
him  at  Warner  Brothers,  Bronson  Avenue  and  Sunset  Boulevard, 
Los  Angeles,  California.  Conway  Tearle  is  married  to  Adele 
Rowland.  I  know  that  King  Baggott  has  been  asked  to  produce 
"Ivanhoe"  by  an  English  company,  but  I  am  not  sure  that  he  .will 
do  so. 

Dulcy. — Oh,  are  you  a  dulcy  ?  Knowledge  and  timber  should 
not  be  much  used  till  they  are  well  seasoned.  Norma  is  twenty- 
eight  and  will  be  twenty-nine  May  2nd.  Jack  Mulhall  is  free 
lancing  right  now,  and  Claire  Windsor  is  with  Goldwyn. 

Comanche  Kid.— Hurrah  I  Well, 
if  you  ever  come  across  some  one 
who  thinks  he  knows  it  all,  treat 
him  as  if  he  did,  and  let  him  go. 
Buck  Jones  is  twenty-eight  and  is 
playing  in  "Cupid's  Fireman."  I 
do  believe  Jane  Novak  is  Swedish. 
Emma  F.  M. — And  books  are 
windows  thru  which  the  soul  looks 
out.  Barbara  Bedford  was  Mona, 
Carl  Miller  was  Claude,  Barbara 
La  Marr  was  Kate  in  "Cinderella  of 
the  Hills."  Reginald  Denny  is  married 
to  a  non-professional.  The  same  of 
Buck  Jones.  Write  me  some  more. 
(Continued  on  page  82) 


(Seventy  > 


Hi  fwmd htr  ft  Lull 

She  u.n  utility  in  iht 
garden — Just    H 
the  belonged. 

She    i/uiitf)     <■ 
her  I  it  tit  maik  up  to  her 
tyu  ,i'  /n  uppneubtd. 

'  'Oh,    net  ir  mind. 
FairStrangtr  —lhttOH 

u  ha  tun  .ire.  You  lire 
a  run  di\glii\ed  a*  .' 
Bel ul if  li /  I jul) .  ' 


Protecting  your  skin 

with  powder  and  rouge 

By  Mme  Jeannette 

OH,  you  lucky  women  of  today  who  know — or  can  learn — 
the  pleasant  roads  to  Beauty  through  fragrant  avenues  of 
cosmetics  that  help  and  do  not  harm!  It  is  a  proven  fact 
that  good  cosmetics  actually  benefit  the  skin. 


A  pure,  harmless  vanishing  cream, 
powder,  or  rouge,  such  as 
Pompeian,  performs  a  distinctly 
beneficial  service  to  the  skin,  in 
addition  to  its  beautifying  effect. 

This  service  is  that  of  protec- 
tion. Creams,  powders,  and  rouges 
all  put  a  soft,  gossamer  film  over 
the  delicate  surface  of  the  skin 
that  guards  it  from  sun  and  wind, 
dust  and  dirt. 

Again,  the  lip  stick  tends  to 
protect  the  lips  from  chapping, 
roughening,  and  cracking.  It  keeps 
them  soft  and  mobile. 

Pompeian  Day  Cream  (vanish- 
ing), Pompeian  Beauty  Powder, 
Pompeian  Bloom  (the  rouge), 
and  Pompeian  Lip  Stick,  like  all 
Pompeian  Preparations,  are  abso- 
lutely pure  and  harmless.  They 
ire  formulated  with  a  care  as  great 
as  though  they  were  intended  for 
medicinal  uses  and  in  a  laboratory 
always  scrupulously  clean. 


Coupled  with  their  purity  will 
be  found  the  other  desired  qual- 
ities of  cosmetics — naturalness  of 
effect,  high  adhering  property, 
attractiveness  of  perfume. 

Do  not  overlook  the  impor 
tance  of  the  Day  Cream  in  achiev- 
ing the  most  successful  effects 
from  the  use  of  other  Pompeian 
"  Instant  Beauty "  Preparations. 
This  cream  provides  a  foundation 
for  powder  and  rouge  that  makes 
them  goon  moresmoothly,  adhere 
much  better,  and  blend  with  each 
other  more  perfectly  than  when 
they  are  used  without  it. 

V 

'  'Don  'tEnt)  Beaut)  —UsePompeian ' ' 

DAY  CREAM  ipmwiMugi  60c  per  jar 


Beauty  Powder 
Bloom  abt  rouge) 

Lip  Stick.     

Fragrance 
Night  Cream 

\cnld  irtam) 


60c  per  box 

60c  per  box 

25c  each 

25c  a  can 

60c per  far 


Get  1924 

Pompeian  Panel  and 

Four  Samplei 

For  Ten  Genu 

The  newest  Pompeian 
art  panel,  done  in  pas- 
tel by  a  famous  artist. 
and  reproduced  in  rich 
colors.  Mze  lK  x  7$  in. 
Kor  to  cents  w  e  \*  ill 
send  vou  all  of  these: 
The  1914  Ueiulv 
Panel,  "Honeymoon 
ing  in  the  Alps,"  and 
samples  of  Da  v  Cream. 
Briun  P  o  Vile  r , 
Bloom  and  N  ip  Fit 
Cream      Tr,ir   •£  the 

Cuuftll      '!»!(>. 


POMPEIAN  LABORATORIES,  CLEVELAND.  OHIO 
Also  Mtittt  in  CanaJti 


r?5£ttS3^^^^'^^-r^,i5XZ?  ■?'. 


r£?w.  SPtOasSEHEaE?  >2Si£ 


■   r    pMnprilln    Co 


V^ 


IS  vol  k  SKIN 
A  GRAT1  1 11    SKIN 

l  in  n-  i%  .in  intriguing  lot  el 

kboUl  a  1  l«M  •> k  1  ri 

Rate-petal  enchantments  o(  the 

skin   art    much    RlOfC   pOttiblc   tO 

attain  than  ih<  average  woman 
reaJiza 

Pompeian  Night  (.nam  i\  .1 
necessity  to  tins  cultivation  ot  a 

lovely  skin  li  is  a  remarkable  (.leans 
mg  cream,  and  at  the  same  time  11 
has  properties  that  make  it  healing 

and  softening  to  the  skm 

A  Cleansing  Cream 
A  dirty  skin  does  not  always  de- 
clare its  unclcanliness  by   an  im- 
mediate appearance  of  being  dirty. 

Pompeian  Night  Cream  is  su- 
premely effective-  as  a  cleanser.  It 
is  pure,  and  scientifically  com- 
pounded, and  effectively  accom- 
plishes its  work  in  cleaning  the 
skin. 

Just  before  retiring,  and  while 
your  skin  is  still  warm  from  the 
pleasant  exercise  of  your  bath, 
apply  the  Night  Cream  to  your 
face  and  neck  and  shoulders.  Use 
your  finger  tips  for  the  application 
of  the  cream,  rubbing  it  in  swift 
little  circular  movements.  This 
will  loosen  the  dirt  and  release  the 
closed  pores  to  healthy  activity. 
Wipe  off  with  a  soft,  clean  cloth. 

A  Softening  Cream 

The  continued  use  of  soap  and 
water  will  make  the  average  skin 
very  harsh,  and  this  harshness  en- 
courages wrinkles  and  other  skin- 
unsightliness.  Pompeian  Night 
Cream  counteracts  this  tendency 
and  softens  with  its  healing 
qualities. 

If  your  skin  is  very  dry  it  will 
be  helpful  for  you  to  use  this 
cream  every  morning  and  night 
regularly.  But  if  your  skin  is  oily 
it  will  be  sufficient  to  give  it  a 
thorough  cream  bath  at  night  only, 
following  it  with  a  quick  ice  rub. 


Specialist*  en  Heauic 


\ 


L 


TEAR    OFF,    SIGN.    AND    SEND 

POMPKI  IS    I    IVOR  \TORIES 
212B  I'amc  Avenue,  norland,  oh,.. 

I.intli-mcn:    I    enclose    IOC    1a   dime    prcli  r-. 

19241'ompeian   \rt  Panel.  "  II 1  moonineinthe 

\lps,"  and  Lhe  four  samples  named  in  nfsr. 

Name 
IddiCM 

5f»t. 
What  ^hade  ol  face  powder  >>m 


(Seventy-one) 


The  North  Wind  Doth  Blow 


And  We  Shall 


Below  is  Beverly  Bayne 
(Mrs.  Francis  X.  Bush- 
man) and  her  little  son 
out  at  the  Whitman 
Bennett  studios  enjoy- 
ing themselves  between 
scenes 


Have  Snow- 


Above  :  Little  Fay 
McKenzie  and 
Frankie  Darro 
are  tired  and  cold 
and  they  dont 
care  whether 
they  lose  their 
jobs  or  not.  They 
are  on  location 
for  "Judgment  of 
the  Storm."  Di- 
rector Del  An- 
drews excused 
them  for  the  day 


Across  the  top  of  the 
page  are  Tom  Mix  and 
some  of  his  company 
way  up— "N  orth  of 
Hudson  Bay."  Below 
is  Hedda  Hopper  at 
her  home  on  Long 
Island 


(Seventy-two) 


Are  You  Ready  for  the  Ash-Can? 

Do  you  realize  what  it  means  to  neglect  your  body?  Do  you  know  that  you  will  clog  up  with 
waste  matter  and  deaden  your  life  just  as  ashes  do  in  a  furnace?  Are  you  going  to  drag  yourself 
through  a  life  of  misery  and  be  ready  for  the  undertaker  when  you  should  really  be  only  start- 
ing to  enjoy  life?  Come  on  and  brace  up.  Take  a  good  hold  of  yourself  and  shake  those  cob- 
webs out  of  your  brain.  Give  me  a  chance  at  that  weak  backbone  of  yours  and  let  me  put  a  pair 
of  man  sized  arms  into  those  narrow  shoul-  


ders. 

Pills  Never  Made  Muscles 

I  am  not  a  medical  doctor.  I  don't  claim 
to  cure  disease.  Neither  do  I  put  any  self- 
assumed  title  <of  Professor  before  my  name. 
/  am  a  builder  of  muscle — internal  as  well 
as  external.  I  claim  and  can  prove  that  by 
proper  exercise  you  can  even  build  muscle 
in  and  around  your  heart  and  every  vital  or- 
gan. The  kind  that  shoots  a  thrill  through 
your  veins  and  reaches  every  crevice  of  your 
body.  I  add  years  to  your  life,  and  oh  boyl 
what  a  kick  you  get  out  of  every  day  you 
live.  And  talk  about  big,  brawny  arms  and 
legs,  or  broad  backs  and  husky  chests — just 
take  a  look  through  this  winter's  copies  of 
Physical  Culture  Magazine  and  see  for 
yourself.  You  will  see  a  few  pictures  of  my 
pupils  there — living  examples  of  the  Earle 
Liederman  system — doctors,  lawyers,  busi- 
ness men,  but  every  last  one  of  them  good 
enough  to  pose  as  professional  strong  men. 
Some  are  in  better  shape  than  men  who  are 
now  acting  as  instructors  to  others. 


Pep  Up 


What  are  you  going  to  do  about  it?  Don't  sit  idle 
and  wish  for  strength.  That  will  never  bring  it.  Come 
on  and  get  busy.  You  must  have  it,  and  I'm  going  to 
give  it  to  you.  I  don't  promise  it,  I  guarantee  it.  You 
don't  take  any  chance  with  me,  so  come  on  and  make 
me  prove  it. 


Earle  E.  Liederman 
America's  Leading  Director  of  Physical  Education 


Send  for  My  New  64-Page  Book 

"MUSCULAR    DEVELOPMENT" 


It  contains  forty-three  full-page  photographs  of  myself  and  some  of  the 
many  prize-winning  pupils  I  have  trained.  Some  of  these  came  to  me  as 
pitiful  weaklings,  imploring  me  to  help  them.  Look  them  over  now  and 
you  will  marvel  at  their  present  physiques.  This  book  will  prove  an 
impetus  and  a  real  inspiration  to  you.  It  will  thrill  you  through  and 
through.  All  I  ask  is  10  cents  to  cover  the  cost  of  wrapping  and  mailing 
and  it  is  yours  to  keep.  This  will  not  obligate  you  at  all,  but  for  the  sake 
of  your  future  health  and  happiness,  do  not  put  it  off.  Send  today — right 
now,  before  you  turn  this  page. 

EARLE  E.  UEDERMAN 

Dept.  1802,  305  Broadway,  New  York  City 


EARLE  E.  LIEDERMAN 

Dept  1802,  305  Broadway,  New  York  City 


Dear  Sir: — I  enclose  herewith  10  cents  for  which  you 
are    to    send    me,    without    any    obligation    on    my    part 
whatever,     a 
Development. 


opy     of     your     latest     book,     "Muscular 
rlease  write  or  print   plainly. 


Name. 


Street. 


City. 


.State. 


(Seventy-three) 


A  perfect  base 
/or  face  powder  Apply 
a  little  cream.  When  near 
ly  dry  dust  on  the  powder 


Copyright  1923 
A.  S.  Hinds  Co. 


In  the  sick  room  Binds  Cream 
gives  grateful  comfort  to  the 
patient,  also  keeps  nurse's  hands 
soft. 


Chapped  checks, 
hands,  knees, 
and  ankles 
quick  ly  re- 
lieved with 
RindsCream. 


For  baby's  skin  troubles  Hinds 
Cream  soothes  and  comforts.  Di- 
lute the  cream  one -half  with 
water. 


^ow  for  fds^Jace  I 
Qts  mve  fam 


J(amas   Qmpfexion    (ream 

COLD  winds  injure  a  delicate,  tender  com- 
plexion, and  so  does  the  sudden  change 
from  indoors  to  frosty  air.  Roughness  and 
chapping  usually  follow  any  prolonged  ex- 
posure unless  the  skin  is  protected  with  a 
softening  and  healing  emollient  like  HINDS 
Honey  and  Almond  CREAM. 

Many  who  love  the  bracing,  cold  weather 
have  found  that  by  applying  Hinds  Cream  to 
any  sore,  irritated  surfaces,  or  to  parts  of 
the  body  that  have  been  chafed  or  com- 
pressed by  warm  clothing,  they  can  make 
themselves  comfortable  at  once. 

You  can  use  this  cream  freely  at  any  time, 
on  the  face,  neck,  arms  and  hands,  with  abso- 
lute assurance  of  deriving  gratifying  results. 
It  is  economical  and  agreeable.  The  treat- 
ment is  simple. 

Hinds  Cre-mis  Face  Powder,  surpassing  in  quality  and 
refinement;  distinctive  in  fragrance  and  effect.  White, 
flesh,  pink,  brunette.  Boxes  60c,  15c.  Samples  2c. 
All  dealers  sell  Hinds  Honey  and  Almond  Cream,  50c, 
$1.00.  We  will  mail  a  sample  for  2c,  trial  bottle,  6c 
traveler  size,  10c.  Try-out  box  of  5 
samples,  assorted,  10c.  Booklet  Free. 

Write  A.  S.  HINDS  CO. 

Dept.22,  Portland,  Maine, U.S.A. 


fa  Southern  win- 
ter resorts  Hinds 
Cream  is  depend- 
ed upon  by  tour- 
ists to  keep  the 
complexion  at* 
tractive. 


After  shaving  dSO 

Hinds  Cream  to  soothe  and  relieve 

irritation  from  close  shave  or  soap. 


If  you  have  ever  wondered  what 

the  ten  commandments  looked  like, 

here  they  are 


The  Hollywood  Boulevardier 
Chats 

(Continued  from  page  68 

would  look  better  in  his  house  than 
in  yours.  He  is  now  the  leading  man 
for   Norma  Talmadge  in  "Secrets." 


Pola  Negri  bravely  signalized  the 
fact  that  she  has  torn  all  the  "Ritz" 
out  of  her  soul  one  day  this  week 
when  she  ordered  the  wall  that  sur- 
rounds her  "set"  torn  down.  When 
she  first  came  to  Hollywood,  she  was 
very  up-stage  and  whenever  visitors 
came,  she  demanded  to  know  who 
"those  people"  were  and  insisted  that 
they  be  shooed  off.  But,  as  time 
goes  on,  Pola  becomes  a  regular  fel- 
low. Now  she  works  out  in  the 
open  with  the  rest  of  the  folks  like  a 
nice  girl.  Upon  the  completion  of 
her  latest  picture,  "The  Shadows  of 
Paris,"  she  is  going  on  a  long  vaca- 
tion to  Honolulu  where  she  will 
probably  pass  the  holidays.  It  will 
probably  be  February  before  she 
begins  another  picture.  It  is  very 
likely  that  this  picture  will  be 
"Madame  Sans  Gene." 


Laurence  Trimble,  who  directed 
the  "Strongheart"  dog  stories,  has 
discovered  another  Richard  Barthel- 
mess,  so  he  thinks,  in  the  person  of 
a  twenty-year-old  Dartmouth  col- 
lege boy  named  Allen  Vincent  whose 
father  is  a  banker  in  Seattle.  Trim- 
ble met  him  in  New  York  and  gave 
him  a  five-year  contract  after  two 
days'  acquaintance. 


One  of  the  saddest  events  that  the 
film  colony  has  ever  suffered  came 
this   week  with   the  death   of  Allen 
(Continued  on  page  89) 


(Sez>enty-fourJ 


Ihehside  Stoiw/ftincess  Pat 


By  the  Only  Woman  Who  Witnessed  the  Discovery 
of  the  Complexion  Tint  that  Duplicates  Nature 


""Now  Watch  what  happens !" 

i  ou  could  Kave  heard  a  pin  drop 
.is  the  analyst's  words  caused  all 
eves  to  gaze  intently  at  my  taee. 
Science   had  solved  an  old  and 

perplexing  beauty  problem  with 
a  new,  mysterious  tint.  The 
moment  had  arrived  tor  demon- 
stration. 

Two  years  of  hard  work  led  up  to 
this  hour  of  triumph.  There  had  been 
day  and  night  testings  of  rouges — of 
every  conceivable color.Whole  weeks 
devoted  to  tirstoneshaderhen another 
in  an  effort  to  overcome  that  com- 
mon fault  of  all  the  old-fashioned 
rouges  —  the  purplish,  artificial  look 
which  makes  their  use  so  obvious. 
Then  the  day  when  the  right  tint 
was  found!  It  is  an  interesting  story. 

Ho-w  the  Trite  Tint  Came  to  Light 

When  a  new  use  of  ingredients  pro- 
duced this  first  "true"  tone  it  was 
regarded  curiously;  no  one  realized  its 
full  significance;  so  different  was  the 
color,  it  was  fortunate  we  even  tried  it. 
But  the  rule  was  to  test  everything  on 
the  face.  So  for  the  thousandth  time 
a  new  tint  was  applied  to  my  cheeks. 

The  first  demonstration  of  this  mar- 
velous new  color  brought  one  sur- 
prise after  another.  It  was  first  be- 
lieved to  be  just  a  particularly  happy 
choice  for  my  complexion  —  or  for 
skins  the  same  as  mine.  But  tests 
quickly  followed  on  every  conceiv- 
able type  of  skin  from  darkest  to 
lightest — with  the  same  miraculously 
natural  result.  Then  came  thethought 
that  perhaps  only  sparing  use  could 
be  made  of  the  new  tint.  So  to  the 
tiny  amount  that  had  achieved  the 
perfect  color,  more  and  more  of  the 
tint  was  applied. 'The  coloring  merely 


deepened;  there  was  no  sign  ft 

artificiality.  Next  came  the  ques- 
tion ot  lights  and  exhaustive  li^ht 
tests  made  the  triumph  complete. 

Even  old-time  rouges  were  accept- 
able in  the  kindly  gleam  of  lamp 
or  candle  light,  but  the  Tint 

called  Princess 
Pat  stands  the 
severe  test  of  a 
brilliantly  light' 
ed  room, or  glare 
of  noonday  sun. 
The  new  tint  be- 
comes and  ap- 
pears your  color 
from  the  moment 
applied.  Nature 
varies  it  on  your 
face  and  unfail- 
ingly produces 
exactly  the  right 
degree  and  tone 
to  give  the  color 
you  should  have. 

That  is  why  you  are  not  aware  of  the 
numbers  all  around  you  who  use  this 
new  natural  tint.  The  color  is  too 
natural  to  permit  detection.  So  wo- 
men who  never  used  ordinary  rouge 
have  taken  joyfully  to  Princess  Pat. 

Really  Waterproof 

Since  the  day  Princess  Pat  tint  was 
introduced  many  thousands  have 
made  its  acquaintance.  It  is  the  iden- 
tical tint  today  as  when  the  first  tiny 
bit  was  produced  and  tried;  and  it 
brings  the  same  color  charm  to  any 
cheek.  You'll  be  glad  to  know  it's 
been  made  waterproof — completely 
so.  Profuse  perspiration  will  not  affect 
it — nor  even  surf  bathing — yet  a  bit 
of  cream,  or  soap  removes  it.       ' 

And  remember:  there's  only  one 
shade!  No  "matching" — no  need  to; 
for  this  true  tone  blends  with  any 


A  Tint  That  No  Light  Could  Make  Appear  Unreal" 

complexion.  Science  thus  gives  you 
the  means  of  imparting  natural  color 
to  your  cheeks — to  any  degree  de- 
sired. A  color  that's  perfectly  natu- 
ral— color  you  can  control — a  gentle 
glow  of  color  that  has  no  beginning 
or  end  —  a  tone  only  blending  can 
bring.  Why  use  an  obvious  rouge? 
Try  Princess  Pat! 

Avoid  Imitations 

The  success  of  Princess  Pat  Tint  has 
called  forth  many  sccalled  "orange 
rouges."  But  these  lack  the  secret 
which  causes  Princess  Pat  Tint  to 
change  color  when  applied  —  and 
without  this  secret  Nature  cannot 
blend  the  color  to  exactly  meet  the  re- 
quirements of  your  individual  need. 


IPnnees 


The  GP{eTV,  Natural  Tint       :       Always  Ask  for  It  by  Name 
PRINCESS  PAT,  LTD.,  CHICAGO,  U.  S.  A. 

Princess  Pat  Tint- Ice  Astringent— Creams— Lip  Stick— Ponder-  Princess  Pat  Perfume 

NOTE:  —  'Princess  'Pat  Lip  Stick  gives  natural 
color  to  the  lips— just  as  Tint  does  to  the  cheeks.  It 
exactly  harmonizes  with  any  complexion,  any  color- 
ing and  any  light.  Cannot  be  detected  as  artificial. 


FREE! 

Until  the  shops  have  been  sufficiently 
6tocked  with  Princess  Pat  Tint  to  meet 
all  calls  for  it. we  shall  take  pleasure  in 
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PRINCESS  PAT  Ltd. 
2701  S.  Wells  St..  Uept.     42,  ^  hicago 
Entirely  FREE,  please  forward  me 
postpaid,  a    complimentary   supply  of 
the  new  Princess  Pat  Tint. 

Name   Print* 

Street 

City 

State 


(Seventy-five) 


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Rhythm  and  Rebellion 

(Continued  from  page  36) 

Two  important  events  had  oc- 
curred the  day  of  our  interview. 
First,  she  had  turned  down  one  of 
the  most  coveted  roles  Goldwyn  had 
to  offer,  the  film  to  he  made  in  Italy, 
too.  "If  anyone  had  told  me  a  year 
ago  that  I  would  do  such  a  thing,  I 
would  have  thought  him  crazy," 
said  Eleanor.  "But  after  considering 
it  from  everv  angle.  I  felt  it  was 
best." 

Then,  Goldwyn  had  loaned  her  to 
Universal  and  on  the  morrow  she  was 
to  begin  work  on  a  film  version  of 
Booth  Tarkington's  "The  Turmoil," 
under  Hobart  Henley's  direction, 
playing  the  leading  character. 

We  fell  to  talking  of  her  various 
roles.  Her  first  was  in  "Gimme," 
then  came  "The  Stranger's  Banquet," 
where  she  had  her  only  chance  as  a 
"heavy" — and  liked  it.  Then  came 
Amelia  in  "Vanity  Fair,"  which  she 
feels  was  too  weepy  but  which  the 
critics  united  in  declaring  to  be  a 
beautiful  portrayal.  This  brought 
her  to  the  leading  role  in  Rupert 
Hughes'  "Souls  for  Sale,"  and  every- 
one recalls  her  delightful  Sidney  in 
"Three  Wise  Fools."  "The  Day  of 
Faith,"  soon  to  be  released,  shows 
her  in  a  straight  leading  role. 

Miss  Boardman  has  an  intriguing 
way  of  viewing  herself  and  her  work- 
in  a  detached  manner,  and  she  studies 
her  limitations  as  well  as  her  possi- 
bilities. This  is  an  encouraging  sign.  , 
She  is  not  content  to  win  thru  her\ 
beauty,  nor  are  her  eyes  blinded  by 
her  success,  but  are  sharply  alert  to 
future  triumphs. 

Do' dreams  come  true? 

Ask  Eleanor  Boardman. 


O  FOOLISH  WIND 
By  Louise  Liebhardt 

O  sighing  wind  among  the  willow  wands, 
O  sobbing  wind  among  the  willow  wands 
Where    rests    thy    heart    whose    breaking 

seems  to  shake 
The    fragrant    stillness    of    the    night,    and 

moaning  cadence  make 
Of  all   that  borders  oh  this  secret  pool. 

O  grieving  wind  among  the  willow  wands, 
O  weeping  wind  among  the  willow  wands, 
Hast   lost  thy   love,  who  fickle    from  thee 

now  hast  turned 
To   seek   new    romance  ?      Ha !      Hast   thy 

love  fires  burned 
Thy  heart  to  ashes  ?     Thou  art  fool. 

O  moaning  wind  among  the  willow  wands, 
O  foolish  wind  among  the  willow  wands, 
To  mourn  one  love  when   many  wait   but 

for  the  breaking  dawn 
To   seek   thy    kisses,   and   upon    thy    favor 

fawn. 
Waste  not  thy  tears.    The  night  has  turned 

thee   fool. 
O   simple   wind  among  the   willow  wands. 
O  silly  wind  among  the  willow  wands. 


(Seventy-six) 


^yljamlousMw Spanish  liquid 
Tviakes  any  hair  naturally  curly 

in  2o  minutes 


The  Spanish  Beggar's 
Priceless  Gift 

by  If  in ii i) it  J  Ralston 

FROM  rhe  day  we  starred  to  school,  Charity 
Winthrop  and  1   were  called  the  tousled- 
hair  twins.    Our  hair  simply  wouldn't  behave. 

As  we  grew  older  the  hated  name  still  cliini: 
to  us.  It  followed  us  through  the  grades  and 
into  hoarding  school.  Then  Charity's  family 
moved  to  Spain  and  I  didn't  see  her  again 
until  last  New  Year's  eve. 

A  party  of  us  had  gone  to  the  Drake  Hotel 
for  dinner  that  night.  As  usual  I  was  terribly 
embarrassed  and  ashamed  of  my  hair. 

Horribly  self-conscious  I  was  sitting  at  the 
table,  scarcely  touching  my  food,  wishing  I 
were  home.  It  seemed,  that  everyone  had  won- 
derful, lustrous,  curly  hair  but  me  and  I  felt 
they  were  all  laughing — or  worse,  pitying  me 
behind  my  back. 

My  eyes  strayed  to  the  dance  floor  and  there 
I  saw  a  beautiful  girl  dancing  with  Tom 
Harvey.  Her  eye  caught  mine  and  to  my  sur- 
prise she  smiled  and  started  toward  me. 

About  this  girl's  face  was  a  halo  of  golden  curls. 
I  think  she  had  the  most  beautiful  hair  I  ever  saw. 
My  face  must  have  turned  scarlet  as  I  compared 
it  mentally  with  my  own  straggly,  ugly  mop. 

Of  course  you  have  guessed  her  identity — 
Charity  Winthrop,  who  once  had  dull  straight 
hair  like  mine. 

It  had  been  five  long  years  since  I  had  seen 
her.  But  I  simply  couldn't  wait.  I  blurted  our 
— "Charity  Winthrop — tell  me — what  miracle 
has  happened  to  your  hair'" 

She  smiled  and  said  mys- 
teriously, "Come  to  my 
room  and  I  will  tell  you  the 
w  hole  story." 

Charity  tells  of  the 

beggar's  gift  ^^ 

"Our  house  in  Madrid  faced  a 
little,  old  plaza  where  I  often 
•trolled  after  my  siesta.  A  MachUss  Marcel 

(Seventy-seven) 


"Miguel,  the  beggar,  always  occupied  the  end  bench  of 
the  south  end  of  the  plaza.  I  always  dropped  a  few 
centavoa  in  his  hat  when  I  passed  and  he  soon  grew  to 
kin  <w  me. 

"The  day  before  1  left  Madrid  I  stopped  to  bid  him 
goodby  and  pressed  a  gold  coin  in  his  palm." 

"Ilija  miu,"  he  said.  "You  have  been  verv  kind  to  an 
old  man.  Digamelo  (tell  me)  senorita,  what  it  is  your  heart 
most  desires." 

"I  laughed  at  the  idea,  then  said  jokingly,  'Miguel,  my 
hair  is  straight  and  dull.  I  would  have  it  lustrous  and 
curly'." 

"Oigame,  senorila."  he  said  —  "Many  years  ago  a 
Castilian  prince  was  wedded  to  a  Moorish  beauty.  Her 
hair  was  black  as  a  raven's  wirg  and  straight  as  an  arrow. 
Like  you,  this  lady  wanted  los  pelos  rhos  (curly  hair). 
Her  husband  offered  thousands  of  pesos  to  the  man  who 
I  fulfill  her  wish.  The  prize  fell  to  Pedro  the  drogturo. 
Out  of  roots  and  herbs  he  brewed  a  potion  that  converted 
the  princess'  straight,  unruly  hair  into  a  glorious  mass 
of  ringlet  curls. 

"Pedro,  son  of  the  son  of  Pedro,  has  that  secret  today. 
Years  ago  I  did  him  a  great  service.  'Here  you  will  find 
him,  go  to  him  and  tell  your  wish." 

"I  called  a  cache  and  gave  the  driver  the  address  Miguel 
had  given  me. 

"At  the  door  of  the  apothecary  shop,  a  funny  old  hawk- 
nosed  Spaniard  met  me.  I  stammered  out  my  explana- 
tion. When  I  finished,  he  bowed  and  vanished  into  his 
store.   Presently  he  returned  and  handed  me  a  bottle. 

"Terribly  excited — I  could  hardly  wait  until  I  reached 
home.  When  I  was  in  my  room  alone.  I  took  down  my 
hair  and  applied  the  liquid  as  directed.  In  twenty  minutes, 
not  one  second  more,  the  transformation,  which  you  have 
noted,  had  taken  place. 

"Come,  Winnifred — apply  it  to  your  own  hair  and  see 
what  it  can  do  for  you  " 

Twenty  minutes  later  as  I  looked  into  Charity's 
mirror  I  could  hardly  believe  my  eyes.  The  impossible 
had  happened.  My  dill,  straight  hair  had  wound  itself 
into  curling  tendrils.  My  head  was  a  mass  of  ringlets  and 
waves.    It  shone  with  a  lustre  it  never  had  before. 

You  can  imagine  the  amazement  of  the  others  in  the 
party   when    I    returned   to   the   ballroom.     Everybody 
i  the  change.     Never  did  I  have  such  a  glorious 
night.    I  was  popular.  Men  clustered  about  me.     I  had 
never  been  so  happy.     My  hair  was  curly  and  beautiful. 
I  asked  Charity's  permission  to 
take  a  sampleof  the  Spanish  liquid 
to  my  cousin  at  the  Century  Lab- 
oratories.     For  days  he  worked, 
analyzing  the  liquid.    Finally,  he 
solved  the  problem,  isolated  the 
two  Spanish  herbs,  the  important 
ingredients. 

They  experimented  on  fifty 
women  and  the  results  were  sim- 
ply astounding.  Now  the  Century 
Chemists  are  prepared  to  supply 
the  wonderful  Spanish  Curling 
Liquid  to  women  everywhere. 


Take  advantage  of  their  generous  trial  offer— 

I  told  my  cousin  I  did  not  want  one  penny  for 
the  information  I  had  given  him.  I  did  make  one 
stipulation,  however.  I  insisted  that  he  introduce  the 
discovery  by  selling  it  for  a  limited  time  at  actual 
labor  it  iry  cost  pi  is  postage  so  that  as  many  women  as 
ble  could  take  advantage  of  it.    This  he  agreed 

Don't  delay  another  day.   For  the  Century  Chemists 
guarantee  satisfaction  or  refund  your  money. 


Lotely  Curls 


No  Profit  Distribution 
of  $3.50  Bottles 

(only  one  to  a  iamii  y) 

We  areofferine  for  a  limited 
time  only,  no-profit  distribu-      4f. 
tion  of  the  regular  S3  50  (  | 

of  our  Spanish  Curling  l.i  : 

The  actual  cost  of  nrepai 
and  compounding  this  Span-      'JL 
ish   Curling  Fluid,  including 

-.:.  packing  and  shipping      ^»         /s. 
is  J1.87.  We.  have  decided  to   /jf/       /    >* 
ship  the  first  bottle  to  each    M  •  /f^\ 

new;  us-r  at  actual  cost  rrice    /  .    ' 

\     i  do  not  have  to  send  one        __    /  _ 
penny  in  advance.  Merely  fill         >>  <«"y  Bob 

the  coupon  below — then  pay  the  postman 
plus  the  few  cents  i  n  he  delivers 

uid.    If  you  arc  not  satisfied  in  ever-, 
even  this  low  laboratory   fee  will   be  refunded 
promptly.    TVs  opportunity  may  never  appear 
again.    Mi*s  Ralston  urges  that  you  lake  advan- 
tage of  it  at  once. 

CENTURY  CHEMISTS 

(Origina  tors  of  the  famous  40Minutr  Beau  tyClay) 

710  W.  Jackson  Blvd 
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710  W.  Jackson  Blvd..  Chicago 

Sfnd   me    in   plain   wrapper,  by  ins"red 
parcel  poet,  a  ful  ■ 

celle  (Spanish  Curling  Liquid)     I  will  pa; 
man  ?1.87,  plus  few  cents  postage,  on  delivery, 

with  the  understand  ng  that  if.  after  a  five-day 
trial,  I  am  not  elated  with  the  results  from  this 
magic  curling  fluid.  I  may  return  the  unused  con- 
tents in  the  bottle,  and  you  will  immediately 
return  my  money  in  full. 

Name  ._ 

S'reel  


Si  ue. 


To-,  n 

It  apt  to  be  out  when  p-5tmin  rait.,  rou  ma?  afieloae  £2 
with  eoupon.  and  Liquid  H».cell«  will  be  .<-nt  you  poatpaid. 


Free  Trial  Bottle 

Read  Special  Offer 


Gray  Hair- 


Stop  it 


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—Here  is  the  way 

Mary  T.  Goldman's  Hair  Color 
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Tiger  Rose 

{Continued  from  page  33) 


For  the  next  few  hours  Rose's 
gaiety  was  unflagging.  At  supper  she 
made  them  all  laugh  with  her  mimi- 
cry of  the  squaw  who  drank  the 
violet  perfume.  Afterward  she 
danced  for  them,  flinging  coquettish 
glances  at  the  sullen  Devlin  over  her 
shoulder  until  greed  crept  to  the  sur- 
face of  his  muddy  eyes  and  he  licked 
his  thick  lips  with  his  tongue.  At 
Jast  the  danger  for  the  evening  at 
least  seemed  over.  Devlin,  candle  in 
hand,  creaked  up  the  stairs  to  bed, 
the  factor  kissed  her  good  night  and 
followed.  She  was  making  the 
rounds  of  the  oil  lamps,  blowing 
them  out  when  a  heavy  hand  fell  on 
her  shoulder.  Without  turning  she 
knew  by  the  odor  of  tobacco  and 
gin  that  Michael  Devlin  had  re- 
turned. 

"Came  back  for  a  good-night  kiss, 
girlie,"  he  chuckled,  "maybe  I'll  take 
two — or  three.  I've  waited  long 
enough  for  them,  you  tantalizing 
little  devil !" 

She  would  have  struck  him  across 
his  leering  face  but  a  sudden  thought 
held  her  hand.  Bruce  Norton  must 
not  hear  anything.  If  she  could  only 
cajole  this  man  into  forgetting  his 
drunken  love-making  just  for  this 
time 

She  drew  away,  but  his  great  arms 
dragged  her  back.  His  hot  breath 
scorched  her  cheek.  "Guess  you're 
not  grieving  over  that  dude  after  all ! 
Like  Michael  a  HI'  bit,  dont  you? 
And  you're  going  to  like  me  a  whole 
lot  more  before  I'm  thru!" 

Never  before  in  her  tempestuous 
life  had  Rose  smiled  when  she 
wanted  to  rage,  spoken  sweetly  when 
she  wanted  to  shriek  out  the  pictur- 
esque epithets  of  the  settlement. 
"Wat  they  say — 'Get  your  man'  firs', 
and  then  get  your  woman !"  she 
urged,  with  desperate  guile.  "Pleas' 
not  tonight !  Mebbe  tomorrow  I  lak' 
you  HI'  bit." 

"No  you  dont!"  Devlin  grinned, 
his  embrace  stifling  her,  "tomorrow 
may  never  come."  Hot  lips  sought 
her  throat.  She  struggled  silently, 
futilely,  biting  back  the  cry  that 
surged  to  her  lips.  Only  the  sound 
of  shuffling  feet  and  panting  breasts 
broke  the  silence. 

"You  beast,  let  go  of  her !" 

The  dropping  of  the  trap-door 
brought  Devlin  around,  hand  on  gun. 
Rose,  freed  from  the  intolerable  em- 
brace, fell  back  against  the  counter 
staring  from  the  furious  face  of  the 
man  she  loved  to  Devlin's  exultant 
grin  as  he  leveled  his  revolver  at  the 
newcomer.  "You,  eh !  Say,  this 
means  promotion   for  me  all   right! 


Set  a  trap  to  catch  a  bird  and  get  a 
ba'r !  Better  not  move  now,  I'd  just 
love  a  chance  to  use  this,  you  damn 
murderer !" 

"Executioner  is  a  better  word," 
Bruce  Norton  suggested  quietly, 
"I'll  come  along  with  you  all  right. 
Rose,  as  soon  as  we're  gone,  go  up 
to  your  room  and  bolt  the  door. 
Good  night,  dear !" 

"Make  it  good-bye !"  Devlin 
grated,  and  burst  into  a  jangling 
laugh.  "Give  yourself  away  for  a 
woman  !    That's  a  hot  one " 


"Mebbe  it's  not  so  dam  funny!" 
Rose's  voice  sounded  behind  him. 
"Put  your  hands  up — queek  or  I 
shoot  you.  Me.  I  t'ink  you  forgot 
you  had  two  guns !  I  got  this  one 
when  you  try  to  kees  me.  Thas 
right !  Bruce  take  his  gun  away — 
lak'  so!" 

The  policeman's  revolver  in  his 
hand  Bruce  came  to  the  side  of  Tiger 
Rose,  "My  brave  little  girl!  But  it's 
no  good,  dear.  I've  decided  to  face 
the  music !  I  wouldn't  be  worthy  of 
you  if  I  ran  away." 

Never  moving  her  eyes  from  the 
discomfited  Devlin,  glowering  in  the 
corner,  Rose  tried  argument  and  en- 
treaty in  vain.  It  was  for  Cusick, 
shambling  in  at  this  point,  to  add 
the  final  plea.  "Beat  it,  boy!  D'you 
think  it's  going  to  make  this  little 
girl  any  happier  to  have  you  in  jail? 
If  you  love  her,  go  while  you've  got 
the  chance." 

Devlin  watched  the  leave-taking 
sullenly.  To  the  righteous  anger  of 
the  Mounted  Police  was  added  the 
jealousy  of  the  mere  man.  This  girl 
was  his — hadn't  he  pulled  her  out 
of  the  river?  And  now  he  must  sit 
here  helpless  and  watch  her  give  an- 
other man  the  kisses  rightfully  his ! 
As  the  door  closed  behind  his  rival, 
he  started  to  his  feet  with  the  growl 
of  a  savage  beast  and  had  made  two 
bounds  toward  the  door  when  the 
revolver  in  Rose's  hand  spoke 
shrewishly.  The  policeman  stopped, 
wavered,  and  with  an  absurd  expres- 
sion of  amazement  sat  heavily  down 
on  the  floor  clutching  at  his  arm. 

"She  winged  me,"  he  muttered  in 
vast  astonishment  as  Cusick  bent  over 
him  examining  the  wound,  "that  little 
tiger  cat  winged  me.  Say,  what  is , 
women  comin'  to  these  days  when  a 
fellow  cant  beat  em  up  lawful?"  he 
was  quite  plaintive  about  it.  "Dont 
tell  'em  she  did  it !  Say  I  shot  my- 
self accidental,"  he  begged  the 
doctor  abjectly,  "I'd  never  hear  the 
last  of  it  on  the  force." 

The  docfr  opened.  Bruce  Norton 
stepped  back  into  the  room.    To  the 

(Seventy-eight) 


eyes  of  I  iger  Rose  he  had  never 
looked  so  tall,  so  strong,  so  much  a 
man  like  one  of  the  more  than- 
mortal  heroes  of  her  old  folk  tales, 
It  was  to  (  usick  and  Michael  De\  lin 
that  he  sj>oke  a->  tho  in  some 
language  that  she  could  not  under 
stand.  "God  knows  I  want  hei  to 
be  happy,  but  a  fellow  cant  hide 
behind  a  woman's  skirts  I  I'm  not 
ashamed  of  what  I  did  to  ( rlenden 
ning,  but  it"  1  sneaked  off  now  and 
left  her  to  bear  the  blame  of  helping 
me  I'd  hate  myself  the  rest  of  m) 
days.  Blow  your  whistle,  Devlin 
urn  get   your  promotion  after  all! 

rhe  shriek  of  the  whistle  tore  the 
silence  to  ragged  shreds.  The  re 
volver  clattered  from  Rose  Bocion's 
nerveless  fingers  a^  -Ik-  --auk  sobbing 
into  a  chair,  crying  the  first  tears 
her  fierce  young  eyes  had  ever  shed. 
For  all  time  the  Hger  was  gone, 
lca\  ing  only  a  woman. 

Outside  sounded  footsteps,  voices. 
In  the  moment  that  was  left  him 
Bruce  Norton  bent  above  her.  patting 
her  hair  clumsily.  "I'm  sorry,  dear. 
but  there's  some  things  a  man  cant 
do.  Dont  grieve  so — somehow  I've 
i  notion  that  when  the  jury  hears 
how    it    was    they    wont    he    hard    on 

pie." 

She  lifted  her  head,  eyes  shining 
thru  the  tears.  "Grieve!  1  cry 
because  1  am  so  glad !"  Rose  an- 
swered womanwise.  "I  cry  because 
I  t'ink  you  are  mos'  brave  an  mos' 
best   man   in   all   the   world!" 

( me  ki>>,  held  close  against  the 
strong  pounding  of  his  heart,  and  he 
was  gone.  "Cheer  up,  Rose,"  Doctor 
Cusick  called  back  from  the  door- 
way, *'if  there's  any  justice  in 
Canada  and  any  chivalry  left  in  men's 
hearts  he'll  soon  come  back  to  you." 

Rose  smiled.  "Yas,  me  I  t'ink  he 
will  soon  be  back  wiz  me!"  she 
answered  confidently.  "Monsieur.  I.e 
Bon  Dieu  ees — what  you  say? — a 
gentleman !" 


JOURNEY'S  END 
By  Leslie  Nelson   Jf.nxincs 

I  have  been   long  away,   now, 
But  what  are    foreign  lands ! 

I    have  come   home   to   stay,   now- 
Give  me  your  hands! 

Ask  not,  because  you  love  me, 
1 1    I    have   been    unwise ; 

Silently   lean  above  me 
With  patient  eyes ! 

What  tho  we  stand  or  fall,  dear, 
Go  saved  or  unconfessed 

I  can   forget  it  all,  dear, 
Against    your    breast ! 

I  can   forget  the  danger, 
The  foes,  the  fellowships ! 

I've  been   too   long   a    ranger 

Give  me  your  lips ! 


What  Charm 
Excels  Pearly  Teeth? 


Combat  that  dingy  film 

What  adds  so  much  to  charm  and 
beauty  as  pearly  teeth? 

You  see  them  everywhere  today:    A 
new  way  of  teeth  cleaning  has  conn 
Millions  now  employ  it.     This  offers  a 
ten-day  test,  to  show  you. 

They  now  fight  film 

Teeth  are  clouded  by  that  viscous 
film  you  feel.  It  clings  and  stays.  Soon 
it  forms  a  dingy  coat.  Then  teeth  lose 
their  luster  and  beauty. 

Film  holds  food  substances 
which  ferment  and  form  acid. 
The  acid  causes  decay.  Germs 
breed  by  millions  in  it.  With 
tartar,  they  are  the  chief 
cause  of  pyorrhea. 


After  long  research,  dental 
science  discovered  two  ways 
to  fight  that  film.  One  disin- 
tegrates the  film  at  all  stages 


Protect  the 

Enamel 

Pepsodent  disin- 
tegrates the  film, 
then  removes  it 
with  an  agent  far 
softer  than  en- 
amel. Never  use 
a  film  combat- 
ant which  con- 
tains harsh  grit. 


of  formation.    Om-  removes  ir  without 
harmful  scouring. 

These  methods  have  proved  effective. 
A  new-type  tooth  paste  applies  these 
methods  daily.    The  name  is  Pepsodent. 

It  brings  a  new  dental  era  to  the 
homes  dI  some  50  nations. 

Delightful  secrets 

Pepsodent  brings  other  essential  ef- 
fects. It  multiplies  alkalinity  of  the 
saliva,  which  is  there  to  neutralize 
— i  mouth  acids.  It  multiplies  the 
digestant  for  starch  deposits. 

Its  use  multiplies  the  power  of 
these  natural  protecting  agents. 

Send  thecoupon fora 10-day 
tube.  Note  how  clean  the  teeth 
feel  after  using.  See  teeth  be- 
comewhiteras  film  disappears. 

You  will  prize  these  benefits- 
You  will  want  '.our  family  to 
have  them.   Clip  coupon  now. 


^F"^    ■MHB^HMMMHMM         PAT  OFF        | 
U    S.      L^HMBB^HI^HBB 


The    New-Day    Dentifrice 


A  scientific  tooth 
paste,  now  advised 
bj   leading  dentists 

the    wolld   0\  el  . 


10-DAY  TUBE  FREE 

THE  PEPSODENT  COMPANY 

Dept.  640.  1104  S.  Wabuh  Aw.,  Chicrto.  Ill 
MjiI   1(>-I)jv  Tube  of  IVpsodrnr  to 


Only  one  tube  to  a  family. 


(Seventy-nine) 


Do  Your  Eyes 

Dance,  Too  ? 

Night-time  is  so  enchanting  when  it 
brings  parties,  dinners  and  dances. 
But  night-time  often  finds  you  with 
your  EYES  dull  and  heavy,  and  you 
feel  that  the  evening  is  ruined. 

A  few  drops  of  Murine  before  go- 
ing out  in  the  evening  will  instantly 
enliven  those  drowsy  EYES  and 
makethemdancewith light.  Ittakes 
away  not  only  the  tired  look  but 
the  tired  feeling. 

Use  Murine  night  and  morning  and 
keep  your  EYES  always  clear  and 
sparkling.  It's  easy  to  apply,  and 
contains  no  belladonna  or  other 
harmful  ingredients. 

Our  attractively  illustrated  book,  "Beauty 
Lies  Within  the  Eyes,"  tells  how  to  prop- 
erlycareforyourEyes,  Browsand  hashes, 
and  thus  enhance  their  beauty.  Send  for 
a  copy  of  this  helpful  book.     It's  FREE. 

The  Murine  Company 
Dept.  23,  Chicago 


P 


F-orYour 

eVes 


OmYouY  Own  Hotaer 

Meet  Jack  Frost  and  Tuneful  Hohner,  the 
twin  merry  monarchs  of  winter.  What  lively 
zest  and  rollicking  gayety  they  bring  to 
every  outdoor  sport  and  fireside  frolic! 

WINTER  SPORTS 
HARMONY 

Winter's  the  time  for  jolly  music.  You've  just 
GOT  to  have  a  Hohner  mouth  organ  now.  It 
puts  life  and  punch  into  big  parties  or  little; 
it  brightens  up  those  lonely  hours  when  the 
storms  keep  you  at  home.  You  can  learn  to 
play  it  in  an  hour — any  kind  of  music  you  like. 
Ask  the  dealer  for  the  Hohner  Free  Instruc- 
tion Book — if  he  is  out  of  them,  write  "M. 
Hohner,  New  York"  for  a  copy.  Hohner  Har- 
monicas are  sold  everywhere;  50c.  up. 


ARMONICAS 


When  Lubitsch  Directs 

(Continued  from  page  39) 

]  vices.  I  was  so  polite  and  demure 
on  that  occasion  that  you  could  have 
written  books  of  etiquette  just  fol- 
lowing me  around  and  listening  to 
what  I  said.  To  my  intense  relief, 
the  mother  of  my  sheik  agreed  that 
I  would  pass  muster.  In  fact,  she 
unbent  to  the  extent  of  admitting 
that  I  was  a  sweet  girl — or  some- 
thing like  that. 

"The  next  day  I  was  working  in 
a  comedy.  The  particular  scene  that 
I  was  adorning  had  to  do  with  the 
supposed  raid  of  a  den  of  vice.  Of 
course,  the  sheik's  mother  had  to 
come  along  just  as  the  police  patrol 
wa^on  backed  up  to  the  curb  and  I 
was  carried  out,  fighting  and  kicking, 
in  the  arms  of  three  policemen. 

"It  was  no  use  trying  to  tell  her 
it  was  just  a  movie.  The  next  time  I 
met  her,  she  passed  me  by  in  cold 
and  cutting  scorn  and  the  highest 
altitude  ever  attained  by  any  human 
nose  was  hers  when  next  we  met." 

Marie  left  the  comedies  flat  to  go 
to  Universal  to  make  a  few  starring 
pictures  and  she  appeared  in  ""Brass" 
and  one  or  two  other  important  pro- 
ductions at  Warner  Brothers  before 
she  got  this  big  chance  with  Lubitsch. 

She  says  that,  when  she  first  saw 
the  part  Lubitsch  had  planned  for 
her — a  cynical,  skittish  young  Vien- 
nese wife — a  vamp — she  took  the 
script  indignantly  to  the  office  of 
the  Warner  Brothers  and  handed  it 
back  to  them.  She  couldn't  see  it  at 
all.  Finally,  however,  the  producers 
prevailed  upon  her  to  try  it. 

"And  then,"  she  said,  "I  began  to 
go  to  school.  I  never  realized  what 
acting  really  meant  until  I  began  to 
hear  Mr.  Lubitsch's  voice  coming 
to  me  from  behind  the  camera. 

"He  deals  in  subtleties  that  I  never 
dreamed  of  before.  His  marvelous 
technique  consists  of  elements  and 
effects  that  I  never  heard  of  before. 

"At  first  it  was  terribly  discourag- 
ing. He  made  me  do  simple  scenes 
— just  coming  in  and  out  of  rooms 
■ — fifteen  or  twenty  times.  At  first 
it  seemed  as  tho  there  wasn't  any 
sense  to  it  all.  Then  it  began  to 
dawn  upon  me  wdiat  the  art  of  act- 
ing was  all  about,  and  it  seemed  in- 
tolerably and  impossibly  difficult. 
Then  I  began  to  see  as  he  saw  it. 

"He  is  a  tremendous  and  wonder- 
ful artist.  To  act  even  one  scene 
under  his  direction  is  not  only  an 
education  but  a  revelation." 

And,  as  for  Lubitsch,  he  only  says, 
"Yes ;  she's  goot ;  she's  a  goot  ac- 
tress ;  she  haf  emotion  but  she  got 
boomer  too. 

"Is  the  picture  goot ;  veil,  I  hope. 

"But  she  is  goot.  Ja.  Gewiss." 


SOME  FOLKS 
INDULGE  IN  HOBBIES 
THAT  COST  MONEY 


ButlPreferMy 
Magazine  Busi- 
ness Because  J| 
It  Brings  Me 
Pleasure  and 
Money  At  The 
Same  Time       \^ 

We  are  glad  to  introduce  to  our 
readers,  Miss  Agathe  Zimmer, 
whose  remarkable  courage  and 
sunny  disposition  have  gained  for 
her  a  lasting  friendship  among  a 
host  of  people — her  customers  in 
the  Magazine  business  which  she 
conducts. 

Money  alone  did  not  induce  Miss 
Zimmer  to  become  one  of  our  rep- 
resentatives. What  she  wanted  most 
of  all  was  something  interesting  to 
do — something  which  she  could 
pick  up  or  drop  at  will  and  still 
would  be  worth  while. 

In  her  magazine  business,  Miss  Zimmer 
has  found  employment  for  her  spare 
time — work  which  is  as  profitable  as 
it  is  pleasant.  And  she  now  sends  this 
message  to  every  woman  who  may 
have  a  need  for  more  money — "The 
Magazine  Business  is  the  most  profit- 
able line  to  follow  that  I  know  of.  If 
you  have  an  hour  or  two  a  day  or  week 
to  spare  and  want  more  money,  take 
my  advice  and  join  the  Staff  of  the 
Brewster    Publications." 

SPARE  TIME  OR  FULL  TIME 

Some  of  our  most  successful  representa- 
tives today  are  men  and  women  who 
started  as  spare  time  workers.  It  is  so 
easy  to  get  op  to  and  there  are  so  many 
people  to  do  business  with,  that  prac- 
tically all  you  need  at  the  start  is  the 
"will"  to  get  ahead.  Why  be  satisfied 
with  a  small  income  when  more  money 
and  a  business  of  your  own  are  within 
your  reach?  Join  the  money  class  by 
sending  in  the  coupon  below,  today. 

= CUT   HERE 

Subscription  Department. 

BREWSTER  PUBLICATIONS, INC. 
175  Du (field   Street, 
Erooklyn,  N.  Y. 

Flease  tell  me  how   to  turn  my  spare  time 
into   money   through  your   plan. 

Name 


(Eighty) 


Foreign  Films 

1 1  ontinued  from  p 

Aini'i  ican  style  ami  to  go  fai  afield 
in  the  (juest  ol  subjects  in  order  to 
conceal  the  Italian  identity  of  the 
production  flu-  Italian  conversion, 
however,  is  as  yet  half-hearted,  and, 
as  indicated  in  "Supreme  I  .ov<  ."  an 
rl  at  compromise  is  made,  the 
producer  still  adhering  hopefull)  to 
the  theoi  \  thai  an  English  subjo  I 
will  find  a  more  favorable  response 
in  the  \nglo-Saxon  market.  To 
this  end,  tho  the  st«  iry  has  a  pureh 
and  characteristically  Italian  setting, 
the  leading  male  role  is  that  of  an 
Englishman.  Sir  James,  an  old  Eng 
li^li  aristocrat,  brings  his  v,>n  liar 
ford  to  Italy  in  the  hope  that  the 
climate  will  cure  him  of  his  malady. 

Tho  adventures  thai  follow.  shift- 
ing  from  England  to  Italy  and  from 
Italy  to  England,  constitute  what  the 
producers  regard  as  the  Anglo-Italian 
touch  which  will  assure  the  film  a  run 
in  the  British  Isles.  But  the  most 
attractive  parts  of  the  picture  are  the 
scenes  taken  in  Italy,  with  the  Italian 
atmosphere  and  background  pre- 
eminent, once  more  proving  that 
European  film  talent  is  at  its  besl 
when  it  adheres  to  its  own  soil  and 
tradition. 

RUSSIA 

Contrary  to  the  methods  pursued 
by  the  other  foreign  producers,  the 
Russians  have  adhered  pretty  strict- 
ly to  native  subjects  until  now.  with 
excellent  results.  Tf  the  Russian  films 
are  today  the  most  noteworthy  in 
Europe,  it  is  chiefly  because  they 
have  not  gone  far  afield  in  quest  of 
material  but  have  found  it  on  their 
own  soil  or  in  their  own  literary  tra- 
dition. Having  made  their  start  in 
this  way,  they  are  perhaps  well  quali- 
fied to  borrow  from  the  best  tradition 
of  other  countries.  A  divergence 
from  their  loyalty  to  Slavic  subjects 
is  marked  by  the  film,  *'Kcan."  a 
dramatization  of  the  life  of  the  great 
Shakespearean  actor.  Kean's  amours 
were  numerous  and  varied,  the  in- 
evitahle  accompaniment  of  the  idol- 
atry which  he  enjoyed  during  his 
supremacy,  but  it  is  part  of  the  irony 
of  his  life  that  his  doom  should  have 
come  thru  the  one  innocent  passion 
of  his  career.  This  ironic  element  is 
dramatically  brought  out  in  the  Rus- 
sian production. 

In  "The  Song  of  Love  Trium- 
phant," based  on  a  story  by  Tur- 
genef,  tho  the  action  takes  place  in 
Italy  during  the  period  of  the 
Renaissance,  the  spirit  of  the  narra- 
tive remains  Slavic  in  its  essence.  The 
settings  of  the  film  are  imposing,  and 
the  beauty  of  Mme.  Kovanko,  in  the 
role  of  Valeria,  contributes  to  its 
success. 

(Eighty-one) 


Ol    )  ■""?  \l    1  ).!.;•    Si..ret 

ne  liox   rree  ■■*  pt*  iw^m 
-.cut  ( loupon 


May  Odors 


In  your  breath — insure  them 


One  of  the  gravest  social  offenses  is  had  breath.     One  of  the  com- 
monest, too.     Yet  the  offender  is  usually  unaware. 
Cigars  or  cigarets  may  cause  it. 
Or  decaying  food  between  the  teeth. 
Or  affected  teeth  or  gums. 

Or  a  stomach  disorder.     Or  certain  foods  and  drinks. 
That  offensive  breath,  however  caused,  kills  nearly  every  charm. 


A  mere  breath  perfume  suggests  concealment.  You  seek  to  hide  an 
odor,  and  everybody  knows  it. 

A  May  Breath  tablet  combats  those  bad  odors,  whether  from  the  mouth 
or  stomach. 

It  is  an  antiseptic  mouth  wash  in  tablet  form— a  purifier.  It  brings 
the  odor  of  spring  to  the  breath.  In  the  stomach  it  also  acts  as  an  aid 
to  digestion. 


This  method  successfully  overcomes  had  breath.  It  combats  it  be- 
cause it  is  a  complete  deodorant. 

Carry  May  breath  with  you — in  your  pocket  or  your  hag.  Before 
any  close  contact,  eat  one  and  you  are  safe. 

Dainty,  careful  people  do  that  everywhere  today.  They  never  risk 
offense. 

Let  us  buy  you  a  box  to  show  what  May  Breath  means  to  you.  Cut 
out  the  coupon  and  present  it — now.  This  is  something  you  need  and 
want. 

May  Breath  is  candy  tablets  designed  to  deodorize 
both  the  mouth  and  stomach.  Not  a  mere  perfume, 
but   an   antiseptic   purifier.     Carry    it   with   you. 


10c 
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Present  this  coupon  to  any  dniRRist  or  drug  depart- 
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All  leading  drnggists  now  have  May  Breath.  If 
your  druggist  fails  you,  send  coupon  to  us.  Only  one 
box  io  a  Family. 

TO  DRUGGISTS:  These  coupons  will  continue 
to  appear.  Redeem  as  per  our  offer,  send  to  us  as 
they  accumulate,  and  we  will  pay  you  10  cents  each 
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How  to  care  for 

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You  cannot  expect  hair  which  is  naturally 
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that  ivill  odd  real  beauty  to  your  hair—  GOLDEN 
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attractive,  that  you  will  just  love  to  fuss  with  it. 
In  addition  to  the  clean  freshness  any  good 
shampoo  gives,  it  offers  something  unusual, 
something  new,  something  more  than  a  prom- 
ise. This  "something"  is  a  secret  you'll  discover 
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Winters  come  and  go — Lablache  stays  on. 
What  the  complexion  needs  to  protect, 
beautify,  and  preserve— Lablacheprovides. 
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of   dri'TKists    nr    by 
mail.  Flesh,  White, 
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The  Movie  Encyclopaedia 

(Continued  from  page  70) 

Evening  Mail. — Constance  Talmadge  in 
"The  Dangerous  Maid."  Conrad  Nagel 
and  Wyndham  Standing  are  playing  in 
Alma  Rubens'  "Blood  and  Gold."  Baby 
Peggy  in  "Captain  January." 

Georgette. — Ah,  but  I  do  like  it.  Lon 
Chaney  is  an  American.  Richard  Dix  is 
twenty-eight.  Yes,  they  do  say  he  is  en- 
gaged to  Lois  Wilson.  Holmes  E.  Herbert 
is  playing  in  "The  Enchanted  Cottage." 
Your  English  is  splendid,  and  I  hope  to 
hear  from  you  again. 

Cy.— Well,  as  Carlyle  says :  "Make 
yourself  an  honest  man,  and  then  you  may 
be  sure  that  there  is  one  rascal  less  in  the 
world."  Ralph  Graves  is  twenty-six.  and 
Antonio  Moreno  is  married  to  Mrs.  Daisy 
Danzinger. 

G.  M.  L. — So  you  have  been  reading  the 
Classic  ever  since  it  began.  That's  a  long 
time.  Glad  to  hear  about  "Robin  Hood" 
in  London.  I  hope  you  write  to  me  soon 
again. 

Australian  Admirer. — The  great  diffi- 
culty about  advice  is  the  preponderance 
of  quantity  over  quality.  Xo,  Jacqueline 
Logan  is  not  married.  She  played  in 
"The  Light  that  Failed."  Viola  Dana's 
"Angel  Face  Molly"  will  be  released  as 
"The  Good  Bad  Girl." 

Rodolph  Valentino  Fan. — Most  of  the 
players  you  mention  are  with  Famous 
Players,  1520  Vine  Street,  Los  Angeles, 
California. 

Mary  E. — You've  got  to  be  stronger 
than  that.  A  woman's  hopes  are  woven 
of  sunbeams;  a  shadow  annihilates  them. 
Be  brave.  Bessie  Barriscale  is  not  play- 
ing now. 

Stud  Farmer. — That's  some  letter  of 
yours.  You  got  your  wish — yes?  Cant 
very  well  give  you  the  cast  for  "The  Four 
Horsemen,"  but  Rodolph  Valentino  was 
Julio,  Alice  Terry  was  Marguerite  and 
Brinsley   Shaw  was  Celendonio. 

Manuel. — I'm  sorry,  but  I  dont  know 
the  picture  you  mention. 

Ivy  M.  W. — All  I  know  about  canary 
birds  is  that  a  long  body  and  thick,  smooth 
plumage  are  marks  of  a  good  canary. 
Males  only  sing.  King  Vidor  is  directing 
Laurette  Taylor  in  "Happiness"  at  the 
Metro  Studios.  How  did  you  know  green 
ink  was  my  favorite.  Pearl  White  is 
playing  in  "Terror." 

Patte. — Never  respect  men  merely  for 
their  riches ;  but  rather  for  their  philan- 
thropy ;  we  do  not  value  the  sun  for  its 
height,  but  for  its  use.  The  only  place 
I  know  of  where  you  can  get  Ramon 
Novarro  is  at  the  Metro  Studios.  Why 
not  try  it 

Little  Moonmoth. — Eugene  O'Brien  is 
playing  with  Norma  Talmadge  in 
"Secrets."  This  is  a  story  of  crinoline 
days  in  America  and  England. 

Ivan. — Thrnks  for  the  charming  letter. 
You  bet  I  am  still  living  in  my  hall-room, 
and  right  now  it  is  about  ten  degrees  be- 
low zero.  Yes,  I  have  always  admired 
George  Arliss.  Address  the  Fairbanks  at 
Hollywood,  California. 

Glenvina. — Well,  the  first  step  toward 
useful  knowledge  is  to  be  able  to  detect 
falsehood.  Xo,  I  never  lie,  it  isn't  because 
I  cannot,  tho.  Myrtle  Stedman  and  not 
Kathlyn  Williams  in  "The  Famous  Mrs. 
Fair."  Cleo  Madison  was  the  wife  in 
"The  Dangerous  Age."  Write  me  again. 
Bric-a-brac. — Censure  is  the  tax  which 
a  man  pays  to  the  public  for  being  em- 


A  COMPLETE 

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It  might  be  good  and  cold  when 
you  read  this  offer.  Perhaps  you 
will  be  hugging  the  fire  and  sum- 
mer will  be  farthest  from  your 
thoughts.  But  don't  you  let  a  little 
bit  of  cold  weather  or  snow  either 
for  that  matter,  make  you  forget 
what  is  going  to  be  expected  of 
you  when  you  take  your  position 
on  the  nine  next  season.  Now  is 
none  too  soon  to  be  thinking  and 
talking  about  the  games  you  are 
going  to  win  and  how  your  team 
will  size  up  against  the  other 
teams  in  your  League.  Think  of 
the  cheer  you'll  get  if  you  "blos- 
som" out  this  Spring  in  a  brand- 
new  uniform,  and  glove,  and  bat 
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•  58  - 


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In  return  for  a  little  of  your  spare 
time,  we  will  give  you  this  complete 
uniform  free — shirt,  trousers,  cap  and 
belt.  All  we  ask  you  to  do  is  to  get 
three  people  to  subscribe  for  the 
Classic  You  know  this  magazine, 
otherwise  you  wouldn't  be  reading 
this  offer.  Therefore  it  should  be  an 
easy  matter  for  you  to  interest  your 
friends  in  having  the  Classic  come  to 
their  homes.  For  a  whole  year's  sub- 
scription, the  price  is  only  $2.50 — a 
saving  of  50  cents  over  the  news- 
stand  price. 

N'oiv  don't  wait  for  any  further  word 
from  us.  Hustle  out  and  get  your 
three  subscriptions.  Wher  you  have 
them  all,  then  send  us  their  names  with 
this  ad  and  the  $7.50  collected,  and 
the  uniform  is  yours.  By  the  way, 
don't  forget  to  sign  your  own  name 
too  so  we'll  know  to  whom  the  uni- 
form should  be  sent  and  also  tell  us 
what  size  to  send.  The  suits  range 
in  size  from  4  to  14. 

Remember,  only  three  subscriptions. 
Mail  you   order   to 

The  Treasure  Chest  Department 
Motion  Picture  Magazine 

175  Duffield  Street, 
Erooklyn,  N.  Y. 


(Eighty-two-) 


hunt  Lloyd  Hughes  ami  Be  be  Daniels 
m  '  I  he  I  lei  itage  ol  the  I  >esei  t  "  So  you 
think  I  should  have  a  -t< >•  -I  to  -n  on  in 
my  pictui  1  want  to  grow  tall. 

\sk   II      \n,  and  the 
t;im  women  is  t     imagine  that,  t"  acquire 
distinction  they  must  imitate  the  manners 

icn.     vi  i  s,  1-  ilu  in  Mills  in  "I  lis  I 
dren's   Children."      \ilcen    Pringle    i 
daughter-in-law  of  Sir.  John  Pringle, 

.  rnoi  -gem  She 

up  social   fame  and  a  great    fortune 
ppcar  in  pictures.     So  they  say. 

Is  that  all  that  is  won  . 
whether  1  am  a  man  or  woman.  Got 
guessing.     Well,    cheer    up,    I'm    not 
Eugene    <  I'Brien     is    not 
ied. 
Brown    Eyes      I   never  knew    so  many 
brown   eyes      Buddy    Messenger   is    four- 
teen,  and    he    has    brown    eyes   ami    hair. 
"Stephen   Steps  (hit"   was    Douglas    Fair- 
banks, Jr.'s  tirst  picture. 

I!  \  Ixforp. — One    is    alone    in    a 

.1  when  one  suffers  or  when  one 
loves.  I  understand  perfectly.  Vndree 
Lafayette  lias  returned  to  I'.wis  where  she 
will  make  a  picture  for  American 
ducers.  She  expects  to  return  in  about 
three  months.     Write  me  again. 

Katharine  Yes,  I  believe  in  reading 
the  good  hooks  recognized  old  masters 
re  reading  so  much  fiction.  What  is 
a  great  love  <>i  books?  It  is  something 
like  a  personal  introduction  to  the  great 
and  good  men  of  all  past  times.  Yes, 
Bert  Lytell  is  abroad  now.  Baby  I' 
with  Principal  Pictures,  Los  Angeles, 
California. 

Anxious. — Glad  to  see  yourself  here, 
are  you?  Lois  Wilson  and  I.ila  Lee  are 
not  sisters.  Douglas  Fairbanks  was  mar- 
ried to  Beth  Sully.  He  and  Mary  Pickford 
have  been  married  since  March  28,  1°20. 
OU  would  like  to  see  a  picture  of 
Milton  Sills  and  one  >^i  Gloria  Swanson 
On  the  eo\  er. 

Micky. — Your  letter  reminds  me  of 
what  Oliver  Wendell  Holmes  said:  "1 
should  like  to  see  any  kind  of  a  man  dis- 
tinguishable from  a  gorilla,  that  some 
i  and  even  pretty  woman  could  not 
shape  a  husband  out  of."  Anna  Q.  Nilsson. 
in  "Flowing  Gold."  Pearl  White  is  play- 
ing in    Paris. 

Golda  Baker. — Yes,  it  is  the  lack  of 
moral  balance  that  makes  genius  akin  to 
madness.  J.  Warren  Kerrigan  is  thirty- 
four,  and  be  has  never  been  married. 
He  is  with  Vitagraph  now.  (dad  to  hear 
from  you.     Do  write  to  me  again. 

Irexe  F.- — Richard  Barthelmess  is  five 
feet  seven,  and  Conrad   N'agel  is  six  feet. 

Wildflower. — That  was  Forrest  Stan- 
lev  in  "Bavu."  Xaomi  Childers  is  play- 
ing in  "Restless  Wives."  Gloria  Swanson 
in  "The  Humming  Bird."  King  II.-il 
takes  credit  for  discovering  Mary  Philbin 
when  she  made  her  first  hit  in  "Human 
Hearts."  She  is  playing  in  "The 
Inheritors." 

Swf.ft  Blue  Eyes. — How  are  you  to- 
day5 Cullen  Landis  in  "Pioneer  Trails." 
Glenn  Hunter  is  twenty-four.  Anita 
Stewart  and  her  brother,  George  Stewart, 
are  in  vaudeville. 

Cucu  Blue  Eyes. — As  a  rule,  we  suffer 
more  than  we  inflict.  Yes,  Pedro  de  Cor- 
doba is  to  play  in  "I  Will  Pay." 

Florexce  R. — Another  foolish  child. 
All  the  way  from  Australia  to  get  into 
the  movies.  Well  I  hope  you  have  better 
luck  with  your  music.  I  have  never  beard 
ot  that  picture.  Can  you  tell  me  more 
about  it? 


ould  You  Thin 
that  I  Ever  W< 

/>'.V   Jl      -li  A    I'.A,  | 

! >n  m.im i.  Pi  i 

III  V  1  >  jUSt  about  .ill  thr  ,lvoirdlif<ois  ] 
could  ccj  i  v  around  w  hen  1  fit  i  heard 
ot  getting  thin  to  music.    1  un  only  5 

ft  and  5  in.  in  height  and  not  ot   large  ti.iinr, 

and  I'M  lbs.  made  me  positively  eon  picuoui 
u  j  iu  can  well  believe,  li  was  beginning  to 
tell  on  my  arches  j  I  had  difficulty  in  walking 
■  ini  .  1 1  incing  became  out  of  the  ques- 
tion, and  I  had  become  ■  regular  stay-at-home 

when  a  friend  prevailed  OU  me  l<>  try  the 
mueh-t.ilked-of  reducing  records. 

"The   hi    t     r     ion  with   this  method  was  a 

complete  Burprise.    I  had  expected  it  w 
be  something  of  ■  bore    the  things  I  had 

tried  ID  the   past    had  all   proved  BO.      But    the 

movements  that  first  reducing  record  con- 
tained, the  novel  commands  and  counts,  and 
the  sparkling  musical  accompaniment  made 
it  extremely  interesting.  I  used  it  for  over  a 
week  for  the  sheer  fun  of  doing  it.  I  fe't 
splendid  after  each  d  iv's  'lesson.'  Even  then 
I  scarcely  took  the  idea  seriously.  Surely,  this 
new  form  of  play  could  not  be  affecting  my 
huge  superfluity  of  flesh;  it  must  have  been 
ten  or  twelve  days  later  that  I  weighed  myself. 

"/  had  lost  eight  pounds'. 

"No  one  had  to  urge  me  after  that!  I  se- 
cured all  five  of  the  records  and  settled  down 
in  earnest  to  reduce.  A  week  later  the  same 
scale  said  174  lbs.  Another  week  only  showed 
a  six  pound  loss;  but  the  week  following  I 
had  taken  off  nine  more  pounds. 

"As  I  progressed  in  the  lessons  I  found 
them  growing  more  and  more  interesting, 
and  each  new  and  unique  movement  began 
improving  my  proportions  in  new  places. 
The  over-fleshiness  at  my  neck  was  a  condi- 
tion I  never  dreamed  could  be  affected  by 
these  methods,  but  it  was  ;  even  the  roll  of 
fat  that  had  foreshadowed  a  double-chin  dis- 
appeared in  time. 

"In  six  weeks  I  was  dancing,  golfing  and 
'going*  as  of  yore.  I  got  another  saddle 
horse.  I  started  wearing  clothes  which  did 
not  have  to  sacrifice  all  style  in  an  effort  to 
conceal.  And  it  is  quite  needless  to  say  I 
was  delighted  and  elated.  At  the  end  of  nine 
weeks  I  weighed  exactly  138  lbs.— a  reduc- 
tion of  fifty-three  pounds.  I  submit 
my  experience  in  gratitude  for  what 
Wallace's  wonderful  records  have 
done  for  me.  I  am  humbled  by  the 
recollection  of  how  I  once  fairly 
scoffed  at  the  enthusiasm  of  others  in 
what  I  deemed  at  the  time  a  mere  fad. 
I  shudder  to  think  that  I  might  have  re- 
mained indifferent  to  this  method.  Only  a 
woman  who  has  been  over-whelminglv  fleshlv 
can  appreciate  what  my  new  appearance  and 
feelings  mean  to  me.  As  for  those  who  need 
reduce  but  a  few  pounds  to  make  their 
figures  what  they  would  like  them  to  be, 
it  is  pitiful  to  think  that  they  do  not 
know  this  easy  way — or  perhaps  do  not  be- 
lieve it. " 

What  more  can  be  said  of  reducing  ?  Mrs. 
Bayliss'  start  was  made  with  the  full  first 
lesson  record  which  Wallace  sent  her  with- 
out cost  or  obligation.  The  same  offer  is 
open  to  you.  If  you,  too,  do  not  see  remark- 
able results  in  only  a  few  days,  don't  keep 
the  record,  and  don't  pay  Wallace  anything. 
Why  not  use  the  coupon  now  ? 


I.   '.    •  )  I  U.      I.  I   [[  ■  ; 


.'_) 


to 


ighed  200  Lbs? 


Photo       ^ 
by  Drury 


WALLACE 

Dept.  J2,  632  S.  Wabash  Ave.,  Chicago 

Please  send  me  FREE  and  POST- 
PAID for  a  week's  free  trial  the  Original 
Wallace  Reducing   Record. 


Name . 


Address . 


(Eighty-three) 


'What  a  whale 
of  a  difference 
just  a  few  cents 
make"  < 


dAll  the  difference 

between  just  an  ordinary 
cigarette  and  the  most  skillful 
blend  in  cigarette  history. 

FATIMA 

— a  mild  cigarette 


You  can  be  quickly  cured,  if  yoti 


A 

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me,  YOU  CHDKRO 
ttfl  OftRKWeSS  ? 

Let  Me  Would  you  like  to  know  under 
Tell  You  v'h'ch  Zodiac  Sign  you  were  born 
Cl n>  r  c  f  and  wnat  significance  it  has  in 
r  K  fc  fc  I  shaping  the  destiny  of  your  life? 
Your  opportunities  in  life,  future  prospects, 
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Buccessinallundertakingsandmanyother  vital 
questions,  are  indicated  through  Astrology, 
the  most  ancient  and  interesting  science  of 
the  world. 
I  have  made  Astrology  my  life's  work  and  offer  to  all  readers  of  this  paper  the  most  interesting 

astrological  interpretations  of  the  Zodiac  Sign  under  which  you  were  born.  _  _ 

If  you  will  send  your  full  name,  address  and  exact  date  of  birth  in  your  own  handwriting, 

your  astrological  interpretation  will  be  sent  to  you  in  9imple  language  which  you  can  readily 

understand.       A  great  surprise  awaits  vou.      Enclose  10  cents  to  cover  cost  of  this  notice  and 

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TARA  STUDIO,  1133  Broadway 


Desk   16-A 


NEW   YORK 


The  Mutual  Admiration  Society 
(Continued  from  page  19) 

Eternal  Three"  for  two  or  three 
years  before  he  finally  worked  out 
the  details  to  the  point  where  he  was 
ready  to  begin  shooting." 

Now,  by  rights.  Mickie  should  be 
interviewed  about  Blanche.  We  know 
what  Blanche  has  to  say  about 
Hubby.  What  has  Mickie'  to  say 
about  Wifey? 

Well,  just  try  to  interview  Mickie! 
Just  try  it;  that's  all.  You  might  as 
well  have  tried  to  interview  the 
eclipse.  If  you  ask  Mickie  about 
the  national  debt,  it  makes  him  think 
of  a  story  about  a  rattlesnake  which 
tried  to  swallow  a  gopher.  And  then 
he  sees  an  army  aviator  he  used  to 
know  on  the  other  side  of  the  cafe 
and-  that's  that. 

But  one  day  Mickie  and  T  were 
sitting  in  a  darkened  projecting-room 
looking  at  an  old  Biograph  picture  in 
which  Blanche  and  Mickie  were  both 
acting.  Mary  I  'ickford  and  Dorothy 
Gish  and  Henry  Walthall  and  a  lot 
more  were  also  in  it.  Blanche  was 
then  a  rather  sallow  girl  with 
enormous  masses  of  blonde  hair,  a 
funny-looking  long  dress  hanging 
around  her  heels. 

Suddenly  out  of  the  darkness  I 
heard  Mickie  mutter  half  to  himself 
and  half  to  me. 

"By  God,  Blanche  just  had  it — 
even  then.  In  spite  of  all  that  crude 
stuff,  she  was  wonderful.  She's  got 
the  stuff  you  cant  learn.  You  just 
gotta  have  it.     And  she's  got  it." 


W.  Somerset  Maugham  Is  With 
Us  Again 

(Continued  from  page  44) 

some  one  comes  along  and  uses  it  be- 
fore I  have  a  chance  to. 

"After  I  have  finished  my  novel  I 
expect  to  get  to  work  on  another 
play.  You  know,  I  envy  people  who 
haven't  an  idea  in  their  heads.  I 
have  this  mass  of  mental  notes  and 
no  matter  what  I  do,  I  cant  escape 
from  them.  I  should  like  to  have 
about  six  months'  holiday,  for  I  am 
very  tired,  but  I  am  simply  forced  to 
go  on  writing." 

Maugham  has  stopped  giving 
"messages"  in  his  late  work.  He 
declares  it  is  like  butting  a  stone  wall 
to  try  to  put  over  the  truth.  In  "The 
Circle,"  as  brilliant  an  exposition  of 
human  kind  as  anyone  would  ever 
hope  to  see,  he  discovered  that  the 
message  shocked  everyone  who  saw 
it.  There  was  truth  in  it — there  was 
an  inevitable  futility,  and  a  terrifying 
knowledge  of  what  humanity  is 
really  like — but  humanity  doesn't 
care  to  have  the  mirror  held  up  too 
closely  to  nature. 


(Eighty-four) 


The  Powers  Behind  the  Screen 

ntinucd  from  pag  •  24) 

Imi    his    activities    indicate    as    w 
rounded  and   balanced  a   personality 
[ukor's.     \\  here  I  .ichtman  is  pre 
eminent!)  the  salesman;  Schulberg  a 
pickei  ;    Arthur  Friend  a  law  \  er  and 
mizer  ;  <  liarles  II.   I  )uell  an  out 
sider  with  Fifth  Avenue  backing,  and 
Others,  nun  with  eithei  a  present  that 
has    been    defined    or    only    a    past, 
Shcehan  has  everything  and  a  future 
behind    the   screen    distinctly    worth 
guessing.      Like    Hearst,   he   reaches 
on!)  inward  maximum. 

In  Mr  1  fearst,  moreover,  in  so 
far  as  it  isn't  Zukor's,  this  present 
in  motion  pictures,  and  the  more 
immediate  future,  may  be  entirely 
opined. 

V>  one  eKe  has  quite  his  excep- 
tional sense  of  what  the  American 
public  wants  in  the  way  of  entertain- 
ment. That  has  been  amply  demon- 
strated by  the  unparalleled  success 
of  las  newspapers.  He  has,  too,  a 
mind  that  sees  the  every-sided  possi- 
bility of  any  proposition.  Interested 
in  polities  as  he  is,  he  has  not  read 
Roman  history  in  vain  nor  forgotten 
that  a  fundamental  precept  of  all 
polity  is  to  keep  the  people  amused. 

The  person  who  does  this  most 
widely  and  effectively,  other  things 
being  equal,  is  a  country's  most 
popular  person.  This  was  true  of 
Caesar.  It  was  true  of  Theodore 
Roosevelt.  It  may  come  to  he  true 
of  Hearst.  If  it  does,  Mr.  Hearst 
will  have  reached  out  his  hands  for 
the  greatest  political  opportunity 
modern  life  presents. 

Bernard  Shaw  foresaw  it  when  he 
said,  "give  me  the  motion  picture  and 
I'll  give  you  a  revolution."  Those 
politicians  who  gave  Will  H.  Hays 
their  blessing  when  he  left  political 
life — they  foresaw  it.  but  their  hope, 
of  course,  was  that  the  former  l'ost- 
master-General  would  give  us  evolu- 
tion, not  revolution.  Others  have 
also  foreseen  it,  particularly  those 
who  describe  Chaplin,  Fairbanks  and 
Mary  Pickford  as  the  greatest  am- 
bassadors this  country  has  ever  had. 
There  is  the  crux  of  the  opportu- 
nity, the  fact  that  pictures  are  a  uni- 
versal language,  intelligible  in  any 
tongue,  clear  to  any  understanding 
all  the  wide  world  over.  Hence  it 
comes  that  he  who  sees  in  them  a 
world  force,  who  masters  them  suffi- 
ciently to  make  them  acceptable  to  all 
the  world  instead  of  a  single  country, 
has  in  his  hands  a  weapon  for  good 
or  evil  whose  power  is  beyond  imagi- 
nation to  measure. 

Each  and  all.  meanwhile,  are  like 
the  particles  in  a  kaleidoscope,  tum- 
bling brightly  into  place  to  form  the 
vision  of  a  more  and  more  marvel- 
ous future. 


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(Eighty-five) 


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Address 


Music  Hath  Charms— 

(Continued  from  page  16) 

Marshall  Neilan  plays  both  the 
piano  and  pipe  organ  and  as  he 
shouts  "Shoot"  to  his  cameraman,  he 
calls  the  name  of  the  selection  he 
wants  played  to  his  orchestra. 

It  would  seem,  "Once  a  Russian 
always  a  Russian"  so  far  as  music  is 
concerned,  for  Theodore  KoslofF  and 
Madame  Nazimova  both  demand 
those  glorious  melodies  of  their 
native  country,  the  works  of 
Tschaikowsky,  his  "Chanson  Triste," 
"Meditation."  Rubinstein— his  "Bar- 
carole," "Melody  in  F" — for  their  big 
moments. 

Tho  Mary  Pick  ford  loves  music 
and  insists  on  real  artists  for  her 
orchestra,  she  does  not  need  this  aid 
to  stimulate  her  emotions. 

"I  rather  doubt  the  wisdom  of  too 
much  music  on  the  set,  for  it  causes  a 
false  estimate  of  our  own  work," 
Miss  Pickford  pondered  the  question, 
wrinkling  her  pretty  forehead. 

"While  we  were  on  location  mak- 
ing 'Tess.'  we  discovered  that  one  of 
the  truck  drivers  played  a  mouth 
organ.  He  had  a  list  of  favorite 
tunes  like  'Shall  We  Gather  at  the 
River,'  'Buck  and  Wing,'  and 
'Swanee  River,'  and  these  were  in- 
spiration for  most  of  my  scenes." 

Mary  especially  likes  Charles 
Wakefield  Cadman's  "Land  of  the 
Sky-Blue  Water,"  while  the  minor 
strains  of  Massenet's  "Elegie"  make 
a  profound  appeal  to  her  susceptible 
little  heart  and  many  of  those  wist- 
ful, poignant  moments  that  live  in 
our  memories,  were  enacted  to  these 
melodies. 

Warner  Baxter  makes  the  girl's 
hearts  go  pit-a-pat  to  operatic  selec- 
tions. He  once  shone  in  musical 
comedy,  and  let  the  orchestra  burst 
forth  with  "Kiss  Me  Again,"  or  "Oh 
Promise  Me."  and  there's  no  holding 
Warner.  Cullen  Landis  says  he's 
afraid  his  emotions  are  jazzy,  for  it 
takes  such  classics  as  "Livery  Stable 
Blues,"  or  "Three  O'Clock  in  the 
Morning"  to  make  him  emote. 

Milton  Sills  takes  his  arts  sepa- 
rately. He  is  not  moved  by  music 
during  his  work  and  if  he  could  have 
his  way  there  would  be  none.  This 
may  be  the  result  of  his  discriminat- 
ing taste,  for  unless  the  music  exactly 
supplements  his  mental  balance  he 
finds  it  disturbing  rather  than  help- 
ful. Lewis  Stone  confesses  the  chief 
good  it  does  for  him  is  to  put  a  spark 
of  life  into  the  barnlike  skating-rink 

atmosphere  of  the  large  studios 

"We  respond  to  music  just  as  a  col- 
umn of  soldiers  quicken  their  steps  to 
the  cheer  of  the  drum  corp,"  he  said. 

Gloria  Swanson  loves  luring 
waltzes,    and    "Visions    of    Salome" 

(Eighty-six) 


thrill    hci  ;    Anita    Stewart    asks    for 
Kreisler's    "<  >ld    Refrain"    awl    the 
Meditation  from  "  Thais,"  and  the  im 
mortal  songs  of   Schumann, 
melodies  and   I  .iszt's  "I  .iebestraum," 
bn  athe  romance  t<>  I  .eati  •■ 

pl.n  ei    has  .1    favoi  ite     ea<  h 

Kinds   to   the   wave  of   tonal   lan- 

:<•   of   the   key  hoard       Bill    what- 

it  is,  it  must  always  build  with 

the  action  to  the  climax  and  wholl) 

i  ide  with  the  drama     there  must 

o  oh\  ions  break  in  the  emotional 

urge  of  the  actor. 

The  extent  to  which  music  has 
become  an  important  adjunct  to  the 
motion-picture  industry  is  shown  by 
the  elaborate  programs  that  accom- 
pany cur  photoplays  when  exhibited 
on  the  serein.  'There  must  be  music 
elp  carry  the  theme  of  the  st«  irj 
and  the  spirit  of  the  dramatic  efforts 
of  the  players  to  the  spectators.  'This 
has  lead  to  a  fascinating  new  art  of 
welding  together  illuminating  ex- 
ts  from  every  source  into  mag- 
nificent interpretative  scores 

But,  as  Kipling   says,  That  is  an- 
other story  ! 


Dixit 
i  (  ontinued  from  page  64) 

the  Bunch  sang  "Shine  (  >n.  < )  Sil- 
very Moon"  in  close  harmony.  And 
because  the  public  knows  Dix  and 
likes  him,  he  has  had  no  vacations 
between  pictures  in  the  three  years 
he  has  been  on  the  screen,  and  has 
just  signed  a  five-year  contract  with 
Lasky. 

In  one  respect  at  least  Richard  Dix 
is  the  most  remarkable  person  in 
Hollywood.  His  eyesight  is  ap- 
parently good,  he  is  twenty-eight 
years  old  and  yet.  in  this  town  of 
lovely,  lovable  and  often  beloved 
ladies  he  is  a  bachelor.  He  has  never 
been  married,  almost  married  or  un- 
married. 

The  plain  little  stenographer  with 
the  shell  spectacles  had  gazed  wist- 
fully after  him  when  we  passed  her 
table;  the  starched  waitress  behind 
the  counter  had  been  recklessly  lavish 
with  the  cream  in  his  coffee;  the 
famous  scenario  lady  in  the  imported 
gown  had  patted  his  shoulder  when 
she  went  by  :  but  still  he  has  managed 
to  remain  Hollywood's  only  bachelor. 

"How  do  you  t^et  away  with  it  ?" 
we  asked — for  interviewers  rush  in 
where  theatrical  angels  fear  to  tread. 

Dix  seemed  honestly  puzzled. 
"\\  hat  chance  does  a  movie  star  have 
to  get  acquainted  with  girls?"  he  de- 
manded pathetically.  "I  dont  sup- 
pose I  meet  half  a  dozen  people  a 
year  outside  the  studio.  You  cant 
get  away  from  your  screen  per- 
sonality in  this  game.  You're  always 
on  exhibition   and   that   makes   your 

(Eighty-seven) 


How  YOU  Can  Write 
Stories  and  Photoplays 

By  ELINOR  GLYN 

.\ik/iiii  (./  "Ilu.r  Wetki,"  "Beyond  tlu-  Rodu/* 

•'  I  he  (,i<ut  Moment,"  it.    .   /  (c. 


"CV)R  years  iho  mistaken  idea  pre- 
-1-vailed  thai  writ  ing  was  a  "gift  " 

miraculously  placed  in  the  hands  of 

the  chosen  lew.  People  said  you  had 

to  be  an  Emotional  Genius  with 

long  hair  and  strange  ways.  Many 
vowed  it  was  no  use  to  try  unless 
you'd  been  touched  by  the  Magic 
Wand  of  the  Miise.  They  discour- 
aged and  often  scoffed  at  attempts 
o\'  ambitious  people  to  express  them- 
selves. 

These  mistaken 
ideas  have  recently 
been  proved  to  be 
"bunk."  People 
know  better  now. 
The  entire  world  is 
now  learning  the 
TRUTH  about 
writing.  People 
everywhere  are  find- 
ing out  that  writers 
are  no  different  from 
the  rest  of  the  world. 
They  have  nothing 
"up  their  sleeve"; 
no  mysterious  magic 
to  make  them  suc- 
cessful. They  are 
plain,  ordinary  peo- 
ple. They  have  simply  learned  the 
principles  of  writing  and  have  in- 
telligently applied  them. 

Of  course,  we  still  believe  in  genius,  and 
not  everyone  can  be  a  Shakespeare  or  a 
Milton.  But  the  people  who  are  turning 
out  the  thousands  and  thousands  of  stories 
and  photoplays  of  to-  day  for  which  millions 
of  dollars  are  being  paid  ARE  NOT 
GENIUSES. 

You  can  accept  my  advice  because  mil- 
lions of  copies  of  my  stories  have  been  sold 
in  Europe  and  America.  My  book,  "Three 
Weeks,"  has  been  read  throughout  the 
ci vilized  world  and  translated  intoeveryfor- 
eignlanguage.exceptSpanish,  and  thousands 
of  copies  are  still  sold  every  year.  My  stories, 
novels,  and  articles  have  appeared  in  the 
foremost  European  and  American  maga- 
zines. For  Famous  Players-Lasky  Corpor- 
ation, greatest  motion  picture  producers  in 
the  world,  I  have  written  and  personally 
supervised  such  photoplays  as,  "The  Great 
Moment,"  starring  Gloria  Swanson,  and 
"Beyond  the  Rocks,"  starring  Miss  Swan- 
son  and  featuring  Rodolph  Valentino.  I 
have  received  thousands  and  thousands  of 
dollars  in  royalties.  I  do  not  say  this  to 
boast,  but  merely  to  prove  that  you  can  be 
successful  without  being  a  genius. 

Many  people  think  they  can't  write  be- 
cause they  lack  "imagination"  or  the 
ability  to  construct  out-of-the-ordinary 
plots.  Nothing  could  be  further  from  the 
truth.  The  really  successful  authors — those 

who  make  fortunes  with  their  pens — are  those  who 
write  in  a  simple  manner  about   plain,  ordinary 


Elinor 


ng*  with  whlrh  pvfry- 
line  is  (umiliur.  This  in  the  reul  Merit  of  success — 
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familial  with  $omc  kind  of  lid  . 

ry  heart  has  it*  story.     Kvery  life  haa  export- 
ing on.     There  are  junt  an  many 
of  human  interest  right  in  ynur  own  vicinity , 
fur  which  tome  eihtur  will  pay  v, 
as  tin  re  ure  in  Greenwich  Village  or  the  South  Sea 
And  editors  will  welcome  a  story  or  pholo- 

Iilay  from  you  ju.it  as  quickly  an  from  any  well- 
tnown  writer  if  ynur  story  is  good  enough.  They 
are  eager  and  anxious  for  the  work  of  new  v.  I 
with  all  their  blithe,  vivacious,  youthful  ideas. 
They  will  pay  you  well  for  your  ideas,  too.  Big 
money  is  paid  for  stories  and  scenarios  to-day — a 
good  deal  bigger  money  than  is  paid  in  salar  . 
The  man  who  clerked  in  a  store  last  year  is  making 
more  money  this  year  with  his 
M  n  t  han  he  would  have  made 
in  the  store  in  a  life-time.  The 
young  woman  who  earned 
eighteen  dollars  a  week  last 
summer  at  stenography  just 
sold  a  photoplay  Tor  $500.00. 
The  man  who  wrote  the  serial 
story  now  appearing  in  one  of 
America's  leading  magazines 
hadn't  thought  ofwriting  un- 
til about  three  years  ago — he 
did  not  even  know  that  he 
could.  Now  his  name  appears 
almost  every  month  in  the 
best  magazines.  You  don't 
know  whether  you  can  write  or 
notuntilyoutry. 

I  believe  there  are  thou- 
|  sands  of  people  who  can  write 
much  betterstories  and  plays 
than  many  we  now  read  in 
magazines  and  see  on  the 
screen.  I  believe  thousands  of 
people  can  make  money  in 
this  absorbing  profession  and 
at  the  same  time  greatly  im- 
prove present-day  fiction  with 
their  fresh,  true-to-life  ideas. 
I  believe  the  motion  picture 
business  especially  needs  new 
writers  with  new  angles.  I 
Glyn  believe    this   so    firmly   that 

I  have  decided  to  give  some 
simple  instructions  which  may  be  the  means  of 
bringing  success  to  many  who  have  not  as  yet  put 
pen  to  paper.  I  am  going  to  show  YOU  how  easy 
it  is  when  you  know  how! 

Just  fill  out  the  coupon  below.  Mail  it  to  my 
publishers.  The  Authors'  Press,  Auburn,  N.  Y. 
They  will  send  you,  ABSOLUTELY  FREE,  a 
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want  to  improve  their  condition,  who  want  to  make 
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many  surprises  for  doubting  beginners;  it  is  crowded 
with  things  that  gratify  your  expectations — good 
news  that  is  dear  to  the  heart  of  all  those  aspiring 
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things  you've  long  wanted  to  know. 

"The  Short-Cut  to  Successful  Writing"  tells  how 
many  suddenly  realize  they  can  write  after  years  of 
doubt  and  indecision.  How  story  and  play  writers 
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simple  plots  and  ordinary  incidents  become  success- 
ful stories  and  plays  when  correctly  handled.  How 
new  writers  get  their  names  into  print.  How  one's 
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This  book  and  all  its  secrets  are  YOURS.  You 
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•t  send  a  penny.  You  need  not  feel  obligated. 
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Oct  your  pencil — fill  out  the  coupon  below.  Mail 
it  to  The  Authors'  Press  before  you  sleep  to-night. 
This  little  act  may  be  the  turning  point  of  your 
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Tun  Authors'  Press.  Dcpt.  88,  Auburn,  X.  Y. 
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ting."  This  iloes  n"t  obligate  me 
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in  pencil.) 

Name 

Address 

City  and   State 


New  Life  to  Hair 
from  Tropical  Tree 


ft 


AM  writing  thisfrom  my 
/  uncle's  plantation  in  the 

West  Indies,  where  I 
came  recently  to  live.  The 
lirst  thing  I  noticed  was 
that  all  women  on  this 
island  have  the  most  beau- 
tiful hair  —  thick,  abundant, 
and  shining  with  life  and 
health.  Today,  my  once 
scraggly  locks  are  long,  and 
I,  too,  have  loads  of  hair. 
No  doubt  many  would 
welcome  this  secret  of  the 
tropics  that  makes  hair  so  JUANITA  ReQuA 
long  and   luxuriant.     It   is 

the  use  of  Kakoa  seed,  that  Nature  must  have  just 
meant  for  people's  heads.  Just  a  tiny  bit  of  this 
pure,  white  paste  nourishes  hair  marvelously— for 
all  types.  Young  and  old.  darkest  natives  and 
fairest  blonds  from  England,  enrich  hair  roots  and 
pigments  with  Kakoa  and  soon  have  a  wealth  of 
soft,  glossy  hair.  ourists  know  the  secret,  and 
many  send  for  Kakoa  every  year;  it  seems  as  if 
every  boat  brings  more  requests  for  this  wonderful 
natural  stimulant.  But  now  mv  uncle  has  permitted 
preparing  and  packing  enough  Kakoa  for  all  who 
may  write  and  ask  for  supply. 

Ask  for  Proof;  I'll  Send  It  FREE 

It  will  cost  you  noihingto  learn  how  this  natural 
aid  to  hair  growth  works,  and  will  work  on  your  hair. 
I  don't  want  a  penny  unless  it  does.  All  I  ask  now 
is  your  name  and  address;  send  it  now,  on  the 
coupon  printed  here.  Before  long  you  can  possess 
a  head  of  hair  which  anyone  might  envy  1 

REQUA&Cia.  ,,„. 

S!2U  S.  State  Street,  Chicago,  U.  S.  A.  ( b  " ' 

Please  send  postpaid,  without  cost  or  obligation,  data 
covering  the  complete  Kakoa  treatment  which  is  guaran- 
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brilliance. 


For. 
At.. 


1  Ho  w  to  Cultivate 

A  "Rose  Leaf" 

Complexion 

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50c.  u.  s.  a.         skin  food  in  one 
its  use  is  a  daily  refreshment. 
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ing oily  and  dry  conditions  alike. 
Use  it  like  soap.  Ask  your  dealer. 
DR.  PALMER'S" 

ALMOMEAL 

COMPOUND 

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asyWay 

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contacts  with  people  unnatural.  They 
look  at  you  as  a  curiosity  instead  of 
a  regular  human  being.  There's  one 
place  tho,  where  I  can  go  and 
not  be  Richard  Dix,  the  film  actor, 
and  that's  Minneapolis  where  I  was 
brought  up!"  he  chuckled  reminis- 
cently,  "nobody  is  a  celebrity  in  his 
home  town.  Too  many  old  ladies  to 
remember  about  the  times  he  swiped 
apples  off  the  fruit-stand  by  the  fire- 
house  and  other  youthful  sins!  I 
played  in  stock  three  years  in 
Minneapolis  but  all  the  time  I  was 
simply  'that  Dix  boy.'  That's  why 
youngsters  leave  home  I  expect — to 
find  people  who  will  take  them  as 
seriously  as  they  take  themselves. 
Anyhow  that  was  the  way  with  me." 

Acting,  it  seems,  didn't  run  in  the 
Dix  family.  His  father,  in  particular, 
regarded  Richard's  stage  symptoms 
when  they  began  to  develop  in  high 
school  as  one  might  stuttering  or 
kleptomania  or  any  other  misfortune 
that  afflicts  the  best  of  families. 
Pish  !  The  boy  was  to  be  a  doctor — 
let's  hear  no  more  of  this  play-acting 
nonsense ! 

But  a  surgeon  who  faints  at  the 
sight  of  blood  is  as  badly  off  as  a 
burglar  with  hay  fever.  The  Uni- 
versity of  Minnesota  came  next — 
till  Richard  found  that  studying  in- 
terfered with  his  regular  college 
work  which  was  the  dramatic  club. 
And  so  at  last  came  the  local  stock, 
then  leading  man  with  the  Morosco 
Company  in  Los  Angeles  and  then 
the  screen. 

It  seemed,  we  suggested,  almost  a 
pity  to  be  a  success  at  twenty-eight. 
What  more  was  there  to  look  ahead 
to?  Where,  in  other  words,  did  he 
go  from  here? 

Dix's  face  took  on  the  grim  lines 
it  wears  when  he  is  doing  a  he-man 
role  on  the  screen.  They  make  him 
look  ten  years  older.  "Some  day  I 
want  to  be  at  the  other  end  of  the 
megaphone."  There  were  no  fist- 
clenching  heroics  about  the  way  Tie 
said  it,  but  you  caught  his  earnest- 
ness. "You're  darn  right !  The  way 
things  are  done  on  the  screen  there's 
not  much  chance  to  develop,  but  the 
director  can  do  anything.  I  want  to 
try  the  new  technique,  the  'Woman 
of  Paris'  sort  of  thing.  There's  a 
great  play  for  you !  Screen  people 
who  act  like  human  beings.    .    .    ." 

Human — that  is  a  word  Dix  uses 
often,  a  word  that  expresses  his  own 
personality  as  no  other.  He  has  al- 
ways been  cast  in  "good"  roles.  In 
"The  Ten  Commandments,"  his  most 
important  picture,  he  is  the  one  of 
the  two  brothers  who  keeps  'em,  not 
the  one  who  breaks  'em.  But  in  spite 
of  the  handicap  of  some  impossibly 
virtuous  parts  he  manages  to  make 
real  characters  out  of  them. 


"KILRUTE"  Hair  Destroyer 

is  demanded  by  men  and  women  from  coast  to 
coatt  because  it  is  effective,  easy  to  apply  and 
guaranteed  absolutely  harmless  leaving  the  skin 
positively  lovely.  "KILRCTE''  is  a  combination 
treatment — never  before  anything  like  it.  Accept 
no  substitute — insist  on  "KILRUTE"  the  genu- 
ine, the  hair  destroyer.  Results  guaranteed  or 
money  refunded.  For  sale  at  all  good  stores  or 
direct  from  us.  Write  for  free  booklet. 
Kilrute  Company,   Dept.  B.,  247  W.  72nd  St.,  N.  Y.  C. 


Youth-Ami  Skin  Peel 

A  New  Scientific  Discovery 

i  which  painlessly  and.  harmlessly  replaces  the 
old  skin  with  a  new  and  removes  all  Surface 
Blemishes,  Pimples,  Blackheads,  Discolora- 
tions,  Sunburns,  Eczema,  Acne,  Birthmarks, etc.  A  non-acid, 
invisible  liquid.  Produces  a  healthy  new  skin,  beautiful  as  a 
baby's.  Results  astounding.  Booklet  "The  Magic  of  a  New 
Skill"  free  in  plain  scaled  envelope. 
Youth-Ami  Laboratories,  Dept-KB ,  30  E.  20th  St.,  New  York 


NEW  LIQUID  MAKE- 
UP FOR  THE  EYES 


Gives  Instant  Beauty  to 
Lashes  and  Erows 


At  last  Science  has  perfected  a  liquid  make-up 
for  the  eyes  that  is  really  water-proof.  Tears, 
bathing,   perspiration  cannot  affect   it. 

It  goes  on  evenly  for  it  is  applied  with  a  glass 
rod  that  comes  with  each  package  and  dries  in- 
stantly. It  contains  a  natural  oil  which  stimu- 
lates growth,  so  that  the  lashes  won't  break  off 
or  become  brittle.  Easy  to  use,  instantly 
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Makes  lashes  look  luxuriant,  brows  well  arched 
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Clip  this  announcement,  enclose  10c  to  cover 
cost  of  packing  and  shipping  and  send  it  at  once 
to  Lashbrow  Laboratories,  Dept.  232,  37  West 
20th  Street,   New  York   City. 


Develops  Bust  Like  Magic! 

During  the  past  16  years  thousands  have 
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GROWDINA 

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Great  Discovery  of  Parisian  beauty  ex- 
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accomplished  quickly.      Marvelous  testi- 
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us 


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PERT  is  a  iougc  which  stays  on  I  It 
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Pcit  is  a  waterproof  rouge.  or«nue-e»>l»>rcd  in  the 
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Novelty  Instruments 

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^Crated  catalog  describing  complete  line. 

MUSSEHL  &.  WESTPHAL  MP 

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„,J  DETROIT  SHOW  CARD  STUDIOS 
r  ll  215  Oinan  Building.  Detroit,  Mich. 

V  I>'.ir  sn*    Without  further  obligation 
„    ,  please  send  me  your  l'UKi:  III!. 

Book  Btrtntt  full  particulars  hmr  I  cnn  maki    S1.1 
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J  1&8IXG        I         your   IJfAKAXTKK    to    leach    me   how. 

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no  matter  where  1  lire. 

Name 

I  Print  Name  and  Ad'drruY 

Street 

dUr stale 


arvo 


ilatntnghowtheFAMOtTSMARVO 
LJCjUIDSKINPl  I  I  PR]  PARATION 

rpmnvp-  .ill  surface  blemishes,  I 

en.  riniplps.Rlarkhrails.Ki'rrnia.diseoloratinn'. 
ate.  Wonderful  results  proven   GVARANTEl  l> 
-V    absolutely    Painleaa    and    Harmless        Produces 
^r"    healthy  new  skin  »s  Nature  intended  you  to  have 
/.         »/''»  N'OW- -before   you  turn    this  pase-tor  full 
land  free  "MARVo  BEAUTY  BOOK1 
'-larVOSeaUty  l-aboratories.lnc..  1658  B'way.  Dept.  144.N.Y, 


Ihf   Hollywood    Boulevardiei 

(  kits 

(I  onlimted  from  page  ■ 

I  [olubar,  the  direi  i I  "I  [ell  Moi 

gan's  (  hi  I."  "  I  li  .11  is  of  I  lumanit)  ." 
"  I  he  Righl  ii»  I  lappiness,"  " Broken 
t  hains,"  "I  l ui  t  i<  ane's  •  ial,"  "Men, 
Women  and  Mai  t  iage,"  "Slandei  the 
Woman,"  and  many  othei  greal  suc- 
cesses, llf  was  in  Tennessee  on 
location  shooting  some  scenes  of  a 
new  picture  (•»  be  made  from  the 
"Bishop  of  •  ottontown"  when  he 
was  taken  ill.  He  came  back  to 
California  where  a  major  operation 
was  performed,  lit-  <li<l  nol  recover 
from  the  operation.  Mis  wife  was 
Dorothy  Phillips  and  their  marriage 
was  one  of  the  happiesl  in  the  whole 
film  colony.  They  have  one  little 
daughter,  eighl  years  old,  Mr.  Holu- 
bar  was  a  San  Francisco  boy,  born 
in  1890.  He  had  been  a  stage  actor 
before  coming  to  pictures. 

*  *         * 

Two  well-known  figures  have  quit 
pictures.  Orville  Caldwell  has  gone 
hack  to  New  York  to  play  opposite 
Lady  Diana  Manners  in  "The  Mir- 
acle," and  Guy  Bates  Tost  has 
abandoned  the  screen  in  disgust  and 
has  returned  to  the  stage.  Mr.  Post 
came  to  the  screen  after  a  notable 
stage  career:  hut  had  had  luck  with 
his  pictures,  among  which  were 
"Omaf,  the  Tent  Maker"  and  "The 
Masqucrader. " 

*  *  * 

A  lawsuit  that  has  been  going  on 
for  over  a  year  between  George 
Walsh  and  Tom  Mix  has  been  settled 
at  last.  Walsh  left  a  favorite  horse 
named  "Joe"  with  Mix  when  he  went 
East  about  two  years  ago.  When 
he  came  back,  the  sad  news  was 
broken  to  him  that  Joe  had  passed 
to  horse  heaven.  What  was  his 
amazement  one  day  to  sir  Mix  riding 
blithely  by  on  a  nag  that  seemed  to 
him  to  be  his  beloved  steed.  High 
and  heavy  words  led  to  lawsuits  and 
then  to  more  lawsuits.  It  was  finally 
demonstrated  to  the  satisfaction  of 
the  court  and  even  to  the  reluctant 
if  mourning  Mr.  Walsh  that  his  horse 
had  been  killed  over  a  year  ago  in  a 
fall  over  a  cliff  at  Big  Bear  Lake. 
The  horse  Mix  was  riding  was  an- 
other one  of  similar  appearance.  And 
so  the  world  goes  on  once  more, 
breathing  more  easily. 


Mrs.  Harold  Lloyd,  who  was 
Mildred  Davis,  was  cleaning  house 
the  other  day,  the  way  brides  will. 
She  came  across  a  dusty  overcoat  in 
the  pockets  of  which  she  found  her 
marriage  license,  a  pair  of  her  gloves, 
a  crumpled-up  pink  rose  and  a  roll 


m  as 


as  Jim!' 


I  hey  m.i'le  him  msnager  to-day,  at  a 
fine  increase  in  lalaiy.  rle*i  the  fourth  man 
in  the  office  to  lie  promoted  in  the  last  few 
months.  And  ;ill  were  picket!  for  the  same 
reason — they  bad  studied  in  spare  time  with 
the  International  Correspondence  Schools 
and  learned  to  do  some  one  thing  better 
than  the  rest  of  us. 

"I've  thought  it  all  out,  Grace.  I'm  as 
K<>'»l  a  man  as  any  of  them.  All  I  need  is 
special  training — and  I'm  going  to  get  it. 
If  the  I.  C.  S.  can  raise  other  men's  salaries 
it  can  raise  mine.  See  this  coupon?  It 
means  my  start  toward  a  better  job  and  I'm 
going  to  mail  it  to  Scranton  to-night!" 

Thousands  of  men  now   know   the  joy  of  happy, 
rona  homes  because  they  let  the  I.  C.  S.  pre- 
pare them  in  spare  hours  for  bigger  work  and  better 
pay. 

Why  don't  you  study  some  one  thing  and  get  ready 
for  a  real  job,  at  a  salary  that  will  give  ynur  wile  and 
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Dlluslness  Management 

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D  Personnel  Organization 

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f]  Business  English 
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223  CHEMICAL  BLDG.       KANSAS  CITY,  MO. 


fj 


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The  Reduction  Is  Permanent! 

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WJ' 


of  bills  with  a  rubber  band  around 
them.  With  many  a  sigh  and  a 
housewifely  cluck,  she  sorted  every- 
thing out  and  sent  the  coat  to  the 
cleaners.  When  Harold  came  home, 
there  was  dismay  and  a  bleeding 
heart.  It  seems  that  he  had  worn 
the  overcoat  to  his  wedding  and  had 
reverently  put  it  away  with  all  these 
souvenirs  abroad.  He  had  intended 
to  take  it  out  some  day  and  show  his 
great-grandchildren  the  wedding  li- 
cense, the  little  rumpled  gloves,  the 
pink  rose  and  even  the  bank-notes. 
Whereupon  there  was  a  wild  ride  by 
a  bride  to  the  cleaners.  The  coat 
was  recovered  in  time  with  its  wed- 
ding dust  still  on,  rice  and  every- 
thing; and  the  things  were  hastily 
and  ruefully  shoved  back  into  the 
pockets  and  the  romance  was  saved. 


Iris  In 

(Continued  from  page  54) 

Chaplin  has  produced  a  picture  that 
merits  all  the  adjectives  ever  brought 
out  on  parade  by  a  movie  press-agent. 
It  is  remarkable  in  restraint,  in  mo- 
tivity,  in  the  excellence  of  the  titling 
and  in  the  perfection  of  detail. 
Adolphe  Menjou,  one  of  the  screen's 
few  actors,  has  been  playing  second- 
ary role  too  long  to  stars  whose 
effulgence  he  patently  outshone.  It 
is  good  to  see  Menjou  obtain  recogni- 
tion at  last.  It  is  better  yet  for  it  to 
happen  in  so  notable  a  picture  as  "A 
Woman  of  Paris." 

We  are  sending  no  flowers  to  Mr. 
Chaplin  on  the  story.  Our  orchids 
are  all  for  the  directing.  If  it  is  to 
carp  at  all,  we  regret  the  scene  of  the 
anguished  lover  falling  into  the  foun- 
tain. It  reminded  us  strongly  of  a 
similar  bygone  fountain  into  which 
Mr.  Chaplin  himself  fell.  Charlie, 
however,  rose  triumphantly  to  brush 
his  gleaming  teeth  with  the  dank  stalk 
of  a  rhubarb-like  water  plant  growing 
convenientlv  from  the  center. 


Still  speaking  of  restraint,  Edward 
Horton,  in  "To  the  Ladies,"  justifies 
all  he  inspired  in  "Ruggles  of  Red 
Gap."  He  is  establishing  himself  as 
a  refreshing  contrast  to  a  roster  of 
stuffed  shirts.  We  await  the  third  evi- 
dence of  his  ability  with  trepidation. 


Babby  Peggy,  a  recent  visitor  to 
New  York  City,  did  what  was  ex- 
pected of  her  nobly. 

"Your  skyline  is  remarkable,"  she 
said,  "and  your  women  (kissing 
two  dainty  fingers)  are  positively 
beautiful." 

IRIS  OUT 


(Ninety) 


A  Thrill  Every  Minute! 

That's  just  about  the  average  in  the  March  instalment  of  Thistledown, 
ami  it  you  never  understood  the  psychology  of  Flapperdom,  you  will 
when  you've  read  it  a  psychology  in  striking  contrasl  to  thai  ol  Hi 
Daggett's  impossible  sister  Julia. 


It  was  liis  look,  even 
more  than  his  words, 
that  gave  the  girl,  just 
then,  the  deepesl  thrill 
th.it  Hi  Daggett  had  e>  et 
given  her. 

And  her  eyes  were  so 
bright  and  candid  and 
sweet  .1-  to  cover  her 
secret  shame,  as  she  said  : 
"You  want  so  much  to 
help  me?  Oh,  you're 
good  I" 


BUT  good  heavens.  Dolly  has  gone — van- 
ished— a  note  pinned  to  a  cushion  tells 
him  so.  In  a  flash  he  is  out  of  the  house,  into 
his  devil  car  and  stepping  on  the  gas.  He  is 
off  in  a  cloud  of  dust,  to  the  ends  of  the  earth, 
if  need  be,  to  find  her — will  he? 

You    will    be    lei    in    on 

this     thrilling     event, 
and  several   more  in   the 

March   Instalment   of 


a 


Thistledown" 


By  Dana  Gatlin 

in  the 


t  is  the  best  storj   of 
he  year. 

t  entertains. 

t  vibrates. 

t  compels. 

t  thrills. 

t  will   set  you   think- 
ing. 


March   Motion  Picture   Magazine 

On  Any  News-stand  February  First 


(Ninety-one) 


She  Found  A  Pleasant  Way  To 
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postpaid. 

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TheWorld's  Most  Famous  Nose 

(Continued  from  page  48) 

side-line  to  establishing  a  repertory 
of  Shakespearean  and  modern 
dramas  in  the  National  Theater.  And 
he  revives  it  so  well  that  it  proves  to 
be  One  of  those  entertainments  which 
Proadwayites  quaintly  call  "Wows." 
Audiences  cheer  after  the  fourth  act, 
and  the  house  manager  has  to  sign 
a  box-office  statement  for  seventeen 
or  eighteen  thousand  dollars  each 
week. 

This  is,  by  the  way,  a  poetic 
drama,  and  the  star  fails  to  marry 
the  leading  lady. 

Now  why  the  success? 

Whenever  "Cyrano"  has  been  suc- 
cessfully produced,  the  credit  has 
been  divided  between  the  playwright 
and  the  actor.  It  is  so  in  the  pres- 
ent case. 

In  spite  of  a  certain  Chicago 
scribbler,  Rostand  did  an  original 
and  striking  piece  of  work  when  he 
wrote  "Cyrano."  The  Chicago  gen- 
tleman, whose  name  I  forgot  but  who 
might  have  been  a  butcher,  wrote  a 
play  called  "The  Merchant  Prince  of 
Cornville,"  and  he  succeeded  in  get- 
ting a  United  States  court  to  declare 
that,  because  he  had  written  a  play, 
"The  Merchant  Prince  of  Cornville," 
he  and  not  Rostand  was  the  author 
of  "Cyrano  de  Bergerac."  The  mat- 
ter being  properly  adjusted,  we  of 
a  new  generation  discover  that  the 
Frenchman  made  an  exciting,  grace- 
ful, and  truly  heroic  drama  out  of  an 
eccentric  duelist,  playwright,  and 
philosopher  who  lived  in  Paris  three 
centuries  ago. 

Rostand  used  a  remarkable  num- 
ber of  facts  out  of  this  Cyrano's  life 
without  in  the  least  preventing  his 
play  from  being  utterly  incredible 
and  tearfully  convincing.  We  accept 
with  cheerful  alacrity  the  yarn  that 
the  hideous  Cyrano  succeeded  in 
making  love  to  a  woman  who,  stand- 
ing in  a  balcony  above  him,  imagined 
his  voice  was  the  voice  of  her  hand- 
some but  nitwit  sweetheart.  The 
fact  that  Cyrano  loved  the  woman 
more  than  did  the  nitwit,  and  that 
the  woman  really  loved  the  soul  in 
his  words — this  pathetic  fact  makes 
us  swallow  the  most  outrageous  im- 
possibility in  all  modern  drama.  It 
is  also  the  secret  of  why  this  is  a 
most  satisfying  tragedy.  Not  the 
whole  secret,  of  course,  for  Rostand 
writes  with  dramatic  fervor  and 
poetic  beauty. 

The  rest  of  the  credit  is  Hamp- 
den's, but  it  must  not  all  go  to  the 
actor.  Some  is  reserved  for  the 
part  of  Hampden  which  is  director 
and  manager.  Hampden  turned 
aside  from  the  five  dull  translations 
that  ornament  my  shelves,  and  hired 


French  Woman 
Tells  How  to 

Get  Thin 

Without  Drugs,  Diets, 
Absurd  Creams,  Exer- 
cises or  Appliances 

I  reduced   my   own   weight 
50   pounds    in    less   than    9 
weeks  uid  at  the  same  time 
marvelously     improved    my 
general  health  and  appear- 
ance- 
Today    I    look.    act. 
and  feel  far  younger 
than  my  real  age. 

From  the  results  in 
my  own  case  and 
I  my  friends, 
I  am  absolutely  con- 
vinced that  any  man 
or  woman  burdened 
witli  Kills  of  ugly, 
injurious,  unwhole- 
some fat  cau  take  it 
off  easily,  quickly 
and  surely  by  the 
same  simple  way 
which  did  so  much 
for  me. 

The    secret    is    one    I 
learned  in  Palis,    where 
women     of     every     age 
pride  themselves  on  keep- 
ing  their    figures   slender 
and  graceful,   and  where 
the    men    detest    a   heavy 
waistline  or  double  chin. 
With      tlii-.      simple     new 
way,  which  will  only  cost 
you  d   tew  cents  a  day  to  fol- 
low,   you    can    in    your    own 
home     reduce     all    parts    of 
your  body  or  you  can  simply 
get  rid   of   excess  flesh   from 
the  places  where  it  shows. 

No  matter  how  fat  you  are, 
or  what  you  have  done  lu  the 
past  to  reduce.  I  want  you 
to  send  me  the  Free  Coupon 
below,  and  I  will  explain  to 
you  personally,  confidentially, 
what  I   did   to  reduce. 

MADAME    ELAINE.    Dept.   69. 

1819    Broadway,    New   York  City. 

Kindly  explain  to  me  confidentially  and  abso- 
lutely FREE  OF  CHARGE  what  you  did  to  reduce. 
(Print  your  name  and  address) 


Name. 


eclose   5   cents   in  stamps   to   help 


If  you    care   to, 
cover  expense. 


GROW    TALLER! 

INCREASE    YOUR   HEIGHT 

Develop  your  Physical  Beauty. 
Natural,  simple  method.  Will 
increase  your  height  and  improve 
your  appearance.  Write  for  Free 
Booklet.     Dept.   D. 

THE  NATURAL  METHOD  BUREAU,  Atlantic  Cily.  N.J. 


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(Ninety-two) 


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are  to  the  eyes.    Invisible. 
comfortable,   weightless    and 
harmless.    Anyonecanad- 
1  just  it.    Over  one  hundred 
thousand  sold.     Write  for  booklet  and  testimonials. 
THE  MORLEY  CO.,  Dept.  792,  10  S.  18th  Street,  Phila- 

AGENTS:  $60  a  Week 

taking  orders  for  JlfTykake,  a  prepared 
cake  flour  containing  eccs,  milk,  supar, 
shortening,  baking  powder  and  flavoring 
—add  water— and  bake.  Anyonecan  easily 
and  quickly  make  a  delicious  cake.  Every 
home  a  prospect.    House- 
wives eacer  to  buy — Just 
the  article  they  have  been 
looking  for.    Kepeat  orders 
every  week  bring  you  proflt 
and  a  big,  permanent  business. 
This  Is  Just  one  of  the  350  famous 

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want  good,  energetic  men  and  women  to  represent  us. 
>Vrlte  for  money-making  proposition. 
AFRICAN  PRODUCTS  CO..      104  Americu  Bids.,  CiodaMtJ,  0. 


Brian   I  f<  >oker  to  make  a  m 

Muii.     It  in  an  exccptionall)   fine  job 

ilut'iit    and    beautiful    and    alw 
dramatic.     N>  ou  wi  ul« I  hardly  know 
i1  was  blank  verse !    (  >n  t<  tp  of  that, 
I  [ampden  lias  bn  >ii^lit  to  ome 

tv  and  lights  bj  i llaude 
P.ragdon  and  Munroe  I '  \  eai .  and  he 
ha>  drilled  a  rather  ordinary  V  ■ 
actors  o  skilfully  that  they  play  the 
piece  like  a  whirlw  ind.  The  di 
tion  is  the  besl  thai  any  romantic 
drama  has  had  in  years.  It  culmi- 
nates the  only  effective  stage  battle 
thai  I  have  ever  seen, 

Hampden's  own  work  as  actor  is 
nol  absolutely  impeccable;  at  two  or 
three  points  he  loses  his  i*  t- i j »  a  little. 
But  nine-tenths  of  the  part  is  superb- 
ly acted.  No  star  in  America  ha 
inor.-  flexible  voice,  and  Hampden 
makes  the  mosl  of  it.  I  lis  comedy  is 
rich  and  he  runs  off  into  bravado  and 
sorrow  with  almosl  equal  ease.  I 
have  seen  no  other  Cyrano,  but  I 
cant  say  that  I  regret  it  so  very 
keenly  when  I  am  looking  at 
I  [ampden's. 

And  yet — what  about  Man-field? 
It  is  my  keenest  regret  in  the  theater 
that  when  he  was  playing  his  last  sea- 
sons On  this  earth  my  dramatic  taste 
ran  to  "Babes  in  Toyland,"  "Mrs. 
Leffingwell's  Boots,"  and  "The  Heir 
to  the  Hoorah."  Particularly,  as  in 
the  past  half  year  Broadway  has 
taken  quite  a  passion  for  reviving 
S<  'Hie  of  Mansfield's  notable  vehicles — 
"Peer  Cvnt."  "The  Devil's  Disciple," 
and  now  "Cyrano  de  Bergerac."  The 
success  that  has  met  these  plays  may 
be  a  testimony  to  the  playwrights  or 
their  newest  interpreters.  But  it 
stems  to  me  that  it  may  have  an  in- 
teresting bearing  on  a  change  in  pub- 
lic taste.  Mansfield  was  never  an 
enthusiast  for  realistic  drama.  He 
acted  practically  none  of  it.  The 
poetic,  the  romantic,  the  demoniac. 
the  heroic — all  these  types  interested 
him,  and  these  only.  It  is  a  hearten- 
ing thing  to  see  them  interesting  the 
American  public  once  more. 


DEFIANCE 
By  Joy  O'Haba 

Oh,  pitying  judges,  your  pity  is  wasted 
©n   a   dreamer,   whose   dream   rose  .  .  . 

and   reigned  .  .  .  and   set 
Like   the   morning  sun.     True,  the   Cup   I 

tasted 

Tasted,  drank  deep,   and  have  no   regret 

Love,  bittersweet,  to  my  heart   I  clasped, 
Knowing     full     well     what     the    dream 

would  o 
And    it   still    outweighs    (tho'   the    rapture 

has    passed) 
The  world's  esteem  I  so  willingly  lost. 

Our  day  was  brief,  but  we  lived  it  madly, 
I    cherished    no    hopes — so    none    were 

blasted 

The  price  was  high,  but  I  paid  it  gladly, 

For  the  Dream  was  sweet — while  it  lasted. 


ONLY 


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this  splendid  Underwood  upon  receipt  of  only 
$3.00.  This  is  by  far  the  most  liberal  typewriter  offer 
that  has  ever  been  made  on  so  perfect  a  machine. 
Nearly  two  million  Underwoods  have  been  made 
and  sold,  proving*  conclusively  that  it  is  superior  to 
all  others  in  appearance,  mechanical  perfection  and 
all-round  excellence. 

Ten  Days*  Free  Trial 

We  want  you  to  see  for  yourself  that  this  is  the  type- 
writer you  oufrht  to  have,  and,  therefore,  we  make  our 
great  free  trial  offer.  You  merely  send  us  the  three 
dollars  deposit  and  we  ship  the  machine  for  you  to  try 
for  ten  full  days  before  you  decide  to  keep  it.  If  not 
satisfied,  every  penny  of  your  money  will  be  returned 


to  you. 


Rebuilt  Like  New 


right  t 

it  just  like  a  new  typewriter,  with  new  enamel,  new  nicket.  new 
plntcn.  new  key  rings,  new  tvpe;  a  complete,  perfect  typewriter. 
with  two-color  ribbon,  back  spacer.  stencil  device,  automatic 
ribbon  reverse,  tabulator,  key  shift  lock.  etc.  Impossible  to 
tell  it  from  a  brand  new  Underwood,  either  in  appearance, 
durability  or  quality  of  work. 

Easy  Monthly  Payments 

Our  easy  monthly  payment-plan  makes  It  possible  for  YOU  to 
own  this  splendid  rmehine.  without  having  »o  pay  out  any  bur  sum 
of  money.  You  will  hardly  know  you  are  paying  for  it.  REMEM- 
BER, you  have  the  full  u*e  of  the  machine,  just  tks  sams  as 
though  it  was  fully  paid  for. 

Over  325,000  Sold 

Over  326,000  people*  have  purchased  and  been  satisfied  with  our 
product.  What  better  proof  could  anyone  ask  of  the  perfection 
of  our  typewriters  and  tho  integrity  of  this  firm? 

Your  Money  Back 

Yea.  yon  can  have  your  money  back  if  you  want  It.  After  yoo 
have  examined  tho  typewriter  carefully,  used  it  towrite  letters. 
If  you  decide  for  any  reason  whatever  that  you  do  not  care  for 
It.  you  may  return  it  to  us  at  our  expense  and  every  penny  you 
have  paid  will  he  cheerfully  and  promptly  refunded. 

No  Obligation  on  Your  Part 

When  you  send  in  the  coupon  for  either  further  information 
•bout  our  great  typewriter  orTer  or  for  the  typewriter  itself  on 
our  free  trial  plan,  you  are  under  no  obligation  whatever  until 
after  you  have  tried  it  and  have  decided  for  yourself  that  you 
want  to  keep  it. 

Write  Now  for  Our  Big 
Typewriter  Book 

tellinif  all  nbout  our  great  big  typewriter  factory.  In  this  book 
we  illustrate  and  d—cilba  all  of  the  various  processes  of  re- 
enameling,  renickeling  and  assembling  this  splendis  Under- 
wood. It  tells  in  an  interesting  way  how  each  part  in  examined 
and  tested  carefully  and  thnr-^uirhly  to  insure  the  finished  ma- 
chine being  one  you  will  be  proud  to  own. 

Write  Right  Today 
Use  Coupon  Below 


SHIPMAN-WARD  MFG.  CO. 

2032Shipman  Bldg.,  Chicago 
Send  me  your  big  bargain  catalog  and  I 
complete  details  of  your  surprising] 
offer,  without  obligation  on  my  part. 

NAME 

STREET  

CITY STATE 


(Ninety-three) 


Mildred  Davie,  Photoplay  Beauty,  recommend*  Maybelline 

You,  Too,  May  Instantly 
Beautify  Your  Eyes  With 

Just  a  wee  touch  of  "MAYBELLINE"  will  make  light, 
short,  thin  eyelashes  and  brows  appear 
naturally  dark,  loner  and  luxu- 
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and  soulful  expression  to  any  eyes. 
Unlike  other  preparations,  abso- 
lutely harmless  ana  ffreaselcss,  will 
not  spread  and  smear  on  the  face. 
The  Instant  beautifying  effect  will 
delight    you.     Used    by    beautiful 

5 iris  and  women  everywhere.  Each 
alnty  box  contains  mirror  and 
brush.  Two  shades:  Brown  for 
Blonaet,  Black  for  Brunettes:  75o 
ATYOUR  DEALER'S  or  direct  from  us. 
Accept  onlygennine"MAYBELi.lNE" 
and  your  satisfaction  is  assured. 
Tear  out  this  ad  now  as  a  reminder. 

MaybeUiae  Co.,  4750-  56  Sheridan  Road,  Chicago 


Meyer  Both  Company,  the  largest 
Commercial  Art  Organization  in  the 
World,  offers  you  an  unusual  opportunity  for 
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Study  this  practical  course — taught  by  the  nationally 
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over  15,000  commercial  drawings. 

Our  teachers  give  you  the  double  advantage  of  being  in- 
structors of  proven  ability,  as  well  as  artists  in  this  widely 
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Commercial  Art  is  a  highly  paid,  intensely  interesting 
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.,  study  instruction. 

Gel  Facts  Before  You  Enroll  in  any  School. 

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newspapers  In  your  city,  anywhere  in 

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I  or  Australia   about  the  Meyer  Both 

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Write  for  ourl  llustrated  book  "YOUH 

OPPORTUN  IT  V  '—for  one-half  the  cost , 

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MEYER  BOTH  COMPANY 

Department  of  Art  Instruction 

Michigan  Are.  at  20th  St., Dept. 55,CHICAG0,I 

NOTE — To  Art  and  Engraving 
Firms:  Secure  practical  artists 
.  among  our  graduates.  Write  us. 


lbook'"YOUa 
e-half  the  cost 

PANY  A 

ction      ^M 

:aco,ill^B 


23  tlAKS  THE  STANDARD  T/fAIM/tO 
SCHOOL  fOf>  THCATRE  AFITS 

ALVIENE  SCHO  OI/ 
DRAMATIC  ARTS 

FOUR  SCHOOLS  IN  ONE.  PRACTICAL  STAGE 
TRAIMINC  THE  SCHOOL'S  STUDENT'S  STOCK  •* 
THEATRE  AfFORD  PUBLIC  STAGE  APPEARANCES" 

Write  for  ntali?  mentioning  study  desired  to  Secretary 

ALVIENE  SCHOOLS.  Suits  17 

43  West  72nd  Street 

Bet.B'wayiCentral  P»rk  West,  New  York 


MAKE  MONEY 
AT  HOME 


VfOU  CAN  earn  $1  to  $2  an  hour  writing  show  cards 
*  at  home  in  your  spare  time.  Quickly  and  easily 
learned  by  our  new  simple  "Instructograph " 
method.  No  canvassing  or  soliciting.  We  show  you 
how,  guarantee  you  steady  work  at  home,  no  matter 
where  you  live,  and  pay  you  cash  each  week.  Full 
particulars  and  booklet  free.     Write  to-day. 

"  AMERICAN  SHOW  CARD  SYSTEM  LIMITED 
Authorized  and  Fully  Paid  Capital,  One  Million  Dollars 
207  Adams  Bldg.  Toronto,  Canada. 


The  Immortal  Clown 

(Continued  from  page  55) 

away,  he  becomes  grim,  determined, 
an  avenging  angel  bent  on  punish- 
ment. For  infidelity,  a  life !  That  is 
the  simplest  solution. 

One  would  scarcely  recognize  in 
the  fury  and  passion  of  these  por- 
traits the  gentle  humorous  features 
of  our  beloved  comedian,  yet  Larry 
Semon  has  risen  to  epic  heights  in 
portraying  the  emotions  of  this 
study. 

Then  follows  the  physical  tragedy 
and  finally  the  grief.  Without  words, 
soundless,  by  facial  expression  and 
gesture  alone,  Semon  conveys  it  in  a 
study  of  human  emotion  that  is  little 
short  of  sublime. 

"As  a  photographer  I  had  no  need 
to  interpret  to  Mr.  Semon  my 
thought  for  these  pictures.  He 
mastered  the  idea  at  almost  a  single 
leap.  He  immediately  saw  the  possi- 
bilities and  his  imagination  swept 
across  the  chasm  between  the  real 
and  the  unreal,  and  gave  back  the 
vision  in  a  picture  that  seemed  in- 
stilled with  life,  afire  with  feeling, 
convincing  in  its  strength  and  aban- 
donment to  human  emotion.  I  saw 
the  artist  in  him  all  the  while  .  .  . 
every  gesture  of  his  was  weighed  in 
the  balance,  every  flicker  of  feeling 
in  his  face  showed  that  fine  under- 
standing of  the  value  of  an  art- 
product  which  needed  only  the  torch 
of  imagination  to  kindle  it  into  the 
flame  of  an  inspiration. 

"Larry  Semon  has  proved  himself 
an  artist  of  the  very  finest  caliber- — 
give  him  something  big  and  vitally 
serious  to  do  and  see  how  he  does  it. 
His  Pagliacci  is  a  triumph  in  his- 
trionic skill — only  a  man  who  can  live 
thru  the  terror  of  that  tragedy  can 
give  it  back  to  you  as  Semon  gave  it. 

"Perhaps  Semon  will  give  us 
Pagliacci  on  the  screen  some  day — 
we  hope  so.  It  would  be  a  demon- 
stration of  those  powers  which  we 
know  he  possesses,  and  it  would  add 
fresh  laurels  to  his  crown. 


LIVE  FULL  TODAY 
By  Louise  Liebhardt 

And,    if   tomorrow   comes 
Can  we  rest  sure  in  joy? 
Who  knows  but  pain 
May  be  its  grievous  meed 
And  sorrow  still   the  song 
That  now  swells  goldenly 
Upon  each  passing  breeze. 
Live   full   today 
And  let  no  pleasure  pass 
Untasted, 

And  no  transient  beauty  scorn. 
Fill  well  the  storehouse 
Of  thy   soul's  delight 
With  light  of  memory. 
Who  knows? 
Tomorrow  may  be  night. 


Easy  to  Play 

Easy  to  Pay 


True-Tone 

Saxophone 

Easiest  of  all  windinstruments 
toplay  and  oneof  the  most  beau- 
tiful.   With  the  Did  of  the  first 
three  lessons,  wLJch  are  sent  free 
(upon  request)  xrith  each  new 
Saxophone,  the  scale  can  be  mas- 
tered in  an  hoar;  in  a  few  weeks 
you  can  be  playing  popular  mo- 
sic.   You  can  take  your  place  in 
a  band  wltbin  90  days,  if  you  so 
desire.  Unrivalled  for  hor- •en- 
tertainment, church,  lodge  or  school. 
In  big  demand  for  orchestra  dance 
mus! :. 

Fr>aA  Trial  /ou  may  have  six 
a  Ce  I  rial  days'lree  trial  of 
any  Buescher  Grand  Sax  hone.  Cornet, 
Trumpet,  Trombone  or  other  instrui  .ent.  Easy 
terms  of  payment  can  be  arranged.  Mention  the 
Instrument  interested  in  and  a  complete  catalog  will  be 
mailed  to  you  free. 

BUESCHER  BAND  INSTRUMENT  CO. 

Everything  In  Band  and  Orchestra  Instrument* 

2034Buescher  Block        Elkhart,  Indiana 


rt  Cornerlfour  fictures-Aib 


ma 

where  700  can  keep  them  safe  and 
eDjyy  them  alwaya. 

Styles  l^vrtQeomers  I  Colors) 

are  00  aale   at  Photo   Supply  and 

Album  counters  everywhere.    They  cA 

are  the  only  Quick,  Easy,  Artistic,  jjj 

No  Paste.  No  Fold  way  to  mount 

Kodak  Prints.    A  dime  brings  100 
RlTATO    cod  samples  to  try.    Write 
vuy*  CNCEL  MFG.  CO. 

JOO   Oept.26B  4711  N.CIarkSt., Chicago 

BECOME  A  PROFESSIONAL 
PHOTOGRAPHER 

EARNING  S35  TO  SI£S  A  WEEK 

Three  to  six  months'  course. 
Motion  Picture,  Commercial, 
Portraiture.  Practical  Instruc- 
tion. Modern  Equipment.  Ask 
for   Catalog    No.    18. 

N.  V.  INSTITUTE  of  PHOTOGRAPHY 

NEW  YORK                           CHICAGO  BROOKLYN 

141  W.  36th  St.         630  So.  WabashAve. 505  State  ST. 

DON'T  WEAK 
A  TRUSS 

BE  COMFORTABLE— 

Wear    the  _  Brooks  _  Appliance,    the 

modern    scientific    invention    which 

gives  rupture  sufferers  immediate  re* 

lief.    It  has  no  obnoxious  springs  or 

pads.    Automatic  Air  Cushions  bind  I 

and  draw  together  the  brokenparts.  L 

No  salves  or  plasters.  Durable.  Cheap.  H^^^T  nD„nlc 

Sent  on  trial  to  prove  its  worth.    Be-  ""*•  c#  6"  BROOR* 

ware  of  imitations.  Look  for  trade-mark  bearing  portrait 

and  signature  of  C.  E.  Brooks  which  appears  on  every 

Appliance.    None  other  genuine.    Full  information  and 

booklet  sent  free  in  plain,  sealed  envelope. 

BROOKS  APPLIANCE  CO..  220  State  St..  Marshall.  Mich. 


Get  Rid 

of  Your 


FAT 

Free  Trial  Treatment 

Sent  on  request.  Ask  for  my  "pay-when- 
reductd"  offer.  I  have  successfully  re- 
duced thousands  of  persons,  often  at  the 
rate  of  a  pound  a  day,  without  diet  or 
exercise.  Let  me  send  you  proof  at  my 
expense. 

DR.  R.  NEWMAN,  Licensed  Physician, 
State  of  New  York,  286  Fifth  Ave.,  N.  Y.,  Desk  G  105 


DIAMONDS 


FOR  A  FEW  CENTS 
A  DAY 


J50al 

fSEND  NO  MONEY! 

.  .  Loo  ks    like 
?350^Solita 

NoGt 

on|y*59.50' 


Don't  send  a  single 
penny.Ten  daysFree 
Trial.     When  the 
ring  comes,  examine 
it  — if  you  are  not 
convinced  it  is  the 
Greatest  Bar  pain  in 
America,  send  it  back  at 
our  expense.       Only  if 
pleased,  send  $1. 60  week- 
*£>HHM   Wer^     ly--»t  the  rate  of  a  few 
BACK  1^^^^^  ~cents  a  day.    This  Bargain 
;!Mftl*frr/     ™  -     „    Cluster  Ring  with  7  Blue- 
■"-^fy     White  Perfect  Cut  Diamonds  can  be 

yours.   No  Red  Tape.  No  Risk.  F 

Million  Dollar  CDCC  Send  for  ft  today.  It 
Bargain  Book  rnfcfc  pictures  thousands 
of  Bargains.    Address  Dept  1512 


J.M.LYON  LCO. 

2-4  Maiden  Lane  N.Y. 


(Ninety-four) 


On  a  busy  day 
Beeman's 
quiets  the 
nerves  and 
keeps  you 
calm  — its 
daily  use  is 

"a  settscSle 
habit" 


BEEMANS 

Pepsin  Gum 


AMERICAN  CHICLE  CO. 


-  ~rnn.     Very  small  charge 
rbur  leaaona  will  teach   you   several   pieces.    Over 

jful   players.     We  guarantee   success  or  no   charge. 

outfit    free.      Write    today.    Dept    138        do   obligation. 

Slingtrland  School  of  Music,  1 81 5  Orchard  St.,  Chicago,  III. 


have  delighted  thousand*  of  customers  for  10  years  They 
positively  match  g«nu.r.«  diamonds.  Same  perfect  cut,  tame 
i»¥illwg  play  or  rainbow  lire.  Stand  intense  acid  t«*1  t  ..a, 
•  >  U*»  c«m»arl)«n  »ith  itmjlne.  Noted  cipertt  positively 
need  their  experience  to  detect  any  difference  whatever.  Per- 
haps the  gems  you  admire  on  your  closest  friends  are 
MEXICAN  DIAMONDS  and  you  never  knew  it 
Test  a  (MEXICAN  DIAMOND  FREE:  yew  rltk  nothing. 
Wear  It  se^en  days  Ude  by  tide  »ith  •  genuine  diamond.  If  you 
See  any  difference,  send  It  beck;  tt  won't  ce«t  yew  a  cont 

HALF  PRICE  TO  INTRODUCE 

To  Introduce   lo  new   customers,    we  quote  these  Dnces 


which  are  all  rw  pj«  and  >utt  half  our  catal.f  prktt. 
■*•.  I— Ladlesl  ct.  Solitaire,  fine  14k  gold  f. 


w  t) 


!**•  «— Oenta  Ei  Heavy  Oypaj  ring,  platlno  finish,  black 
Inlay  on  sides:  1  7  8  ct.  first  water  Mei.  Diamond  «.»• 

(fNII  Ufl  liflUFV  Just  send  n»me.  address  and  slip  or 
Otnu  rlU  rflUriLl  paper  that  meets  around  ring 
finser  to  snow  size  Say  which  ring  you  want.  We  ship 
promptly.  On  arrival,  deposit  price  with  postman.  If 
you  decide  not  to  keep  It  return  In  7  days  and  wall  refund 
W"«">      Wrtt.  TODAY.     Agents  wanted. 

MEXICAN    DIAMOND    IMPORTING    CO. 

OaX  C  US  CRUCES,  N    KU.i 

I  frcrujirr  Coturolltn  of  Mriican  Diamonds  for  18  ytart.        J 


The  Movie  of  the  Month 

{Continued  from  fage  49) 

for  her  sailor  man,  A  pathetic,  old 
figure  tins  skipper  of  a  coal  barge. 
Ami  the  drama,  soaring  with  vital 
humanities  and  with  :i  spiritual  tug, 
embraces  one  with  an  emotional 
sweep  as  1 1 1 < -  girl  joins  him  a  girl 
lUiiaut  of  men  (she  lias  been  their 
plaything  in  an  inland  town  i 
succumbing  to  the  call  of  love  and 
youth.  The  other  vital  figure  is  1 1 1 1- 
rescued  sailor-man — a  swaggering, 
blustering,  coal-stoker  sure  of  him- 
self and  of  his  importance  to  the 
world.  He  listens  to  no  entreaties 
from  the  Old  Swede  and  his  daughter. 

It  mighl  be  called  a  quadrangle  - 
a  conflict  between  a  hag  of  the  water- 
front saloon  to  hold  the  skipper's 
love— and  the  latter's  futile  fight 
against  the  overpowering  forces  of 
youthful  hearts.  And  his  angry 
remonstrations  against  the  sea  make 
him  a  pitiful  figure  indeed.  There 
is  much  hard  drinking.  Why  not? 
Rough  sailor- folk  must  have  their 
grog.  But  beneath  these  raw  ex- 
ternals (which  expose  the  girl's  life 
of  shame— a  condition  brought  about 
thru  a  parent's  neglect  and  the  lust 
of  men,  and  the  conflicts  between 
father,  lover  and  daughter)  is  a  big, 
throbbing  idea — pounding  relentless- 
ly on  a  major  theme,  that  of  a  par- 
ent's determination  to  compensate  for 
his  neglect — and  a  spirited  girl's  con- 
flict with  herself.  And  the  sea  calls 
them  to  its  bosom.  It  is  the  strong- 
est force  of  all. 

Blanche  Sweet's  rendition  of  the 
title  role  is  marvelously  human. 
The  emotions  which  race  across 
her  face  indicate  that  she  lived  the 
part  thoroly.  She  plays  with  a  re- 
markable depth  of  sympathy  and  un- 
derstanding. George  Marion  in  his 
original  role  of  the  old  Swede  pro- 
vides picturesque  characterization. 
He  is  the  perfect  embodiment  of  the 
superstitious  salt  as  colored  by  the 
imagination.  William  Russell,  playing 
the  sailor-man.  abandons  himself 
completely  to  the  task  of  revealing 
the  influence  of  the  sea  in  making  its 
playboys  swaggering,  boastful  ad- 
venturers, while  Eugenie  Besserer 
acts  the  water-front  hag  in  a  manner 
recognizably  real. 

''Anna  Christie"?  Tt  surely  be- 
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powerful  strokes — and  embraces  re- 
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able spiritual  comfort.  So  devasta- 
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is  its  clash  of  emotions — that  we  do 
not  miss  the  spoken  lines  at  all.  It 
is  as  if  we  could  hear  them. 


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Ihe  Celluloid  Critic 

{Continued  from  page  51) 

study.  The  player  who  seems  to  be 
mostly  in  character  is  Richard  Ben- 
nett. The  Italian  extras  are  compe- 
tently handled  in  the  Fascisti  scenes. 
The  camera  is  unkind,  however,  in 
bringing  forth  any  suggestion  of 
reality.  The  majority  of  these 
extras  appear  to  be  having  great  fun 
out  of  it.  The  atmosphere,  on  the 
other  hand,  is  authentic  and  gives  the 
picture  its  sole  redeeming  quality. 

SEVERAL  hundred  westerns 
have  been  ground  thru  the 
movie  mill  since  Owen  Wister 
wrote  "The  Virginian,"  a  story 
which  has  served  as  one  of  the 
models  for  cow  country  pictures,  but 
none  has  contained  more  vitality  of 
plot  and  characterization  than  this 
new  version  by  Preferred.  Virile  all 
of  us  are  familiar  with  the  bashful 
cowboy  from  Virginia  who  took  ro- 
mance so  easily  and  gracefully — we 
stay  to  follow  his  exploits  in  love. 
A  sympathetic  character — this  Vir- 
ginian, played  in  an  appropriate 
lackadaisical  manner  by  Kenneth 
Harlan.  He  interests  us  because  he 
is  not  ever  performing  the  conven- 
tional sacrifices  of  the  orthodox 
movie  cowboy. 

The  sponsors  have  caught  the 
salient  points  of  the  story  and  welded 
them  into  a  vigorous  yarn — using 
backgrounds  which  are  truly  elo- 
quent. The  humor  is  not  abundant. 
It  is  compressed  here  in  the  episode 
involving  the  exchange  of  babies  at 
the  husking-bee.  Pathos  creeps  in — 
and  is  presented  with  genuine  feel- 
ing. We  overlook  the  familiar  points 
— such  as  the  conflict  with  the 
rustlers — and  the  romance  between 
the  cowboy  and  the  school-teacher. 
These  obvious  factors  are  absorbed 
thru  a  genuinely  dramatic  treatment 
of  a  compelling  story. 

But  it  drags  interminably  at  times 
— due  to  an  emphasis  being  placed 
upon  the  characters  and  detail — and 
also  to  the  fact  that  we  are  familiar 
with  its  plot.  The  Virginian  and  the 
other  cowhands  grow  tiresome  to- 
ward the  end. 

IT  is  plain  to  be  seen  that  James 
Cruze's  forte  is  comedy,  after  wit- 
nessing the  sparkling  treatment 
of  "To  the  Ladies"  (Paramount).' 
We  approached  this  satire  on 
business  efficiency  rather  skeptical 
whether  anything  substantial  could 
be  made  from  it — seeing  that  the 
authors  depended  on  a  quantity  of 
witticisms  and  a  realistic  slant  of  that 
most  wearisome  of  indoor  sports — 
banqueting.  Indeed,  the  play  de- 
pended   entirely    upon    this   banquet 


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scene-    sin<  >■  h  expo  e<l  the  hokum  of 
aftei  dinner  speeches. 

e,  however,  has  enlarged  upon 
the  play,     lie  has  sensed  the  keynote 
of     middle  class     mediocrity        and 
draws  the  humdrum  existence  of  a 
wage   slave   in   ;i    most    human   and 
sympathetic    manner.      So    we    have 
mard    Heche    (our    central    char- 
acter) at  home  and  a1  the  factor) 
;t  meek,  colorless  individual — whose 
wife  goads  him  into  asserting  him 
self.      Comes    a    time    when    he    is 
advised  that  he  will  he  called  upon  to 
make  a  speech  at  a  forthcoming  ban 
quet,   so   he   memorizes   a   madi 
order    address,    one    culled    from    a 
book.      Hie  party  who  precedes  him 
gives  tin'  identical  speech,  thus  steal 
mg  his  thunder.     He  is  stricken  with 
fear — hut  his  wife  grasps  the  oppor- 
tunity 1>\   making  an  impromptu  ad 
dress  which  instantly  wins  her  hus- 
band a  long-awaited  reward.     There 
is  a  little  conflict  here  which  is  a  sorl 
of     anticlimax,      hut      Cruze      has 
handled  his  material  so  deftly — thai 
the  picture  offers  a  deal  of  spontanei- 
ty of  humor — a  quality   which   inure 
than  compensates  for  the  rather  weak 
conclusion. 

The  banquet  scene  is  a  gem — one 
which  is  never  overstressed — and 
keeping  pace  with  it  is  a  lifelike 
slant  upon  those  people  who  buy 
their  homes  and  their  household 
goods  upon  the  instalment  plan — a 
slant  not  so  well  suggested  in  the 
play.  It  is  clever  satire,  skilfully 
humanized.  And  expertly  acted  by 
Edward  I  h  irton.  1  [elen  Jerome 
Eddy,  who  carries  away  the  hon- 
ors. Theodore  Roberts  and  Louise 
1  >resser. 

AX  argumentative  subject  is  given 
a  visual  hearing  in  ''This 
^Freedom"  (Fox) — and  allow- 
ing for  a  scarcity  of  action  which  is 
replaced  by  wordy  captions,  it  may  he 
called  a  first-rate  picture.  Indeed,  it  is 
the  best  English  importation  to  date 
— and  carries  out  its  author's  theories 
to  the  dot.  A.  S.  M.  Hutchinson  has 
rot  written  'another  "If  Winter 
Comes."  In  the  first  place,'  it  doesn't 
present  any  such  idealistic  figure  as 
Mark  Sabre,  nor  does  it  offer  much 
dramatic  movement.  However,  once 
its  characters  are  all  introduced,  it 
swings  into  its  main  argument  and 
finishes  with  a   stirring  climax. 

Hutchinson  argues  in  a  familiar 
fashion.  He  would  show  a  woman's 
home  crumbling  to  pieces  in  her  re- 
fusal to  abide  by  the  natural  law  of 
her  sex — the  care  of  that  home.  She 
will  trespass  on  man's  domains — 
with  the  inevitable  result — stark 
tragedy.  A  daughter  dies — and  a 
son  is  disgraced — and  she  realizes 
the  futility  of  her  career.     But  lead- 


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(OJPIPCDIL^a'lL'IYIITX    ^I^JRlixIET 


AGENTS  WANTED 


PHOTOPLAYS 


$100  to  $250  Month.     Men — \vi n,  lis  up  wanted. 

IJ.  S.  Government  steady  positions.  Short  hours. 
?leasant    work.      Paid    vacation.      List    positions 

free.         Write      i lediately — urgent.         Franklin 

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furnished  free  to  workers.  Write  today  for  full 
particulars.  AMERICAN  PRODUCTS  CO.,  1092 
American   Building,    Cincinnati,    Ohio. 

HELP    WANTED 

Movie  Types  Wanted.  Acting  ability  not  es- 
sential. A  legitimate  medium  successfully  used 
by  hundreds.  Send  photo  for  full  particulars. 
Casting  Office,  304  Security  Bldg.,  Santa  Monica 
&    Western,    Hollywood,    California. 

HOW  TO  ENTERTAIN  ~ 

Plays,  Musical  Comedies  and  Revues,  minstrel 
music,  blackface  skits,  vaudeville  acts,  monologs, 
dialogs,  recitations,  entertainments,  musical  read- 
ings, stage  handbooks,  make-up  goods.  Big  catalog 
free.  T.  S.  Denison  &  Co.,  G23  So.  Wabash, 
Dept.    G3,   Chicago. 

INTEREST  TO  WOMEN 

LADIES  EARN  $6 — $18  a  dozen  decorating  pil- 
low tops  at  home ;  experience  unnecessary ;  par- 
ticulars for  stamp.  Tapestry  Paint  Co.,  127  La- 
Orange,   Ind. 

Important  Information.  Wonderful  effect  Tyler's 
Health  Food  has  with  Expectant  and  Nursing 
Mothers.  Sealed  literature  Free.  Bvron  Tyler, 
Estab.  1899.     33  Gibraltar  Bldg.,  Kansas  City,  Mo. 

NEWS  CORRESPONDENCE- 

EARN  $25  WEEKLY,  spare  time,  writing  for 
newspapers,  magazines.  Experience  unnecessary ; 
details  free.      Press   Syndicate,   5G1    St.    Louis,   Mo. 

OLD   COINS   WANTED 

Old  Coins,  Large  Spring  Selling  Catalog  of 
coins  for  sale  free.  Catalog  quoting  prices  paid 
for  coins,  ten  cents.  William  Hesslein,  101 
Tremont  Street,  Boston,  Mass. 

PATENTS 

PATENTS.  Write  for  Free  Illustrated  Guide 
Book.  Send  model  or  sketch  for  free  opinion  of 
its  patentable  nature.  Highest  references.  Prompt 
Attention.  Reasonable  Terms.  Victor  J.  Evans  & 
Co.,  621  Ninth,  Washington,  D.  C. 


PERSONAL 


ARE      YOU     BASHFUL,     SELF-CONSCIOUS, 

easily  embarrassed?  These  troubles  overcome. 
Send  dime  for  particulars.  L.  Veritas,  1400 
Broadway,    New    York. 


Write     Successful      Photoplays.        Big     Money. 

Free  book  gives  practical  instructions;  describes 
our  revision,  typewriting,  marketing  service,  and 
commission  rates.  Successful  Photoplays,  Box  43, 
Pes    .Moines,    la. 

Journalism — Photoplays — Short  Stories.  Plot 
Chart  and  Petails  free  to  those  wishing  to  enter 
above    professions    or    dispose    of    manuscripts    on 

Commission.  (The  Service  offered  is  given  by  Pro- 
fessional Authors  and  Editors  of  high  standing.) 
Harvard  Company,  433  Montgomery,  San   Francisco. 

Big  money  writing  photoplays,  stories,  poems, 
songs.  Send  for  free  copy  America's  greatest  maga- 
zine for  writers.  Tells  you  how  to  write  and  sell. 
Writer's  Digest.  C22  Butler  Bldg.,  Cincinnati.  Ohio. 

$$$  For  Photoplay  Ideas.  Plots  accepted  any 
form  ;  revised,  criticised,  copyrighted,  marketed. 
Advice  free.  Universal  Scenario  Corporation,  203 
Security  Bldg.,  Santa  Monica  and  Western  Ave., 
Hollywood,    Cal. 

SHORT  STORIES 

EARN  $25  WEEKLY,  spare  time,  writing  for 
newspapers,  magazines.  Experience  unnecessary ; 
details  free.      Press   Syndicate,   561   St.    Louis,   Mo. 

Stories    and    Photoplay    Ideas    Wanted    by    48 

companies ;  big  pay.  Details  free  to  beginners. 
Producers'    League,    441,    St.    Louis,    Mo. 

Stories,  Poems,  Plays,  Etc.,  are  wanted  for  pub- 
lication. Good  ideas  bring  big  money.  Submit 
MSS.  or  write  Literary  Bureau,  134  Hannibal.  Mo. 

FREE  TO  WRITERS— A  wonderful  little  hook 
of  money-making  hints,  suggestions,  ideas ;  the  A 
B  C  of  successful  story  and  movie  play  writing. 
Absolutely  Free.  Just  address  Authors'  Press, 
Dept.   14,    Auburn,   N.    Y. 

SONG  WRITERS 

A  $500  Cash  Prize  is  offered  for  the  best  second 
verse  written  for  the  song  "Remember."  Those 
wishing  to  compete  may  receive  a  free  copy  with 
rules  by  addressing  Equitable  Music  Corporation, 
455   State  Theatre,   New  York. 

STAMPING  NAMES 

Stamp  Names  On  Key  Checks.  Make  $19  per 
100.  Some  make  $10  daily.  Either  sex.  Work  can 
be  done  at  home,  spare  time.  Send  25c  for  sample 
and    instructions.     M.    Keytag    Co.,    Cohoes,    N.    Y. 

VAUDEVILLE 

GET  ON  THE  STAGE.  I  tell  you  how!  Per- 
sonality, confidence,  skill  developed.  Experience 
unnecessary.  Send  6e  postage  for  instructive 
illustrated  Stage  Book  and  particulars.  O. 
LaDelle,    Box   557,   Los   Angeles,    Cal. 


Why  Good  Dancers 
Are  Popular  ^gf 

EVERYONE  admires  and  wants  to 
dance  with  the  person  who  knows 
the   latest   steps.     There  is  no  need 
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markable   new    easy    met  hud    anyone 
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teacher.     No  music    or   partner 
needed.    So  simple  even  a  child 
pan     learn    quickly.        90,000     havt 
learned     dancing     hy    mail.        Your 
own  success   is  guaranteed. 

To  prove  I  can  quickly  make  you 
an  accomplished  dancer,  I  will  send 
you  FREE,  in  plain  cover,  a  lesson 
in  Fox  Trot.  Secret  of  Leading.  How 
to  Cain  Confidence,  How  to  Follow 
and    How    to    Avoid    Embarrassing    Mistakes.       To    help 

pay  the  cost  of  handling,  mailing,  etc..  send  10c.    Learn  in  private, 

surprise  your  friends.     Actnow.    Be  a  good  dancer  soon, 

ARTHUR  MURRAY,     Studio  9,    801  Madison  Ave.,    New  York 


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42  Central  St.,  Dept.  A  Bradford,  Mass 


ID   I 

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ing  up  this  chaotic  state,  the  spec- 
tator is  compelled  to  sit  thru  a  .deal 
of  incidental  argument  between  hus- 
band and  wife.  He  is  indecisive  as 
she  is  impulsive.  And  neither  is  able 
to  extract  any  sympathy.  It  may  be 
said  that  the  heroine  presents  a 
pathological  study. 

The  picture  is  often  tiresome  and 
always  obvious — but  it  is  deftly  acted 
by  Fay  Compton — whose  poise  and 
understanding  are  sure  and  accurate. 
Her  portrayal  belongs  in  the  most 
exclusive  gallery.  She  seems  to  be 
the  perfect  embodiment  of  what  she 
represents.  The  other  players  are 
colorless  in  comparison,  partly  be- 
cause they're  not  sufficiently  com- 
petent ;  partly  because  Hutchinson 
sacrifices  lesser  characters  to  make 
capital  of  his  protagonist. 

GEORGE  ADE  has  given 
Thomas  Meighan  another 
likely  story  in  "Woman 
Proof"  (Paramount).  While  it  is  a 
variation  of  an  old  theme,  the  author 
has  a  faculty  of  dressing  up  his  ideas 
so  that  they  appear  novel  and  bright 
This  time  he  employs  the  "Brewster's 
Millions"  formula  with  a  twist  or 
two.  Instead  of  presenting  one  heir 
compelled  to  be  married  within  a 
specified  time — he  shows  two — in 
addition  to  a  couple  of  heiresses.  His 
hero  is  not  painted  as  a  young  spend- 
thrift, but  as  a  hard-working  youth 
who  is  shy  of  feminine  entangle- 
ments. 

The  piece  sparkles  with  bright 
quips  and  incident — and  while  it 
furnishes  a  typical  movie  finish,  it  is 
conceived  and  executed  in  such  a 
humorous  manner — that  there  is  not 
a  single  moment  of  boredom  sug- 
gested. It  offers  two  or  three  happy 
surprises — one  of  which  is  the  wed- 
ding on  the  ship — with  the  radio  be- 
ing employed  to  transmit  the  mar- 
riage to  the  folks  at  home.  It  re- 
leases clever  satire  and  is  played  with 
fine  appreciation  by  Tom  Meighan. 

NOTHING  is  added,  nothing 
is  taken  away" — to  quote  the 
slogan  of  a  prominent  bread- 
maker — in  regard  to  Bill  Hart's  pic- 
ture, "Wild  Bill  Hickok"  (Para- 
mount). It  goes  back  to  first  prin- 
ciples— back  to  the  days  when  the 
man  who  made  gun-toting  an  art  was 
a  Triangle  star.  The  spectator  will 
be  more  interested  in  watching  Hart 
■ — to  discover  if  Bill  has  some  new 
tricks  up  his  sleeve  -ince  his  retire- 
ment. But  he  wont  be  surprised,  for 
the  star  still  carries  on  in  the  same, 
old  familiar  fashion  —  crouching 
when  pulling  his  trigger  fingers — 
and  shutting  his  eyes  when  the  spark 
of  romance  fades  from  his  life. 
It  is  quite  episodic,  tho  it  does  re- 


(Ninety-sight) 


She  Looks  up  Confidingly 

Bl   1     ha    confidence  is  as    much    in  htf 
own  beaut)  u  in  him.     Ska  known  thai 

Krr  ryc-j  air  bewitching,  veiled  aa  they  are  bl 
WINX  d  u  k<  n    111  Although  tl 

ihc  ttnal  dance  ot  a  crowded  evening,  the 
\\  l\\  hat  lasted  throughout  it  all.  Close  as 
he  is  lie  cannot  see  it  il  is  invisible  on  the 
lashes. 

your  eyes  beautiful  l>v  darkearina  the  lashes 
wild  U  INX.  Apply  ii  «ith  the  glass  rod  attached  to 
the  stopper  —  it  niak.es  the  lathes  appear  longer  anil 
heavier.  Dries ioatantb  Harmless,  walerprool.  Un- 
attevted  hy  penpiration  or  weeping  at  the  theatre. 

\V1\\    black  a  brown)  75c.   To  nourish  the  lashes 
and   promote  growth  use  cojodeai  Cream  Lashlux  at 
night.       Cream  L.ashjux  tblacL,    brown    or   col 
50c.   At  drug,   department  stores  or  by  marl 

II  -  I  >/  WINX  and  of 

PERT  Rous? — enough  of  each  l«  last  j  i 

j    dime    each.      Enclose    coins. 

ROSS  COMPANY 
78   Grand   Street  New    York 


WINX 

Waterproof 


YOU  CAN  WRITE, 
for  the  MOVIES  ! 


Producers  want-need-new  Ideas 
for  motion  picture  plays.  Attrac- 
tive prices  paid  on  acceptance. 

Bend  ua  your  Ideas  f»>r  film  plots 

in  ANY  form  for  fr«.v   aiul   inmie- 

11  ate  examination.     \><t  a  corresuoiitl- 

■'■ 
ettJ   aerrice  to  those  who  wiah  to  turn 
their    photoplaj     Ideas    Into    proflta 

S«t.1  now  for  our  FREE  booklet.  "From 
Photoplay  Plot  to  the  Screen,"  wbich 
•hows  a  way  to  aspirin**  writers. 

EARLE  PHOTOPLAY  STUDIOS 
Suite  607F.        Earlc-  Bldg.,         New  Yofr. 


wtiTEluxiicDiamond 

-  J/youcan&ll tijtom a$)iamtnut 

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UUN  I  SEND  A  PENNY!  Send  onty  name.  * 
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noatman.    We  pay  post.-icel*^  .*.      >  ' 
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■> 


aid  your  manuscripts  to  studios  until  first 
protected  bv  copyright.  Plots  accepted  in  any  form  ; 
revised,  criticised  copyrighted,  marketed.  We  are 
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UNIVERSAL  SCENARIO  CORPORATION 

227    Security  Bide..  Santa  Monica  and  Western 
Ave.,  Hollywood,  Ca.tfornia 

PaUlsj'rs  Scenario  Buileth-Dijest  f 


BE  A  JAZZ  MUSIC  MASTER 


PLAY  PIANO  BY  EAR 

Play  r^pular  fonff  hits  perfectly  by 

ear.    Hum  the  tune,  ptnv  it  BY  EAR. 

No  tedious,  dinar-dons'  daily  practic- — 

just  twenty  brief,  entertaining  lessons 

which  you  can  master 

At  Home  in  Your  Snare  Time 

Send  for  the  FREE  BOOK.  It 
tells  how  to  start  if  you  want 
musical  ability  at  which 
friends  will  marvel. 

NIAGARA  SCHOOL  OF  MUSIC, 

Dept.  630.  Niagara  Fall.  N.  Y. 


lease  considerable  gun  play.     Bui  the 
discei ning  I'lili" ikei  v> ill  wondei 
a  i<  u  trick    thai  ai e  exr> ised,     l  ■  u 
ince,  how  is  it  that  1  'ill  can  fire 
ii iii-iii    i u    iw ent) 
times   without    reloading    .with   bul 
It  tfi  speeding  toward  him  i  >n  i 
side  ?     \gain  he  makes  a  fine  ta 
■  I  himself  when  he  raises  his  guns 
to  the  sky  before  shooting. 

The  pli  it  expi  ises  the  hectic  life  of 
a  genuine  figure  back  in  the  days 
when  danger  lurked  in  the  frontier 
i-  '\\  ii.  \  typical  Bill  I  i art  storj 
even  to  the  romance.  And  we  call 
ii  hokum. 

0<  I] )!  ,ES  of  sentiment  and  ro- 
mance gush  forth  in  the  pic- 
ture version  of  "Maytime" 
I  Preferred )  until  1>\  the  time  the 
conclusion  is  reached,  the  number  is 
as  sticky  as  a  molasses  jug.  I  he 
character  of  this  plot  calls  for  much 
repetition  of  scene — and  because 
there  is  little  dramatic  movement, 
the  action  becomes  uninteresting — 
and  this  goes  for  most  of  the  char- 
acters. Aside  from  the  development 
of  the  romance  between  the  central 
figures,  the  lesser  characters  donl 
have  any  opportunities  for  emotional 
expression.  Several  stand  around 
in  dramatic  postures. 

It  is  not  deftly  acted,  Ethel 
Shannon  not  being  the  right  choice 
for  the  romantic  girl.  She  appears 
to  be  playing  the  part  more  than  she 
is  living  it.  The  quaint  comedy  re- 
lief of  the  stage  is  exceedingly  mild 
and  almost  negligible.  It  strikes  us 
as  if  it  could  have  been  done  much 
better.  A  parade  of  costumes  and 
romantic  postures. 

Tl  1  E  edge  has  been  taken  off  this 
opus   thru   its  having  been   pic- 

turized  before — with  much  bet- 
ter effectiveness — and  also  because 
of  any  lack  of  that  elusive  quality 
known  as  suspense.  Kipling's  ''The 
Light  That  Failed"  (  Paramount)  — 
a  tale  of  an  artist  who  is  stricken 
with  blindness  just  as  be  is  complet- 
ing his  masterpiece,  is  as  old- 
fashioned  as  it  is  depressive — and 
aside  from  Percy  Marmont's  sympa- 
thetic study  of  the  painter  and  Jac- 
queline Logan's  brunette  appeal,  it 
fails  in  winning  recognition  to  be 
placed  in  the  exclusive  gallery. 

( ieorge    Mel  ford   has    much    more 

ng  with  bis  atmosphere,  altbo  be 
has  striven  to  make  the  story  ring- 
true.  P)Ut  why  the  suggestion  that 
the  artist's  sight  will  return?  Must 
we  continually  serve  up  pap  to  the 
happy  enders?     This  picture  is  told 

othly  enough,  but  its  vital  pathos 
is  only  mildly  indicated. 


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ill     Ml 
I,.-      .1 


a    few 

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you  II 

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SCHOOL   OF    DRAFTINI. 
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i •) 

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ii. i 


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WHAT   WE   GIVE    YOU 


PRACTICAL  PROBLEMS.    Yo 
a.  ecarefullycoacheuin  prarti.-al 
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WE  HELP  YOU  GET  A  JOB. 
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..in 


PERSONAL  INSTRUCTION 
AN  DSUPERVISION  THROUGH- 
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help  of  Ii 

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U.  S.  Civil  Service  Commission  Needs  I  RAFTSMEN 

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THE  COLUMBIA  SCHOOL  OF  DRAFTING 


Dept.  2281. 


Roy   C.  Claflin.  President 

14th  &  T  Sis..  N.  W.  Washington.  0 

-------FREE  BOOK  C0UP0N------- 

C0LUMBIA   SCHOOL   OF   DRAFTING. 
Dept.   2281.    Uth    and   T   Sts..    N.   W.. 
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The  Yankee  Consul 

{Continued  from  page  61) 


discovery  brought  a  whistle  to  his 
lips.  He  stared  down  at  the  official- 
looking  paper  on  the  top  tray  of  the 
trunk.  ■'Appointment  of  Abijah 
Boos  as  consular  agent  to  San 
Domingo,"  he  muttered.  "Whew,  I 
am  in  bad !  Wonder  what  other 
crimes  besides  impersonating  a  U.  S. 
Consul  I'm  going  to  commit?" 

With  each  difficulty,  each  hint  of 
danger,  his  spirits  rose.  With  the  aid 
of  Morrell's  camera  and  flashlight 
powder  he  took  his  own  picture  to 
replace  the  bewhiskered  one  on  the 
passport.  Meanwhile  there  was 
always  the  chance  that  he  might  be- 
come better  acquainted  with  the 
mysterious  but  lovely  lady  who 
needed  his  help. 

The  immigration  officials  regarded 
the  distorted  countenance,  on  the 
passport  Ainsworth  presented  them 
and  shrugged  their  shoulders — but 
certainly  that  was  never  the  sefior ! 
"It's  awfully  kind  of  you  to  say  so." 
the  sefior  said  gratefully.  "Take  an- 
other look  now."  He  screwed  his 
face  into  the  horrible  squint  which  it 
had  worn  when  the  flashlight  powder 
exploded  and  the  likeness  was  un- 
mistakable. As  he  and  Morrell 
emerged  from  the  customs-house, 
two  Americans  in  white-duck  suits 
and  pith  helmets  pushed  thru  the 
clamoring  horde  of  native  beggars 
and  the  shorter,  after  a  glance  at  the 
initials  A.  B.  on  the  handbag  Ains- 
worth carried,  shook  him  heartily  by 
the  hand. 

"Glad  to  meet  you,  Mr.  Boos,"  he 
said  with  unmistakable  sincerity,  "I 
was  afraid  you  wouldn't  get  down 
till  the  next  boat — I'm  Ripley,  you 
know,  the  retiring  consul,  and  I  dont 
want  to  discourage  you  right  at  the 
outset  but  I  dont  mind  telling  you 
I'll  be  mighty  glad  to  go  back  to  the 
United  States." 

It  was  no  part  of  Dudley  Ains- 
worth's  plan  to  carry  the  impersona- 
tion of  Abijah  Boos  beyond  the 
customs-house  door.  He  was  open- 
ing his  lips  to  disclaim  all  rights  to 
the  name,  but  the  words  of  the  other 
white-clad  man  halted  his  confession. 
"Excuse  me  for  butting  in."  said  that 
worthy,  "but  my  name's  Doyle, 
George  J.  Doyle,  I'm  a  Secret  Ser- 
vice man  and  I've  got  a  warrant  here 
for  one  Dudley  Ainsworth  who's 
wanted  back  in  the  States.  Do  you 
happen  to  know  whether  there  was 
a  fellow  by  that  name  on  board  ?" 

The  incoming  consul  replied  hastily 
that  he  was  certain  there  wasn't. 

The  pseudo  Abijah  Boos  mopped  a 
bedewed  brow.  "Sweet  town !"  he 
commented  bitterly  to  Morrell  after 


the  others  had  left,  "with  a  box  of 
gold  pieces  in  the  place  a  man's  life 
wouldn't  be  worth  a  German  mark  if 
the  natives  found  out  about  it!" 

"Well,  you  were  keen  on  dying  a 
week  ago,"  Morrell  reminded  him 
unfeelingly,  "remember  that  cyanide 
cocktail  you  were  begging  for  so  pit- 
eously?  S'long,  old  top.  I'm  going 
to  take  a  nap  if  I  can  find  a  bed — 
in  this  marble  shanty." 

Morrell  opened  a  reluctant  eye  to 
see  his  friend  standing  over  him. 
"I'm  leaving  you  to  guard  that  chest," 
Ainsworth  said  hoarsely,  "something 
has  got  to  be  done  about  it  and  I'm 
going  to  do  it !  After  all,  I'm  re- 
sponsible so  long  as  I'm  playing 
consul !  And  I  cant  stop  playing 
consul  or  that  Doyle  will  clap  me  in 
jail — God  knows  what  I'm  accused 
of  back  in  the  States,  probably  old 
Boos  wants  me  arrested  for  abscond- 
ing with  his  nightshirts !" 

He  was  gone,  wild-eyed.  Morrell 
winked  at  the  charming  lithographed 
lady  taking  a  bath  in  a  marble  pool 
on  the  wall,  turned  over  and  went  to 
sleep. 

The  telegraph  office  was  close  to 
the  consulate.  Ainsworth  signed  the 
atrocious  name  which  it  seemed  likely 
he  might  carry  to  his  grave  and 
handed  the  message  to  the  operator. 
"To  be  sent  by  radio,"  he  directed 
and  felt  in  his  pockets  for  change. 
With  a  dollar  bill  he  drew  out  an- 
other bit  of  paper  folded  in  a  cocked- 
hat  note  and  addressed  to  Abijah 
Boos  in  a  woman's  handwriting.  In- 
credulously he  stared  down  at  the 
single  line  it  contained:  "Save  me 
by  five  o'clock  or  all  is  over — Maria, 
Sans  Souci  Palace."  She  must  have 
slipped  it  into  his  pocket  when  she 
brushed  near  him  in  the  hurry  of 
disembarking!  A  quick  glance  at  the 
clock  brought  a  groan  from  his  lips — 
four  o'clock  and  in  an  hour  all  would 
be  over ! 

Leopoldo  beckoned  him  with  a 
glitter  of  polished  nails.  But  Ains- 
worth shook  his  head.     "I've  got  an 


"Certainly.  I  understand.  All 
the  consuls  have  the  engagement  to 
report  at  the  San  Souci  Palace  as 
soon  as  they  arrive."  Leopoldo 
smiled,  "I  have  come  to  get  you, 
Sehor  Boos!" 

But  at  least  he  was  going  to  the 
Sans  Souci  Palace  where  Maria  was 
waiting.  The  new  consul  found  him- 
self returning  the  bow  of  a  magnifi- 
cent gentleman  with  a  uniform  that 
looked  like  that  of  the  carriage 
starter  at  the  Ritz  Hotel. 

{Continued  on  page  103) 


(One  hundred) 


.. 


Gas  or 
Electric 
l^Lamp- 

Comes  equipped  for  choice 
of  gas  or  electricity.  Has2- 
light  Benjamin  socket  for 
electricity  only,  with  8-foot 
silk  cord  ready  for  use;  or 
comes  with  6-foot  rubber 
hose,  burner,  mantle  and 
chimney  for  gas. 

Mahogany  Finish 

Standard  is  60  in.  high,  3  in. 
in  diameter.  Highly  polish- 
ed French  mahogany  finish. 

l^Shade- 

Made  in  Fifth  Avenue  de- 
sign, 24  in.  in  diameter,  of 
delft  blue  silk,  shirred  top, 
alternating  plain  and  fancy 
art  silk  panels.  Twelve 
panels  in  all,  tinsel  braid 
border,  with  four  inch  Chenille  fringe. 
American  beauty  shirred  lining.  The 
harmonious  color  scheme  gives  effect 
of  red  light  shining  through  a  blue 
haze  —  a  rich  warm  light.  Shipping 
weight,  27  pounds. 

Marshall  Silky  Fringe  Pull-Cords 

Also  pair  of  Marshall  silky  fringe  cords 
with  3Vi  in.  silky  fringed  tassels,  giving 
an  added  luxurious  effect. 
For  gas  use,  order  by  No.  G6332NA. 
For  electricity,  order  by  No.  C6333NA. 
Send     only    $1    with    the    coupon,    $2 
monthly.    Total  Bargain  Price  for  lamp 
and  shade,  $19.85. 

Free  Bargain  Catalog 

Shows  thousands  of  bargains  in  home 
furnishings:  furniture,  jewelry,  rugs, 
curtains,  phonographs,  stoves,  dishes, 
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terms.  Catalog  sent  free,  with  or 
without  order.    See  the  coupon. 


Down 

Brings 
This— 


Floor  Lamp 
stSZe.  Silk  Shade 

Here  is  something  you  have  always  wanted — a  beautiful  floor  lamp 
with  handsome  and  elegant  Fifth  Avenue  silk  shade — to  add  an  extra 
tone  of  elegance  and  luxury  to  your  home.  On  this  generous  offer 
you  can  see  just  how  this  floor  lamp  and  silk  shade  will  look  in  your 
home,  without  risking  anything.  Send  onl,  $1.00  with  the  coupon 
below,  and  we  will  send  it  complete  to  your  home  on  approval,  equipped 
for  use  with  either  gas  or  electricity.    We  take  all  the  risk. 

a  ^^    Y*fe  *  #W% *  r,  «J     When    the  lamp  outfit 

<%0     I     Va«S^lrP4&       I   l*fldflB     comes,  use  it  freely 

m&^*  •^••JJ  w  •  •  •»•»  for  30  days.  See  how 
beautifully  the  colorings  of  the  handsome  silk  shade  blend  and  har- 
monize with  everything  in  the  home.  How  useful  it  is,  too — so  handy 
for  reading,  can  be  moved  around  with  ease  to  furnish  a  beautiful  light 
and  rich  warmth  and  coziness  to  any  room  in  the  house.  If  after  30  days  trial  you 
decide  not  to  keep  the  lamp,  just  return  it  at  our  expense  and  we  will  refund  your 
$1.00  deposit,  plus  any  freight  or  express  you  paid.    You  cannot  lose  a  single  penny. 

SaOfcafilfl  M>W  ^«f        If  vou  discover  that  this 

Jr^lM     £*     IwlOntn     lamp   is   a    tremendous 
— ■  **     fBTaW^^alaW  •■■      bargain  at  the  price 

we  ask  and  you  decide  to  keep  it,  send  only  $2.00  a  month  until  you 
have  paid  the  total  bargain  price  of  $19.85.  Yes,  only  $19.85  for  this 
luxurious  lamp  and  silk  shade  complete.  Compare  this  value  with  anything  you  could 
buy  locally  at  anywhere  near  the  same  price — even  for  spot  cash.'  Straus  &  Schram 
gives  you  this  bargain  price  and  almost  a  year  to  pay.  We  trust  honest  people  any- 
where in  U.  S.    No  discount  for  cash ;  nothing  extra  for  credit.    No  C.  O.  D. 

Price  Slashed ! 

Decide  now  to  see  this  beautiful  floor    GamH   ■Pminrm   tVfllV 
lamp  and  silk  shade  in  your  home  on    «C11U  VUUpUH  i1\F 

approval  on  this  price  smashing  offer.  Think  how  the  nickels  and 
dimes  slip  away  for  useless  things;  save  them  for  something  worth 
while  that  will  give  satisfaction  for  years.  Send  coupon  with  only 
$1.00  now!    Satisfaction  guaranteed. 

STRAUS  &  SCHRAM,  Dept.  1512    Chicago,  III. 


J 


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Flashes  from  the   Eastern  Stars 

(Continued  from  page  57) 


married  now  three  or  four  months 
and  still  adores  her  Irish  husband. 
The  New  York  critics  liked  her 
part  in  "Flaming  Youth."  *  *  * 
A  new  studio  has  opened  down  in 
Florida,  in  no  wise  discouraged  by 
the  big  shut  down.  This  studio  is 
located  in  Hialeah,  a  suburb  of 
Miami,  and  is  available  for  imme- 
diate use.  *  *  *  A  play  deal- 
ing with  the  custom  of  married 
women's  retaining  their  maiden 
names,  titled  "The  Waning  Sex," 
by  Frederic  and  Fanny  Hatton, 
has  been  produced  on  the  West 
Coast  and  is  to  be  brought  to 
Broadway  at  the  end  of  the  season. 
Lucy  Stone  League,  please  take 
warning!  *  *  *  Oliver  Morosco 
will  put  into  immediate  rehearsal 
a  play  by  Richard  A.  Purdy,  en- 
titled "Across  the  Street."  *  *  * 
Eugene  O'Neill,  author  of  "Anna 
Christie,"  says  that  Thos.  H.  Ince's 
motion  picture  of  the  play  is  a 
"fine,  true  representation,  faithful 
to  the  spirit  and  intent  of  the  orig- 
inal." He  formed  this  opinion  and 
expressed  it  in  a  telegram  to  the 
producer  when  the  film  was  pro* 
jected  for  him  at  the  home  of 
Kenneth  MacGowan,  his  associate 
in  the  direction  of  the  Province- 
town  Playhouse.  Altho  the  show 
lasted  over  two  hours  because  the 
eight  reels  were  projected  by  a 
small  machine  at  less  speed  than  is 
usual  in  a  theater,  the  playwright 
gave  unflagging  attention  to  the 
first  of  his  dramas  to  reach  the 
screen.  * .  *  *  D.  W.  Griffith 
returned  yesterday  from  Virginia 
to  his  Mamaroneck  studios,  after 
photographing  scenes  on  eleven 
historical  spots  for  his  Revolution- 
ary film,  "America."  The  surren- 
der of  Cornwallis  was  taken  in 
Yorktown  on  the  ground  where  it 
actually  occurred.  More  than 
forty  persons  whose  ancestors 
were  present  at  the  surrender  took 
part  in  the  scenes.  Yorktown  gave 
Griffith  a  thrill  by  parking  his  spe- 
cial train  on  a  siding  around  which 
was  buried  a  cache  of  TNT  said  by 
government  officials  to  be  valued 
at  two  hundred  million  dollars. 
This  is  the  army  base  for  high  ex- 
plosives and  the  tracking  where  the 
train  stood  was  on  government 
property.  *  *  *  Dr.  Luigi 
Pirandello  is  seated  on  a  pier  on 
the  Mediterranean  awaiting  word 
from  Brock  Pemberton  that  one  of 
the  Broadway  theaters  is  available 
for  his  plays.  Mr.  Pemberton  will 
probably     come     in     with     either 


"Right  You  Are"  or  "Henry  IV." 
It  is  worthy  of  remark  that  Piran- 
dello gained  Continental  recogni- 
tion thru  America.  After  "Six 
Characters  in  Search  of  an  Author" 
was  produced  here,  Paris  conde- 
scended to  look  at  it.  The  play 
was  a  sensation  and  it  was  fol- 
lowed by  "The  Pleasure  of  Being 
Honest."  Preparations  were  made 
to  show  it  in  London,  but  censor- 
ship supervened.  Then  a  German 
manager  dashed  to  Paris  to  buy  all 
the  rights  in  the  world  to  Piran- 
dello's plays.  Mr.  Pemberton  just 
managed  to  secure  the  American 
rights.  *  *  *  Booth  Tarking- 
ton,  who  wrote  "Pied  Piper  Ma- 
lone"  especially  for  Thomas 
Meighan,  has  consented  to  write 
another  original  story  for  the 
screen,  according  to  Mr.  Meighan. 
So  pleased  was  Mr.  Tarkington 
with  what  he  saw  at  the  Para- 
mount Long  Island  studio  where 
Alfred  E.  Green  is  producing  "Pied 
Piper  Malone"  that  he  immediately 
agreed  to  write  another  story  in 
the  near  future  for  Mr.  Meighan. 
This  is  the  first  time  that  the  fam- 
ous Hoosier  author  has  taken  an 
active  part  in  the  filming  of  one  of 
his  stories.  He  is  chief  supervisor 
of  the  present  film  and  has  spent 
several  days  at  the  company's 
studio  getting  the  story  into  shape. 
Mr.  Meighan's  father  died  unex- 
pectedly last  month  and  altho  both 
Thomas  and  James  Meighan 
hurried  to  Pittsburgh,  they  were 
too  late.  We  extend  our  true  sym- 
pathy to  Mr.  Meighan.  *  *  * 
The  memory  of  Martha  Mans- 
field's tragic  death  is  still  with  us. 
Her  body  was  sent  to  New  York 
for  burial  and  many  friends  of  both 
stage  and  screen  paid  their  last  re- 
spects. We  are  deeply  sorry  for 
the  passing  of  a  sweet  spirit.  *  *  * 
Doris  Kenyon  just  refused  a 
motion-picture  offer  of  $2,500.00  a 
week,  to  play  the  leading  role  in 
"The  Gift,"  a  stage  play  by  Julia 
Chandler  and  Anna  Lambert  Stew- 
arj.  *  *  *  Rehearsals  are  un- 
der way  by  Joseph  Schildkraut  in 
Gladys  Unger's  "The  Robber 
Knight,"  which  Sam  H.  Harris  is 
producing.  Another  of  Miss 
Unger's  plays  is  now  in  the 
hands  of  Leo  Ditrichstein  and 
Lola  Fisher.  *  *  *  Old  Fort 
Schuyler,  New  York,  which 
has  been  practically  abandoned 
for  a  number  of  years,  has 
been  reconstructed  to  appear  like 
the  St.  Lazare  prison  of  Paris  for 


(One  hundred  and  two) 


CI  \ 


nes  m  "  I  he  I  lumming  Bird." 
'ii  information  received  from 
is  thru  Jules  Sevilli,  of  the 
French  Bureau  <>i'  Information  in 
NYw  V'ork,  the  ai  t  department  at 
the  Paramount  Long  Island  studio 
u  as  ahle  ti  ■  reo  instruct  the  prison, 
using  the  old  fort  as  a  foundation. 
*  *  *  No  theatrical  person  lias 
ever  taken  the  town  quite  so  by 
ni  as  did  Dorothy  Stone,  oldest 
daughter  of  Fred  Stone,  when  she 
made  her  debut  with  her  father  and 
mother  at  the  Globe  Theater.  The 
many  things  that  have  been  writ- 
ten about  this  seventeen-year-old 
prodigy  have  not  been  inspired  by 
mawkish  sentimentality,  if  one 
takes  as  evidence  the  manner  in 
which  even  the  hardest  boiled  crit- 
ics have  raved  about  her  talents 
Much  has  been  said  about  how  she 
was  trained  for  her  part  in  the 
mimic  world  from  the  time  she 
was  seven  years  old.  It  was  not  all 
training  that  did  it.  If  ever  the 
theory  oi  heredity  was  proved,  it 
is,  in  her  case.  *  *  *  A  whole 
Warner  contingent  has  arrived 
from  the  West  Coast  studios, 
headed  by  Jack  L.  Warner,  Ernest 
Lubitsch,  his  wife,  and  Erie  Locke, 
the  hitter's  manager.  Lubitsch's 
purpose  in  coming  to  New  York  is 
threefold.  He  has  completed  his 
new  picture,  "The  Marriage  .Cir- 
cle," and  needs  a  rest  ;  his  children 
are  en  route  from  Europe  and  he 
has  come  to  meet  them  :  and  he  has 
to  find  material  for  his  next  picture 
to  he  made  under  the  Warner 
banner.  *  *  *  The  Cosmopolitan 
Corporation  announces  that  it  has 
selected  "Janice  Meredith"  to  star 
Marion  Davies  following  her  ap- 
pearance in  "Yolanda."  "Janice 
Meredith"  has  been  adapted  from 
the  novel  of  the  same  name  by  the 


late    Paul    !  Ford,      II 

.1    romance   ol    the    Revolution 
period   ol    American    h  and 

man)    ol   it  i  i  hai  a<  tei  9  ai  e   tl 
w  ho  w  ei  e  found ei  •  of  the  Amei  i 
v  .in    Republh  ,oi    w  ho   w  ei  c  • 
spicuous  in  its  eat  ly  de>  elopmenl 
I  hose  famous  in  history  w  ho  will 
appear  in  tl 

Ma  s  li  i  ng  t  i  in,    Benjamin 
Fl  a  n  k  I  i  n,      I. a  I  a  \  e  1 1  e,     Sam  uel 

\dams,  John  Hancock,  Rocham- 
beau,  General  Charles  Lee,  Paul 
Revere,  General  Cornwall  is,  Lord 
Howe,  Major  Pitcairn,  King  Louis 

XVI,  and  Marie  Antoinette.  The 
research  necessary  for  the  planning 
of  costumes,  settings  and  multi- 
tudinous details  of  the  production 
has    consumed    nearly    a    year.      It 

has  been  found  necessary  to  scour 

antique  shops,  museums  and  Co- 
lonial homes  in  New  England  and 
New  York  for  paraphernalia,  such 

as  muskets,  swords  and  clothing 
appropriate  to  the  time,  which  will 
give  a  note  of  accuracy.  *  *  * 
Thomas  Meighan  and  his  company 
of  fifty-nine  players  ended  their 
stay  in  Georgetown,  S.  C,  where 
they  have  been  filming  exterior 
scenes  for  "Pied  Piper  Malone," 
with  a  benefit  performance  for  the 
poor  children  of  the  town  which 
netted  six  hundred  dollars.  Mr. 
Meighan  contributed  one  hundred 
dollars  and  other  members  of  the 
company  gave  two  hundred  dol- 
lars, the  balance  coming  from  the 
townspeople  who  paid  to  see  the 
performance.  *  *  *  Vitagraph 
announces  that  it  has  purchased 
world  rights  to  "Borrowed  Hus- 
bands," by  Mildred  K.  Barbour, 
for  the  third  J.  Stuart  Blackton 
production  to  be  released  by  this 
firm.  The  scenario  is  now  being 
written     by     C.     Graham     Baker, 


edit  01  -in-i  Imi  ol  Vitagi  aph.  * 
All..  •  •  1     Smith,  pi  1 

in    London 
win  I         al     Sabatini. 

authi 'i   ol  "<  aptain   Bl<  ■  -r  1  <  1 

pit  tin  c  to      w  In,  h      Mr. 

Smith    pun  hased.        I  le    had    the 
ptional    ex|  1  tid- 

ing   a    da\     with    the    author    and 
tramping    over    th< 
Bridgewater,  w  lure  the  laid. 

Whitman     Bennett     an- 
nounces thai  Ins  -,  reen  production, 
"The    I  lousier    Schoolmaster," 
almost  finished.   From  what  he  has 

already   seen   of  the   film   edition   of 

Edward     Eggleston's    story,    Mr. 
Bennett  believes  thai  the  produi 

tion      adheres      faithfully      to      the 

original  story.    It  is  a  portrayal  of 

the  early  pioneer  days  of  Indiana — 
the  days  of  '53,  when  a  few  hardy 
ad\  OCateS  of  "law  and  order"  coped 
with  night  riders  who  would  have 
made  of  frontier  life  an  en<! 
horror.  It  is  a  story  of  the  period 
in  Indiana  history  when  neighbor 
distrusted  neighbor  and  only  seeds 
of  hate  were  sown  until  the 
Hoosier  schoolmaster  cane  to 
bring  order  out  of.  chaos.  Henry 
Huli  plays  the  lead.  *  *  * 
J.  Parker  Read,  Jr.,  is  producing  in 
Europe  a  film  version  of  Rex 
Beach's  story.  "The  Recoil',"  for 
<  roldwyn.  Betty  Blythe  is  the  star 
and  Mahlon  Hamilton  will  be  seen 
opposite  her.  The  scenes  will  be 
laid  in  London,  Paris,  Rome  and 
Monte  Carlo.  *  *  *  Hodkinson  an- 
nounces for  January  "Grit,"  a  Film 
Guild  production,  starring  Glenn 
Hunter.  The  story  is  by  F.  Scott 
Fitzgerald  and  in  the  cast  is  Clara 
Bow,  who  made  her  film  debut  in 
"Down  to  the  Sea  in  Ships,"  and 
Osgood  Perkins,  who  played  the 
Devil  in  "Puritan  Passions."    :: 


"Seiior  Boos,  Don  Rafael  Deschado 
is  your  worship's  servant."  this  re- 
splendent being  assured  him,  "we 
willdrinkthehealth.no?  Yes?  But 
first  one  so-small  matter  of  business. 
You  Yan-kees  do  not  mind  the  busi- 
ness, yes?  No?"  he  poked  a  playful 
finger  into  Dudley's  ribs,  "you  have 
in  your  consulate  some  property  of 
mine,  a  chest,  no?  Yes!  Ah.  you  will 
deliver  it  to  my  servant  when  you 
return:  Yes?  No?"  Tho  couched 
in  terms  of  a  question,  it  sounded 
more  like  an  order. 

"I'll  be  damned  if  I  will!"  Ains- 
worth  returned  promptly.  What 
would  happen  next  he  did  not  know 
and  he  didn't  particularly  care.  A 
fellow    rigged    up    like    a    musical- 


The  Yankee  Consul 

(Continued  from  page  100) 

comedy  king  giving  orders  to  a  citizen 
of  the  United  States!  His  muscles 
tautened  for  defence,  then  he  uttered 
a  startled  exclamation.  For  an  in- 
stant the  curtains  at  the  end  of  the 
room  had  parted,  showing  the  terri- 
fied face  of  Maria,  more  beautiful 
than  ever  in  its  distress,  then  a  hand 
clasped  around  her  throat,  drew  her 
back  and  the  curtains  closed. 

In  six  strides  the  Yankee  consul 
had  reached  them,  but  the  room  be- 
yond was  empty.  Hot  rage  swept 
him,  he  whirled  violently  upon  the 
two  men  to  demand  an  explanation, 
only  to  find  that  they  too  had  dis- 
appeared ! 

The  next  hour  was  too  crammed 
with   action  to  leave  time   for  sane 


thought.  It  did  not  even  surprise 
him  that  suits  of  armor  should  come 
to  gibbering  life  as  he  raced  down 
endless  stone  corridors  and  hack  at 
him  with  battle-axes  or  that  an 
uppercut  upon  the  point  of  the  vizor 
should  reveal  Leopoldo's  face  within. 

And  then,  from  the  direction  of 
the  sea  came  the  roar  of  a  cannon 
in  salute.  The  umbrella  wavered  in 
Dudley  Ainsworth's  hand.  "Thank- 
God!"  he  gasped,  "the  Navy  got  my 
wireless  for  help  and  has  come." 

The  words  had  a  strange  effect 
upon  the  two  corpses,  bringing  them 
to  life  with  a  start.  Morrell  uttered 
an  exclamation  of  consternation  and 
flung  the  revolver  pettishly  into  a 
far  corner.  "You  .sent  for  the  United 


(One  hundred  and  three) 


Another  Gripping  Instalment  of 

=====  *  *  Thistledown  "= 


By  DANA  GATLIN 

In  which  Hi  Daggett  finds  considerable  opposition  on  the  part  of  his 
high  and  mighty  sister  to  his  meetings  with  Thistledown.  He  has 
somewhat  of  a  shock  when  he  discovers  what  seems  to  be  a  rival  for 

the  hand  of  the  beautiful   waitress ■     But  get  the   March  number 

of  Motion  Picture  and  read  it  yourself — the  farther  you  get  into 
this  gripping  romance,  the  more  surprises  you  will  meet.  The  March 
Motion  Picture  will  let  you  know  just  what  Hi  Daggett  thinks  of 
so-called  family  pride.    There  is  a  lesson  for  all  of  us  in  this. 


"Mae  Marsh  and   Early   Days" 

By  Helen  Carlisle 

Tells  about  the  way  Mae  won  her 
stardom  in  the  movies  and  how  she 
threw  rocks  at  the  dear,  departed 
Bobby  Harron  to  attract  his  atten- 
tion; how  she  idealized  Blanche 
Sweet;  and  how  she  captured  Mary 
Pickford's   interest.       {Appealing) 


The  Movie  Fan  Abroad 
By  One  of  Them 

How  she  cut  out  the  regular  sight- 
seeing for  the  movies  and  discovered 
"Chariot"  (Charlie  Chaplin)  and 
Pearl  White  in  the  French  houses 
and  Harold  Lloyd  in  England,  how 
she  was  corrected  for  saying  "Mov- 
ies" instead  of  "Cinema"  in  London, 
and  spurned  for  passing  up  Michael 
Angelo   in   Rome.      (Humorous) 


Interviewing  Movie  Stars 


Harry   Carr   tells   different    characteristics   of   the    movie   stars   when   being   inter- 
viewed:     Doug    interviews    himself.      Mary   is   so    indiscreet   she    must   be   pro- 
tected  against    herself.      Lillian   Gish    is   the   delight   of   all   scared    little   girl 
interviewers.      Dorothy    the    same.      Pola    Negri    has    inward    contempt    for 
interviewers    but     talks    well    and    thinks     what     she    thinks.       Charlie 
Chaplin  is  easy — gives  striking  ideas  without   coaxing.      Mack   Sennett 
has  to  be  led  by  the  nose  to  the  ordeal.      Norma  Talmadge  least  im- 
pressed by   publicity.      Constance   doesn't   think   about    it   one   way 
or  the  other.      Louise   Fazenda's   interviews  a   hilarious   experi- 
ence.     Mabel    Norman — might    as    well    try    to    interview    the 
March  wind. 


MARCH 


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Under  which  Zodiac  Sign 
were  you  born?  What  are 
your  opportunities  in  life, 
your  future  prospects,  hap- 
piness in  marriage,  friends,  enemies,  success  in  all 
undertakings  and  many  other  vital  questions  as  in- 
dicated by  ASTROLOGY,  the  most  ancient  and 
interesting  science  of  history? 

Were  you  born  under  a  lucky  star?  I  will  tell 
you,  free,  the  most  interesting  astrological  inter- 
pretation of  the  Zodiac  Sign  yeu  were  born  under. 

Simply  send  me  the  exact  date  of  your  birth 
in  your  own  handwriting.  To  cover  cost  of  this 
notice  and  postage,  inclose  12  cents  in  any  form 
and  your  exact  name  and  address.  Your  astrolog- 
ical interpretation  will  be  written  in  plain  lan- 
guage and  sent  to  you  securely  sealed  and  post- 
paid.    A  great  surprise  awaits  you ! 

Do  not  fail  to  send  birth  date  and  to  inclose  12 
cents.  Print  name  and  address  to  avoid  delay  in 
mailing. 

Write  now-TODAY— to  the 
ASTA  STUDIO,  309  Fifth  Ave.,  Dept.  133,  New  York 


States  Navy?"  he  wailed,  "a  nice 
mess  you've  got  us  in !" 

The  faces  of  Leopoldo  and  Don 
Rafael  registered  ludicrous  dismay. 
Maria  helpless  with  laughter  had 
sunk  upon  the  chest.  With  growing 
comprehension  Ainsworth's  glance 
traveled  from  one  to  the  other.  Very 
slowly  he  clicked  his  heels  together 
and  made  them  a  stiff  little  bow.  "I 
confess,"  he  said  curtly,  "that  I  dont 
see  it  all  yet,  but  I  take  it  I  have  been 
furnishing  you  with  a  good  deal  of 
amusement  by  playing  the  fool.  If 
you  are  quite  thru,  perhaps  you  will 
excuse  me " 

He  was  turning  away  but  a  small 
hand  touched  his  arm.  The  laughter 
had  slipped  from  Maria's  lips:  "Oh 
you  mustn't  think  that !  It  was  all  a 
plot  to  furnish  you  with  an  interest 
in  life.  Jack  was  terribly  worried 
about  you  when  he  had  dinner  with 
us  last  week  and  we  decided  that  you 
needed  something  to  take  your  mind 
off  yourself  and — and — your  collar 
buttons !" 

Morrell  gripped  his  friend's  hand. 
"If  it  will  make  you  feel  any  better 
to  kick  me  downstairs.  Dud.  old  fel- 
low, go  ahead  and  kick.  But  dont 
blame  the  others,  they're  all  good 
friends  of  mine  and  I  persuaded 
them  into  it.  I  meant  well,  but  I 
didn't  reckon  on  your  sending  for  the 
Navy !" 

Ainsworth's  set  face  relaxed.  He 
smiled  grudgingly. 

Maria  turned  from  the  window. 
"No  need  to  worry  about  the  Ad- 
miral!" she  exulted.  "I  can  see  the 
flags  on  the  launch — it's  the  Bellcr- 
pJwn  that  got  your  message,  and  my 
Uncle  Walter  is  in  command !  But 
I  am  afraid  your  reign  is  almost  over, 
Mr.  Consul!" 

Dudley  Ainsworth  took  a  step  to- 
ward her  and  there  was  something  in 
his  expression  that  sent  the  others 
hastily  tiptoeing  out  of  the  room. 
Morrell,  last  to  leave,  turned  on  the 
threshold,  "Oh,  by  the  way,  Dud,  let 
me  introduce  Miss  Mary  Rutledge — 
she's  the  girl  I  wanted  you  to  meet 
in  New  York.  Mary's  awfully  clever. 
I  bet  she  even  knows  how  to  put  col- 
lar buttons  in  shirts " 

In  two  strides  Dudley  reached  the 
door,  slamming  it  on  his  chum's  grin, 
then  he  turned  back  into  the  room. 
"A  joke?"  he  asked  softly,  taking  the 
lovely  face  before  him  between  his 
big  palms,  "was  it — all  a  joke,  my 
dear?  The  things  I  said  to  you  this 
afternoon — the  things  you  said  to 
me  ?" 

A  lusty  knock  sounded  on  the  door, 
"I  say.  Dud,"  Morrell  called,  "how 
about  it  ?  Do  I  win  the  ten  thousand  ?" 

He  rapped  again,  more  loudly,  but 
there  was  no  answer.  The  two 
within  had  not  heard.    .    .    . 


(One  hundred  and  four) 


Beauty  Is  Its  Own  Excuse  for  Being 

We  do  not  have  to  make  excuses  for  the  beautiful  things  of 
the  world — and  in  this  spirit  we  are  presenting  the 

Big  March  Number  of  Beauty 


which  is  more  brimful  than  ever  of  the  good  things  that  make 
for  a  beautiful  woman,  from  the  secret  formula  of  a  charming 
character  to  the  art  of  wearing  clothes. 


The  Thoughtful  ♦  ♦ 
♦         ♦         ♦         Twenties 

A  never-to-be-forgotten  folio  of  seven  lovely  young 
women  who  are  just  over  or  under  twenty.  This 
alone  is  worth  the  price  of  the  magazine. 


Follies'  Girls  ♦  ♦  ♦ 
♦    Reveal  Beauty  Secrets 

A  Quartette  of  Follies'  Girls  Reveal  Their  Beauty 
Secrets,  a  two-page  spread  with  exquisite  portraits  of 
girls,  and  their  own  rules  for  preserving  their  beauty 
of  face  and  figure. 


DEPARTMENTS  TO  BE  CONTINUED:  Dr.  Brewster  will  discuss  the  subject  of  "Nerves"  and  give 
advice  and  a  scheme  of  living  to  nervous  women.  Josephine  Bessems  will  talk  to  the  woman  who  has  no 
"pep"  and  give  her  a  special  diet.  Penelope  Knapp  will  discuss  relaxation.  Frances  Harmer  in  her  depart- 
ment, "The  Lady  Looks  About  Her,"  will  give  the  latest  news  about  what  women  in  society,  on  the  stage  and 
in  the  movies  or  in  public  life  are  wearing,  are  doing  and  talking  about. 


Inspirational,  main-  sided,  distinctly  individual,  this  magazine's  policy  is  to  arouse 
woman  to  seek  beauty  as  her  inalienable  right,  using  its  radiating  influence  for  good, 
so  that  she  as  well  as  those  about  her  may  be  happier.  There  is  no  doubt  about  it, 
the  best  effort  of  this  aristocratic  magazine  is  to  be  found  in  the 


On  All  News-stands 
25c    Per  Copy 


March 


Yearly  Subscriptions,  §2.50 
Two  Years    ....  $4.50 


(One  hundred  and  five) 


^Wv^^y.^*»g= 


i-<SF5^552=JL- 


DEFINITION 

The  practice  of  Chiropractic 
consists  of  the  palpation 
and  adjustment,  with  the  hands, 
of  the  movable  segments  of  the 
spinal  column  to  normal  posi- 
tion for  the  purpose  of  releas- 
ing the  prisoned  impulse. 


FOR 
.It1   ' 


By  Merit  Alone, 
Chiropractic 


has  grown  from  an  idea  in  the  mind  of 
one  man  in  1905,  to  the  second  largest 
health  profession  in  the  world. 

There  are  now  approximately  25,000  prac- 
titioners, more  than  a  hundred  schools  and 
about  15,000  students. 

Twenty-six  state  governments  have  recog- 
nized the  science  as  distinct  and  different  from 
anything  else  on  earth. 

In  less  than  nineteen  years  this  growth  has 
been  effected  by  reason  of  its  efficiency  as  a 
health  method. 

Chiropractic  has  never  had  a  single  dollar 
of  endowment  from  state  or  national  govern- 
ments. It  has  overcome  the  prejudice  of  the 
public  and  adverse  laws  in  every  state  in  the 
Union  by  its  results  upon  the  sick. 

It  has  recruited  its  patients  from  among 
those  upon  whom  other  methods  failed,  and 
with  these  failures  of  other  methods  upon 
which  to  prove  its  efficiency,  it  has  made  the 
most  phenomenal  growth  of  any  health  method 
in  the  history  of  the  world. 

TRY  CHIROPRACTIC  AND  GET  WELL 


Write  for  information  regarding  Chiropractors  or  Schools  to  the 


Universal  Chiropractors  Association,  Davenport,  Iowa,  U.  S.  A, 


All  Rights  Reserved 


<jgi<ft.\s&.^j^.^.^.^^ 


EDWARD    LANGER   PRINTING    ro. .    INC.. 
JAMAICA      NEW    YORK    CITT. 


(One  hundred  and  six) 


the  loveliest  of  screen  stars 
tells  a  priceless  beauty  secret 


L.LEICHNEfL 

Imported 
Toilette    Preparations 

Face  Powder 
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Qrease  Paints 
Solid  Rouge 
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Eyebrow  Pencils 
Lip  Sticks 

STAGE    FAVORITES    FOR 
OVER  HALF  A  CENTURY 


fcichner5  Fettpowde* 


THE  charm  of  Mary  Pickford  has  won  such 
adoration  as  no  queen  in  the  world's  history 
has  ever  enjoyed.  Her  vivid  personality,  her  ap- 
pealing beauty  will  never  be  forgotten  by  any 
man  or  woman  who  has  seen  one  of  her  screen 
masterpieces. 

Miss  Pickford  well  knows  the  priceless  value  of 
her  own  loveliness.  Under  the  scorching  sun  and 
blustery  wind  of  outdoor  "locations'"  her  skin  must 
be  protected.  In  the  studio,  under  the  blinding 
glare  of  the  lights,  she  must  always  look  her  best. 
Rouge,  lip-stick,  and  especially  powder,  must  be 
selected  with  the  most  scrupulous  care,  for  only 
those  preparations  of  the  most  perfect  tint  and 
texture  can  stand  the  test  of  the  picture-making 
profession. 

Under  these  most  trying  conditions, 
indoors  or  out,  Miss  Pickford  choos- 
es the  products  of  L.  Leichner. 
She  finds  that  for  perfect  protection, 
for  permanence  and  for  appealing 
daintiness  nothing  can  equal  them. 

Here,  at  last  then,  is  the  ideal  powder 
for  the  modern  woman  who  lives 
under  conditions  varying  almost  as 
widely  as  those  which  obtain  in  the 
"movie"  world.  Out-of-doors,  at 


the  theater,  in  the  ball-room,  under  sunshine  or 
artificial  light,  Leichner 's  powder  brings  out  and 
preserves  the  charm  and  beauty  of  your  face.  Soft, 
fragrant  and  amazingly  lasting,  it  is  a  refreshing 
delight  to  the  most  delicate  skin. 

Leichner's  powder  is  made  in  every  tint  and  shade 
to  suit  the  individual  requirements  of  every  type 
and  coloring.  It  is  for  sale  at  all  first  class  drug 
and  department  stores.  If  your  dealer  cannot  sup- 
ply you,  clip  the  coupon  below  and  mail  it  today 
with  fifty  cents  for  a  large  size  box.  Be  sure  to  in- 
dicate on  coupon  the  tint  desired.  Until  you  have 
used  this  wonderful  powder  you  cannot  know 
the  luxurious  enjoyment  of  a  perfect  toilette.  With 
Leichner's  powder  you  always  look  your  best. 

L.  LEICHNER. 

Sole  Distributors:  GEO.  BORGFELDT  &.  Co. 

Ill  East  16th  Street        New  York 

I 1 

Geo.  Borgfeldt  &.  Co. 

Ill  EAST  16tH  STREET,  NEW  YORK 

Gentlemen:  I  enclose  50c.  Please  send  me  prepaid 
one  box  of  Leichner's  Face  Powder.  I  have  checked 
shade  desired. 

D  White  D  Flesh  □  Rachel  C  Flesh  Brunette 
D  Deep  Brunette         D  Light  Brown 

Name 

Address ', 

City State        


THE  COMPLETE 
MANICURE 

Send  12c  for 
Special  Introductory  Set 

The  polish  is  the  last  step  of  the 
famous  Cutex  manicure.  First 
shape  the  nails  with  the  Cutex  em- 
ery board.  Then  soften  the  cuticle 
and  remove  all  the  dead  skin  with 
Cutex  Cuticle  Remover  and  a 
Cutex  orange  stick.  Then  comes 
Cutex  Liquid  Polish  or  the  new 
Powder  Polish.  Between  mani- 
cures, keep  the  nails  smooth  and 
healthy  with  a  little  Cuticle  Cream 
(Comfort). 

Send  the  coupon  below  with  12c 
today  for  the  special  Introductory 
Set  containing  trial  sizes  of  all  these 
things.  If  you  live  in  Canada  ad- 
dress Dept.  N  2,  200  Mountain 
St.,  Montreal,  Canada. 


Cutex 


New  Liquid  Polish 
with  all  the  features 
women  want 

Now  another  convenience  for  the  smart  woman's  manicure  has 
been  perfected  by  the  makers  of  Cutex.  A  liquid  polish  with 
all  the  features  the  fastidious  woman  has  wished  for. 

Won't  dry  in  ridges  Lasts  a  'whole  'week 

JVon't  peel  off  (ji-ves  a  brilliance  'water  'won't  hurt 

Dries  almost  instantly         Needs  no  separate  polish  remo'ver 

Cutex  Liquid  Polish  is  just  thin  enough  to  spread  evenly  so  the 
nails  never  look  thickened  or  varnished.  The  brush  holds  just 
enough  polish  for  one  nail.  When  it  is  time  for  a  fresh  manicure 
the  nails  are  still  rosy,  smooth  and  bright.  You  can  get  it  at 
any  drug  or  department  store  for  35c,  or  in  the  $1.00  and  $3.00 
sets.    Sets  with  other  polishes  are  60c  and  $1.50. 

MAIL  THIS  COUPON  WITH  12c  TODAY 


Jlquid  Polish 


Northam  Warren,  Dept.  n  2. 

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I  enclose   12c  in  stamps  or  coin  for  new  Introductory  Set  in- 
cluding a  trial  size  of  the  new  Cutex  Liquid  Polish. 


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r\VJIIVJIN   PICI  VUL 


OCTOBER 


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f*~K~  T*-_  :  _  i 


A   BREWSTER    PUBLICATION 


r 


^OOuouOt/'0 


ncwfaccpoudro 


Mada 


AS  MADAME  well  knows,  finding 
Cy~\  poudre  of  a'  weight  neither  too 
heavy  nor  too  light  has  been  much  like 
pursuing  the  rainbow's  end. 
For  that  reason,  changing  from  one 
poudre  to  another — ever  seeking,  never 
finding — has  become  perforce  almost 
a  habit  to  most  women. 
Now  Lournay  offers  poudre  of  a  new 


weight  and  extraordinary  adhesive- 
ness, achieved  under  new  principles 
of  the  laboratory.  To  you,  Madame, 
Mademoiselle,  it  will  prove  a  reve- 
lation. 

Correct! — the  weight.  Exquisite  the 
texture  —  indescribable  the  fineness 
that  blends  so  perfectly  with  one's 
skin!   And  scented  with 


1VANTE 

that  languorous  fragrance  of  living  flowers  which  has  swept  over 
the  world  like  a  happy  bon  mot.  To  try  it  is  to  adore  it  —to  seek 
no  longer!    At  your  favorite  shop  -  POUDRE   V1VANTE.' 


PARIS 
Rue  de  la  Pai.\ 


NEW   YORK 
509.   Fifth  Avenue 


5  tints: 

Blanche 

Naturelle 
Rachel 
Rosee 
Monte  Carlo 


C'est  tres  important 

So  as  to  avoid  the  faux  pas 
of  discord  in  one's  scheme 
of  fragrance  a  creme  of  one 
scent,  poudre  of  another, 
rouge  of  yet  another!  — 
L'od;ur  Vivante  wafts  its  per- 
sonality throughout  all  arti- 
cles de  toilette  by  Lournay. 

Vivante  Extract  .  .  $1,  $3,  $6 
Toilet  Water  .  .  $1.25,  $3,  $6 

Face  Powder $1.00 

Crime  de  Beaute 50c 

i  Vanishing  Cream  i 
Creme  de  Toilette  .   .  50c,  $1.00 
(Cold  Cream) 

Skill  Food $1.50 

Powder  Compact  .  ...  $1.00 
Rouge  Compact  .  .  50c,  $1.00 
Vivante  Talc  .    .    .   25c,  $1.00 


The   Chandon   Company.    509    Fifth  avenue.  New  York,  exclusive  Distributors  for  the  United  states 


Watch  3  to  10  Inches  Vanish 
From  Hips  and  Waist 


Safest,  healthiest  way  to  reduce!  The  amaz- 
ing Madame  X  Girdle  massages  away  excess 
fat  almost  before  you  know  it.  Worn  as  a 
corset.  The  instant  you  put  it  on,  you  look 
inches  thinner  and  years  younger.  Gives  you 
at  once  Fashion's  trim,  straight,  boyish  lines. 


Tl  1 1  ■".  m.ir\  elous  sci<  in  It'u-  Madame 
X  Reducing  Girdle  improves 
your  appearance  immediately 
.iiul  reduces  your  waist,  hips, 
thighs  and  abdomen  almost  while  you 
wait."  I"he  instant  you  put  it  on,  tin- 
bulky  fat  on  waist  and  hips  seems  to 
vanish,  the  waistline  lengthens  and 
your  figure  becomes  erect,  graceful, 
youthfully  slender!  And  then,  with 
.  step  you  take,  with  every  breath, 
the  fat  is  met  by  new  live  rubber  which 
■nth/  massages  it  away — though  you 
hardly  know  you  have  the  girdle  on. 
women  lose  one  to  three  inches 
the  very  first  week  and  thousands 
have  lost  from  seven  to  ten  inches  in  a 
remarkably  short  time! 

Physicians  Endorse  It 

The  Madame  X  i^  the 
safest,  surest,  healthiest  way 
to  reduce.  Its  principles  art- 
endorsed  by  reputable  physi- 
cians everywhere  not  only  for 
its  reducing  action  but  be- 
cause of  the  support  it  gives 
the  figure.  It  is  made  of  the 
highest  grade,  dry  heat- 
cured,  live  rubber  (the  same 
kind  used  by  famous  athletes 
for  healthful  reducing  pur- 
poses) and  is  based  on  scien- 
tific massage  principles  that 
have  caused  reductions  of  5, 
10,  20  pounds  and  more. 
The  rubber  is  live  and  there- 
fore gives  you  a  real  massage 
effect.  Only  live  uncovered 
rubber  can  hold  and  knead 
the  fat,  so  that  it  is  gently 
eased  away.  Strong  enough 
to  really  hold  you  in  and  give  you  the 
necessary  support  and  a  new  'way  of 
reinforcing  eliminates  all  danger  of 
splitting  or  tearing.  No  more  protrud- 
ing abdomen — no  more  fat,  bulgy  hips! 
The  Madame  X  Reducing  Girdle  does 
away  with  them  forever! 
The  Madame  X  fits  you  as  smoothly 

and   snugly  as  a   kid  glove, 

]&'*£$  ar>d  is  so  constructed  that  it 

■^V   fits  right  into  the  figure  and 

\    touches  and  gently  massages 

every  inch  of  the  surface  con- 


tinually. 


woni    oiyr 


.Y.      Hand  Turned  Hem 

I'rt-.itUs     Splitting     or 

Tearing 


It    is  always 
the    under- 
garment . 

Worn  Over  the 
Vest 

It  encircles  the  hips 
and  thighs  as  well  as 
the  abdomen  and  holds 
them  in.     It  comes 

well    up   over    the   dia- 
phragm   and    supports 
the  muscles  of  back  and 
sides,    helping    prevent 
fatigue.       Observe    the 
front  cut-out  which  in- 
sures    perfect     comfort 
while  you  sit,  work  or 
play.      And  the  special 
lacing  in  the  back  which  makes  it  easy 
to  adjust  as  you  become  more 
slender.  The  garters  hold  the 
Madame  X  firmly  in  place,  so 
that  while  you  enjoy  maxi- 
mum   freedom     of     motion, 
your  entire  figure  is  held  in 
firmly  and  the  body  is  kept 
erect  and  well-poised. 

Leading  Actresses 
Wear  It 

Step  into  the  Madame  X 
Girdle  and  you  will  readily 
see  why  so  many  prominent 
actresses  are  so  enthusiastic 
about  it.  You  can  wear 
stylish,  becoming  clothes  at 
once!  It  gives  you  immediate- 
ly the  smooth,  straight,  un- 
broken lines  that  add  so 
much  to  the  appearance — 
and  absolutely  insures  your 
remaining  slender.  Thousands  of  slen- 
der women  wear  the  Madame  X  solely 
for  its  wonderful  comfort. 

So  great  is  the  popularity  of  the 
Madame  X  that  one  of  New  York's 
largest  stores  was  recently  forced  to 
throw  open  a  whole  new  department  to 
handle  the  crowds. 

See  the  Madame  X  Reducing  Girdle 
for  yourself.  Also  be  sure  and  ask  to 
see  the  new  Madame  X  Brassiere  which 
does  for  the  upper  figure  just  what  the 
girdle  does  for  the  waist, hips  and  thighs. 


p»t. 

H>>  13 


Miss 

Gilda 

Gray 

the  famous 
dancer  and 
Ziegfeld  Follies 
star,  says: 

"The  Mad- 
ame X  corset 
does  all  that  is 
clai  med  for  it 
and  more.  It  is 
really  a  reduc- 
ing corset  that 
reduces,  and  so 
easily  and  com- 
fortably worn, 
it  is  a  joy  as 
well  as  a  bene- 
faction." 

(signed) 
GILDA  GRA  Y 


Photo  by  Ei'.utard  Thayer  Monroe 


Note:  To  avoid  disappointment  always  insist  on  the  Mad- 
ame X,  the  original  reducing  girdle,  which  is  made  of  pure, 
live,  dry  heat-cured  rubber,  the  strongest  and  most  durable 
rubber  known,  with  special  hand  turned  hem  which  prevents 
splitting  or  tearing. 

Write  for  new  24  page  booklet  "The  N'ew  Healthful  Way  to 
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Sherman.  Prom  the  novel  by  Booth  Tarkington  and  the 

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Adolph  Zukor  and  Jesse  L.  Lasky  present 

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Adolph  Zukor  and  Jesse  L.  Lasky  present 
GLORIA  SW ANSON  in  "MANHANDLED" 

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OCTOBER,  1924 


No.  2 


Com  k  Portrait    Bi  bi  Danih  a 

Painted  bj    E,  Dahl  from  a  photograph  by  Russell  Ball 

Classic's   Gallery   Of   Players,  Stage  and   screen " 

Where   Was   the   Camera? Dorothy    Donnell  16 

Jetta  and  Her  Temperament I  lorry    (.  'at  r  20 

Some  Costume  Caricatures De  Pamv  22 

Cleopatra,  Famous  Heroines  No.  \  1 1 1      Posed  bj   Jane  Cowl 

The  Drama's  Pousse  Cafe,  Classic's  department  of  vaude\  ille 24 

K The  Unknown,  A  short  story Patricia  Cork  Dugan  27 

"Great  Britain's  Queen  of   Happiness" 31 

Hollywood  Homes  No.  XXIV.     Marshall  Neilan  and  Blanche  Sweet's 32 

"Elsie  Janis  At  Home,"  A  picture  page 54 

The   Romance  of  the   Extra Orville   C  aldtvell  35 

On  the  Wings  of  Song,  Two  sonnets Doris    Kenyan 

Doug  and  Mary  Vacationing  at  Aix-les-Bains W 

A  Thousand  Dollars  a  Day! Jim    Tully  40 

Classic's  Gallery  Of  Handsome  Men  No.  V.     Conrad  Nagel 42 

Who's  Who?     On  stage  and  screen 43 

The  Photographer  Takes  the  Stage 44 

The  Play  of  the  Month,  Is  "Abie's  Irish   Rose" Kenneth  Macgowan  4<> 

The  Picture  of  the  Month,   Is  "Manhandled" Laurence    Reid  47 

The  Celluloid  Critic,  M r.   Reid  goes  to  the  movies 48 

Iris  In,  Pertinent  and  impertinent  screen  chatter H.    //'.   Hanemom  50 

Flashes  From  the  Eastern  Stars,  Of  the  stage,  on  the  screen Caught  by  the  Editor  51 

The  New  Contest,   I >ont  miss  this  page 52 

In  A  California  Garden,  "Fine  Arts",  series  No.  IV 55 

Tess  of  the  D'Urbervilles,  Written  in  short-story  form Dorothy  Donnell  56 

Rex,  King  of  Wild  Horses,  His  story Tom    Reeves  62 

The   Hollywood   Boulevardier   Chats Flurry    Carr  64 

Dick  At  West  Point,  A  picture  page 68 

The   Movie   Encyclopaedia By  the  Answer  Man  11 


K 


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Published  Monthly  by  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,  Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.  Y.,  as  second-class  matter,  under  the  act  of  March  3rd,  1879.    Printed  in  V.  S.  A. 
Eugene  V.   Brewster,   President  and  Editor-in-Chief ;  Duncan  A.   Dobie,   Jr.,    Vice-President  and  Business  Manager; 
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Copyright,  1924,  by  Brewster  Publications,  Inc.,  in  the   United  States  and  Great  Britain. 

Susan   Elizabeth  Brady Editor 

F.  M.  Osborne Managing    Editor 

Harry    Carr Western    Representative 

A.   M.    Hopfmuller Art    Director 

Classic  comes  out  on  the  12th  of  every  month.  Motion  Picture  Magazine  on  the  1st,  Beauty   on   the    15th 


Announcement  for  November 

MARION   DAVIES  and  her  "Janice  Meredith"  curl  on  a  lovely  lavender  cover 

"WHO'S  ZOO  AT  THE  STUDIOS?" 

Is  the  title  of  one  of  those  clever  and  informative  articles  by  Dorothy  Donnell  about 
the  animals,  wild  and  tame,  in  the  movies:  How  they  are  trained;  where  they  are  kept;  their 
habits,  family  life,  working  hours  and  so  forth. 

"Almost  the  only  animal  that  cannot  be  found  in  Hollywood  is  the  well-known  wolf 
at  the  door." 

Says  the  writer  of  this  original  and  wittv  storv.  There's  another  Jim  Tully  story  too, 
and  Harry  Carr  interviews  the  firm's  first  villain.  Wallace  Beery.  You  cant  possibly  over- 
look  the    November   number   of   "That    Different  Screen 


(Five) 


Current  Stage  Plays 

Tabloid  Reviews  by  Marion  Martonc 

(Readers  in  distant  towns  trill  do  well  to  preserve  this  list  for  reference  when  these 
spoken  plays  appear  in  their  vicinity.) 


v>  - 


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Ambassador. — "The  Dream  Girl."  A  musical 
version  of  "The  Road  to  Yesterday."  Music  by 
Victor  Herbert.  With  Fay  Bainter,  Walter  Woolf, 
Edna  May  Oliver,  George  LeMaire,  Billy  B.  Van, 
Harry  Delf  and  Wyn  Richmond. 

Apollo. — "Scandals."  George  White's  new  re- 
vue ;  an  elaborate  and  lively  show.  Among  the  prin- 
cipals in  the  cast  are :  Winnie  Lightner,  Lester 
Allen,  Tom  Patricola,  Will  Mahoney,  Richard  Bold, 
Helen  Hudson,  Newtown  Alexander,  Thea  Lightner, 
Olive  Vaughn,  The  Williams  Sisters,  Elm  City 
Four,  Alice  Weaver,  Sally  Starr,  James  Miller,  and 
the  De  Marcos  and  their  seven  sheiks. 

Booth. — "Dancing       Mothers."         A       play       by 
Edgar      Selwyn      and      Edmund      Goulding,      with 
Helen    Hayes,    Mary    Young,    Henry    Stephenson, 
John  Halliday  and  others. 

Broadhurst. — "Beggar  on  Horseback."  An  odd  and  interesting 
dream  play,  in  which  a  poor  struggling  composer,  under  the  in- 
fluence of  an  opiate,  goes  off  into  a  troubled  sleep  and  has  a  night- 
mare. Roland  Young  gives  a  fine  performance  as  the  composer 
who  moves  through  the  nightmare.  A  fantastic  pantomime  with 
charming  music  is  introduced  in  the  second  act. 

Carroll. — "Kid  Boots."  A  gay  musical  comedy  with  gorgeous 
settings  and  costumes.  Eddie  Cantor  furnishes  some  excellent 
comedy  as  caddie  master  and  private  bootlegger,  while  Mary  Eaton 
supplies  some  exceptionally  good  dancing  and  singing. 

Casino. — "I'll  Say  She  Is."  The  clever  Marx  Brothers'  quartet 
in  a  delightful  musical  comedy  revue.  It  has  a  splendid  cast 
which  includes  Cecile  d'Andres,  who  performs  some  sensational 
and  daring  dances,  and  the  three  De  Villon  sisters  of  the  Folies 
Bergere,  Paris. 

Century. — -"The  Miracle."  A  gorgeous  spectacle  which  no  one 
should  miss ;  magnificently  staged  and  acted. 

Cherry  Lane. — "The  Way  of  the  World."  Congreve's  comedy. 
Review  later. 

George  M.  Cohan. — "The  Haunted  House."  A  play  by  Owen 
Davis.     Review  later. 

Colonial. — "The  Chocolate  Dandies."  A  Negro  revue.  Review 
later. 

Cort. — "Fashion."  A  revival  of  a  comedy  of  manners ;  the 
sensational  success  of  1845. 

Daly's. — "White  Cargo."  Leon  Gordon's  vivid  play  about  a 
young  Englishman  who  succumbs  to  the  wiles  of  a  half-breed  in 
the  absence  of  white  women  on  the  west  coast  of  Africa.  The  cast 
includes  Conway  Wingfield,  Richard  Stevenso::  and  A.  E.  Anson. 
Empire. — "Grounds  for  Divorce."  A  comedy  from  the 
Hungarian.     Review  later. 

Fifty-second  Street  Theater. — "The  Crazy  Quilt."  A  revue 
something  like  "Chariot's  Revue." 

Forty-eighth  Street.  —  "Expressing 
Willie."  A  delightful  comedy  by  Rachel 
Crothers  in  which  a  simple  girl  from  the 
Middle  West  happens  among  a  week-end 
party  in  a  country  house  on  Long  Island, 
and,  by  her  goodness,  exposes  and  humbles 
the  demi- fashionable  and  demi-  fakes. 

Forty-ninth  Street.  —  "The  Werwolf." 
A  play  from  the  German  of  Rudolph 
Lothar,  adapted  by  Gladys  Unger,  with 
Laura  Hope  Crews,  Lennox  Pawle,  War- 
burton  Gamble,  Leslie  Howard,  Bela 
Lugosi,  Marion  Coakley,  and  others. 

Frazec. — "Sweeney  Todd."  An  excel- 
lent and  well-acted  revival  of  the  old 
English  melodrama  about  a  murderous 
barber.  The  program  also  includes  "Bom- 
bastes  Furioso" — a  sensational  burlesque 
operetta. 

Fulton. — "Top  Hole."     Musical  comedy. 
Review  later. 
Garrick. — "Fata    Morgana."      An   ironic 


Classic  Lists  the  Plays  in  New 
York  That  You  Should  See 

The  Miracle 
Chariot's  Revue 
The  Show-Off 
White  Cargo 
Expressing  Willie 


comedy  of  Hungarian  country  manners  and  Budapest 
morals.  The  cast  includes  Morgan  Farley,  Emily 
Stevens  and  Helen  Westley. 

Gaiety. — "Silence."  A  play  by  Max  Marcin. 
Review  later. 

Globe. — "Keep  Kool."  A  clever  and  comic  revue 
with  Hazel  Dawn,  Johnny  Dooley,  Charles  King,  Ina 
Williams,  and  others. 

Greenwich  Village. — "All  God's  Chillun  Got 
Wings."  A  tragic  story  of  a  stumbling,  groping 
Xegro  law  student  who  tries  to  break  down  the 
barriers  separating  the  white  and  the  black  races. 

Harris. — "Plain  Jane."  A  lavishly  produced  mu- 
sical comedy  in  which  the  heroine,  Lorraine  Manville, 
invents  something  new  in  rag  dolls.  This  comedy  is 
made  popular  by  its  slick,  smart,  exciting  dancing  and 
extremely  beautiful  tunes.  The  cast  includes  Joe  Laurie,  Jr., 
Marion  Saki,  and  May  Cory  Kitchen. 

Hippodrome. — Keith  vaudeville.  The  greatest  entertainment  in 
the  world's  largest  theater. 

Hudson. — "Cobra."  A  well-acted  play  of  sex  reactions.  Judith 
Anderson  plays  the  role  of  a  snakish  charmer  who  lures  a  rich 
youth  into  marriage. 

Imperial. — "Rose-Marie."    A  musical  comedy.    Review  later. 
Klaiv. — "The  Green  Beetle."  A  play  by  JohnWillard.  Review  later. 
Liberty. — "Vanities."    Earl  Carroll's  annual  revue.    Review  later. 
Little. — "Pigs."    A  comedy.     Review  later. 
Lyceum. — "The  Best  People."     A  comedy  by  David  Gray  and 
Avery   Hopwood,  adapted   from  David   Gray's   story,   "The    Self- 
Determination   of   the   Lennoxes,"    with   James    Rennie,    Florence 
Johns,  Frances  Howard,  Hope  Brown  and  Charles  Richman. 

Miller's. — "Strange  Bedfellows."  A  pleasantly  foolish  comedy 
in  which  William  Courtleigh  plays  the  role  of  a  Tammany  type 
political  boss  who  proves  he  is  honest  when  he  tries  to  beat  big 
business  and  high  society  grafters  by  directing  the  campaign  of  a 
woman's  party.  Majorie  Gateson,  Glenn  Anders,  Alice  Fleming 
and  others  make  up  the  cast. 

Morosco. — "No  Other  Girl."  Musical  comedy,  with  Helen 
Ford,  Eddie  Buzzell,  Francis  X.  Donegan,  Henry  Mortimer, 
John  Sheehan,  Ruth  Conley,  Doris  Eaton,  and  Helen  Carrington. 

Music  Box. — "No,  No,  Nanette."  Musical  version  of  "My  Lady 
Friends."    Review  later. 

Neighborhood. — "Grand  Street  Follies."  Is  somewhat  of  an 
American  "Chariot's  Revue."  Exceedingly  smart  and  "peppy." 
Pokes  fun  at  everything  and  everybody.  "Little  Theater"  groups 
should  see  this  perfectly  splendid  "spoofing." 

New  Amsterdam. — "Follies."      A    new    "Follies"    in    which   the 
American  girl  is  again  glorified  in  the  characteristic  Ziegfeld  way. 
A  lavish  production.    Will  Rogers,  Ann  Pennington,  Lupino  Lane, 
Viviene  Segal,  Irving  Fisher,  Evelyn  Shaw,  Martha  Lorber,  and 
George  Olsen  and  his  orchestra  are  mem- 
bers of  the  cast. 

Palace. — Keith  vaudeville.  Always  a 
good  bill,  and  drawing  more  and  more 
talent  from  the  headliners  of  the  regulars. 
Playhouse.— "The  Show-Off."  A  highly 
entertaining  comedy  of  an  American 
family,  the  daughter  of  which  is  in  love 
with  a  vain  and  untrustworthy  braggart 
who  is  forever  getting  himself  and  those 
about  him  into  some  kind  of  mess. 

Princess.— "The  Wonderful  Visit,"  by 
H.  G.  Wells  and  St.  John  Ervine,  in  which 
Catherine  Murphy  plays  the  role  of  an 
angel  who  falls  to  earth  and  exposes  the 
evil  doings  of  the  earth  dwellers. 

Republic— "Abie's     Irish     Rose."       An 

amusing  study  in  temperaments  of  the  Irish 

and  the  Jew,  in  which  the  irreconcilable  is 

reconciled  thru  emotion. 

Rite. — "Hassard    Short's    Ritz    Revue." 


(Continued  on  page  8) 


(Six) 


ITS  HERE  AT  LAST/ 

cIhe  Great  American  Picture 


AND  what  more  natural  than 

/%    that  it  should  tell  the  en- 

•     •  grossing  story  of  a  great 

American  —  in  many   ways  the 

greatest  of  all  Americans. 


"Here  is  a  screen  epic  if 
ever  there  was  one  — some- 
thing to  be  mentioned  in  the 
same  breath  as  'The  Birth 
of  a  Nation,'  which  it  even 
surpasses. " 

-  BOS  TON  A  D  VER  TISER. 


AL  and  RAT  ROCKETTS 

ABRAHAM  LINCOLN 

Scenario  by  FRANCES  MARION    Directed  hu  PHILIP  ROSEN 


THE  best  proof  in  the  world  that  fact  can  be  every 
bit  as  thrilling  as  fiction  is  to  be  found  in  this  re- 
markable photoplay.  It  is  film  entertainment  of 
the  finest  sort.  Happily  it  was  realized  that  the  life  of 
the  great  emancipator,  unvarnished  and  unaltered, 
contained  all  the  elements  that  make  for  genuine 
drama  of  the  kind  that  holds  an  audience  spellbound. 

During  its  tense  moments  you  scarcely  dare  breathe  lest 
you  dispel  the  charm  which  has  been  woven  around  you 


Yoar  local  theatre  will  shew  "Abraham 
Lincoln."  Learn  when  by  inquiring 
at  the  box  office. 


A  Kr>&t  national  Picture 


(Seven) 


Miss  Charlotte  Stevens,  Christie  Film  Company. 


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Dance  Like  This" 

— Sergei  MarinoS 
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Current  Stage  Plays 

(Continued  from  page  6) 

Revue  by  Anne  Caldwell,  and  Roy  and 
Kenneth  Webb ;  music  by  Jerome  Kern  and 
others.  With  Charlotte  Greenwood,  Tom 
Burke,  Myrtle  Schaaf,  Hal  Forde,  and 
Brennan  and  Rogers. 

Selwyn. — "Chariot's  Revue  of  1924."  A 
London  revue  produced  by  Andre  Chariot, 
and  imported  by  the  Selwyns,  with  Beatrice 
Lillie,  Gertrude  Laurence,  Hobert  Munden, 
Nelson  Keys,  Jack  Buchanan,  and  others. 

57n<&<*;f.— "Marjorie."  Musical  comedy. 
With  Elizabeth  Hines,  Richard  Gallagher. 
Andrew  Tombes,  Roy  Royston,  Ethel 
Shutta.     Review  later. 

VanderbUt. — "The  Exiles."  A  play  by 
Arthur  Richman.     Review  later. 

Winter  Garden. — "Innocent  Eyes."  A 
musical  comedy-revue  of  extreme  sophisti- 
cation.    Lively  and  swiftly-moving. 


ON  TOUR 

"Abie's  Irish  Rose."  An  amusing  study 
in  temperaments.     Second  company. 

"Artists  and  Models."    Second  company. 

"Blossom  Time."  A  musical  comedy 
based  on  the  life  of  Franz  Schubert. 

"Dew  Drop  Inn."  Wherein  a  black- 
faced  comedian  leads  the  musical  show. 

"George  White's  Scandals."  A  de  luxe 
edition. 

"Good  Morning,  Dearie."  Entertaining 
musical  comedy. 

"Greenwich  Village  Follies."  Musical 
revue. 

"Helen  of  Troy,  New  York."  A  good 
musical  comedy. 

"Icebound."  A  dramatic  study  of  New 
England  life. 

"Lady  in  Ermine."  A  musical  comedy 
concerning  a  romantic  legend. 

"A  Lesson  in  Love."  An  emotional 
comedy-drama. 

"Lightnin'."  The  comedy  that  Frank 
Bacon  made  famous. 

"Little  Jessie  James."  A  lively  and  en- 
tertaining musical  comedy. 

'  Loyalties,"  a  Galsworthy  play  with  an 
English  cast — the  story  of  Semitic  conflict. 

"Magnolia,"  a  Booth  Tarkington  comedy. 

"Merton  of  the  Movies."  About  a  self- 
visualized  movie  hero. 

"Shuffle  Along."     A  Xegro  revue. 

"The  Bat."  The  Hopwood  -  Rinehart 
mystery  play  of  record  run. 

"The  Business  Widow."  A  comedy 
from  the  German. 

"The    Changelings."     A  comedy. 

"The  Dancers."  An  old-time  British 
melodrama. 

"The  Dancing  Girl."    Song  and  dance. 

"The  Fool,"  a  drama  about  a  minister 
who  tries  to  follow  the  life  of  Christ  in 
modern  locale. 

"The  Gingham  Girl."  Good  comedy  and 
better  music. 

"The  Good  Old  Days,"  a  prohibition 
divertissement. 

"The  Nervous  Wreck,"  an  Owen  Davis 
farce.     Second  company. 

"The  Perfect  Fool."  Edwin  Wynn 
making  it  perfect. 

"Thumbs  Down."  A  somewhat  wild 
but  amusing  mystery  play. 

"Topics  of  1923."  A  spectacular  revue 
with  the  French  comedienne,  Alice  Delysia. 

"Up  the  Ladder,"  a  drama  concerning 
the  newly  married  and  their  extravagance. 

"Two  Fellows  and  a  Girl,"  typical  Cohan 
comedy -drama. 

"Wildflower,"  which  has  a  delightful 
musical  score.     Second  company. 


(Eight) 


;**- 


19 


WILLIAM  FOX^ 

UN  EX C E  L L E D 
ENTERTAINMENTS  T 


for 
1924-1925 


A 

T 


AND  ABOVE  ALL 
DON'T  MISS  THESE ^ 

5  SUPER 

PHOTOPLAYS 

THE  MAN  WHO 
CAME  BACK 

Jules     Eokert    Goodman's 

play   from  novel  by  John 

Fleming  Wilson 

An  Emmett  Flynn 

production 

THE  FOOL       * 

From   Channing   Pollock's 

stage  triumph  of  the  same 

name 

A    Harry    Millarde 
production 

DANTE'S  INFERNO 

A   modern    version    of   the 

classic 
A  Henry  Otto  production 

THE  DANCERS 

From    stage    play    by 

Gerald  du  Maurier  and 

Viola  Tree 

An  Emmett  Flynn 

production 

HUNTING 
WILD  ANIMALS 
IN  HOLLYWOOD 

A  thrilling   Comedy 
Melodrama 


A  Thomas  Buckingham 


§ 


production 


<tf 


Watch  For  Your   Theatre's   Announcement   of  These 

26  Special  Screen  Plays 


THE  PAINTED  LADY 

\    i  i  in. n 

GERALD  CRANSTON'S 
LADY 

From  tin-  novel  by  Gilbert   Frankau 
An   Emmett   Flynn  production 

TOM  MIX  in 
OH,  YOU  TONY! 

A    sizzling  Melodrama 

A  J,  G.   Blyatone  production 

DAUGHTERS  OF 
THE  NIGHT 

Secrets    and     perils    of    the 

telephone  firl 

An     Elmer    Clifton    production 

TOM  MIX  in  TEETH 

A    red-blooded    Drama    with 

Duke,   the   dog,  and   Tony,   the   horse 

A  J.   (1.    Blystone   production 

THE  CYCLONE  RIDER 

Lincoln    J.    Carter's    latest    thriller 
A   Thomas   Buckingham   production 

TOM  MIX  in 
DICK  TURPIN 

A     thrilling    adventure    romance 
A     John     Conway    production 

THE  WARRENS  OF 
VIRGINIA 

David    Belasco'e   stage   triumph 
An    Elmer   Clifton  production 

TOM  MIX   in    RIDERS 
OF  THE  PURPLE  SAGE 

With    Tony,    the    Wonder    Horse 

Zanc    Grey's    best    seller 

A   Lynn  Reynolds  production 

THORNS  OF  PASSION 

Adapted   from   "The   Roughneck" 

by    Robert    W.    Service 

A   John    Conway   production 

TOM  MIX  and  TONY  in 
THE  RAINBOW  TRAIL 

Zane    Grey's     Western     Drama 
A   Lynn   Reynolds  production 

TOM  MIX  in  THE 
DEADWOOD  COACH 

With    Tony,    the    Wonder    Horse 

From   Clarence    E.    Mulford's   novel 

"The  Orphan" 

A    John    Conway    production 


EVERYMAN'S  WIFE 

An    I 

TOM  MIX  in  THE 
LAST  OF  THE  DUANES 

Z.i:.:     i  .11  i!i     Drama,    with 

Ton]  .  tin-  winder  horse 
A  L>  nn  Reynolds  produi  tion 

IT  IS  THE  LAW 

A     m>Mrr\      Drama     that     swept 
A    J.    Gordon     Edwards    production 

FLAMES  OF  DESIRE 

Adapted    from    1 1  Strathmore" 

A    Denison    (lift    production 

HEARTS  OF  OAK 

Janus  A     Heme's  celebrated  Melodrama 
A   John    Ford   production 

THE  LAST  MAN 
ON  EARTH 

A    fantastic    novelty 

with    1,000    beautiful    girls 

A    J.    G.    Hlystone   production 

GOLD    HEELS 

Based  on  "Checkers,"  by   Henry 

M.    Blossom,    Jr. 
A    Lambert     Hillyer    production 

IN  LOVE  WITH   LOVE 

From    Comed:      Drama    by 

Vincent     Lawrence 

A  J.  G.   Blystone  production 

DARWIN  WAS  RIGHT 

The   Human    Monkeys   in   a   screen 

novelty 

A     Lewis    Seder    production 

TROUBLES  OF  A  BRIDE 

At  what  age  should  a  girl   marry  ? 
A  Thomas  Buckingham  production 

NEPTUNE'S  ROMANCE 

A   fantasy  of  love,  beauty  and  romance 
A     Henry     Otto     production 

DAMAGED  SOULS 

A    chapter    from    life    today 
A     1  ihn     Ford    production 

THE  HUNTED  WOMAN 

James    Oliver    Curwood's    novel 
of  the  t-reat   outdoors 
A   John   Eord  product 

SHE  WOLVES 

A   storj    of    Paris 

A    Maurice    Elvey    production 


^5 


A 


FOX  FILM  CORPORATION 

WEST  55th  STREET  NEW  YORK 


(Nine) 


2  The  hair  is  held  in  "waves" 
by  the  cross  pieces  and  al- 
lowed to  dry  in  this  posi- 
tion. Meanwhile  you  can 
read  or  finish  dressing. 


After  moistening  hair  with 
Spanish  Curling  Liquid, 
furnished  free  with  every 
Curling  Cap,  place  cap  over 
the  head  and  pull  the  hair 
forward  through  the  rub- 
berized cross  pieces  with  the 
fingers. 


Marvelous  New  Curl- 
ing Cap  Marcelle 
Waves  any  Hair 

Startling  new  invention  makes  marcel- 
ling quick  and  easy 


After  15  minutes  the  hair  is 
dry,  the  cap  is  removed  and 
your  mirror  reflects  as  beau- 
tiful a  Marcelle  as  you  ever 
had  in  your  life. 


HERE'S  the  greatest  beauty 
news  you've  had  in  many  a 
day!  It  makes  no  difference 
whether  you  wear  your  hair  bobbed  or 
long — whether  it's  thick  and  fluffy 
or  thin  and  scraggly — for  this  great 
beauty  invention  insures  a  mass  of 
lovely  ringlets,  waves  and  curls  all  the 
time  at  practically  no  expense  to  you 
and  with  only  a  few  minutes'  time 
every  few  days. 

Like  all  great  inventions,  Mc- 
Gowan's  Curling  Cap  is  very  simple. 
There  is  no  complicated  apparatus. 
Nothing  to  catch  in  your  hair  or  get 
out  of  order.  It  is  a  simple  device 
that  applies  the  principles  of  the 
curling  iron,  using  a  specially  pre- 
pared, safe  and  harmless  curling  fluid 
— Spanish  Curling  Liquid — in  the 
place  of  water  and  heat. 

You  can  see  at  a  glance  how  the 
Curling  Cap  works.  Elastic  head 
bands  hold  the  six  rubberized  cross 
pieces  in  place.  The  hair  is  held  in 
"waves"  by  the  cross  pieces  until  it 
dries,  when  the  Curling  Cap  is  re- 
moved, and  you  have  a  beautiful 
Marcelle  that  would  cost  a  dollar  or 
more  at  a  Beauty  Shop  and  take 
about  an  hour's  time. 

A  timely  aid  to  beauty 

There  never  was  a  more  timely  in- 
vention  than   this,   when   nearly   all 


girls   and  young  women   are  wearing  so  lie  decided  to  put  the  price  within  reach  of 

bobbed     hair— and     wondering     how  j»1!-     By  selling  in  tremendous  quantities  itwill 

,  .,,   ,  .  ill  11  be  possible  tor  him  to  make  a  price  of  32.87  for 

they  will  keep  it  curled  through  the  the  entire  outfit>  which  inciudes  a  large  sized 

summer.  Tennis,  golf,  boating,  swim-  bottle  of  Spanish  Curling  Liquid  as  well  as  the 
ming  and  other  summer  sports  al-  newly  invented  Curling  Cap.  This  delight- 
ways  have  played  havoc  with  Mar-  ful  hair  balsam  is  not  only  a  marvelous  curl- 
,/  ii-  i  •  -Li  mg  tiuid,  but  a  splendid  tonic  as  well.  It 
celles  and  make  it  nearly  impossible  makes  the  hair  soft  and  glossy>  and  promotes 

for  the  average  outdoor  girl  to  keep  luxurious  growth.  There  is  no  heat  to  sear  the 

her  bob  looking  as  smart  as  it  should.  tender  strands  of  hair  and  dry  out  the  scalp. 

But  now  she  can  laugh  at  her  former  gend    nQ     money_just    maU 

worries,  for  with  JVlcCjOwan  s  Curling  .»  . 

Cap  and  a  bottle  of  Spanish  Curling  ihe   Coupon 

Liquid  she  can  have  a  fresh  Marcelle  You  d°n't  even  have  to  pay  for  this  wonder- 

every  day  in  less  time  than  it  took  to  ful  curling  outfit  in  advance     Just  sign  the 

/  ,     -,     ...  ,  coupon  and  in  a  tew  davs  the  postman  will 

comb  her  hair  when  it  was  long.  deliver  the  Curling  Cap  and  Spanish  Curling 

_,       ,       .  ,        ,         j  .  Liquid  to  vou.     Simply   pay  him  32.87,  plus 

Curly  hair  S  the  thing  nOW  postage— and  then  your  Marcelle  worries  will 

xt  i  i       c  l  l  r  _  be  at  an  end.     If  you  don't  find  it  the  greatest 

No  matter  what  stvle  of  bob  vou  favor,  or  ,        ^       •,  J  ,      c  ■     ,        r\  ,   ■ 

■c  i    •    i         "      >  beauty  aid  you  ever  used — it  it  doesn  t  bring 

even  it  vou  wear  vour  hair   ong,  vou  ve  got  to  /  J   ,  -c  ,    c  A.        „      .  = 

!         ■J,  j-'  -r  ..  _     l     •  you  the  most  beautiful  of  Marcelles  just  as  we 

keep  it  curlv  and  wavv    if  vou  want  to  be  in  J        ■     ,     -f  •  c    ,  J  ■  .    v, 

_  {    TL     -  -         -,  •  ii  promised — it  vou  are  not  satisfied  with  -Mc- 

stvle.    1  here  never  was  a  stv  e  more  umversallv  J~,  >^r        o  jc        •  u    n    i: 

■  J  ,    ,  J  -j!"  Cowans   Curling    Lap    and    Spanish   Curling 

becoming  and  there  never  was  one  more  ngidlv  t  •     -j  •  u 

j  jju      ll-  rri-  Liquid  in  everv  way,  just  return  the  outfit  and 

demanded  by  the  arbiters  ot  fashion.  M    „  ,-n  ■         <■     j   j 

T         ■       J      j-o-  •  ,  ,i  your  money  will  be  refunded. 

It  makes  no  difference,    either,  whether  you  * 

prefer  the  waves  running    across  your  hair  or  ^ATinn-NT  - 

from  front  to  back.      The  Curling  Cap  is  ad-  j— ™  — —  -COU  FUN  -  -  — —  — - 

justable  either  way.    When  not  in  use  the  Cap  .  THE  McGOWAN  laboratories 
may  be  folded  and  carried  in  your  handbag.  710  w.  Jackson  Blvd.,  Dept.  6ii,  Chicago 

'  Dear  Mr.  McGowan:   Please  send  me  your  hair  curl-  J 

r>  J    j.1    •  '       .,         £C I  ins  outfit,  which  includes  your  newly  invented  (  url-  I 

Read  thlS    amaZing    Offer  \  IS!  Cap  and  a  bottle  of  Spanish  Curling  Liquid.     I  i 

•*  j  agree  to  deposit  S2.87    (plus  postage)  with  the  post-  I 

If  you  are  familiar  with  the  price  of  other  j  SSta'to  «ww-yTwm  itur/tt™*^  1 

Curling   devices none    of  which   is   to   be   Com-  J   and  you  are  to  refund  my  money. 

pared  with  the  Curling  Cap — you  would  expect 

this  one  to  cost  at  least  310  or  315.     In  fact,  |  Name 

when  Mr.  McGowan  first  showed  his  invention  ] 

to  his  friends  many  of  them  advised  him  to  sell  |  Address '  | 

it  for  that   price   because  it  is  easily  worth    it.  I  Note:  If  you  expect  to  be  out  when  the  pojtmaB  I 

R,,,.     ii„      tvV   n  -1  J  1  calls,  enclose  S3  with  vour  order  and  the  McCowan  ■« 

out    Mr.    Mctjowan    wants    every    girl    and  j  Curling  Outfit  wiji  be  sent  postpaid. 

woman  to  get  the  benefit  of  his  great  invention,  (_  —  —  mmm  M  —  -a  —  —  —  ■-  —  —  —  — 

(Ten) 


Vol.  XX 


No.  2 


W.  F    ?cc!> 


BETTY  AND   EVELYN   FRANCISCO 

Here  is  another  pretty  pair  of   sisters  who   ornament  the  screen.     Betty  has   already 
"arrived,"    and    Evelyn    is    a    Mack    Sennett   beauty,    which    will    eventually    mean    the 

same  thing 


Miss  Faire  is  an 
American  girl 
with  an  odd  Ori- 
ental charm.  She 
is  one  of  the 
several  Brewster 
Fame  and  For- 
tune Contest  girls 
who  have  made 
good  in  pictures. 
Her  current  film 
is  the  wonderful 
Conan  Doyle 
story,  "The  Lost 
World,"  which 
First  National, 
Inc.,  is  screening 


Rail 


VIRGINIA   BROWN    FAIRE 


Waxman 


CARMEL  MYERS 


The  lovely  Carmel  is  commuting  these  days 
between  Germany  and  Italy  miraculously, 
managing  to  make  a  picture  in  either  country; 
"Garragan"  for  Germany,  and  "Ben  Hur"  in 
Italy.  At  least,  as  we  go  to  press,  she  was 
still  in  the  "Ben  Hur"  cast 


! 


Waxman 


Fox's  pretty  popular  starlet  has  just  finished 
making  "The  Great  Diamond  Mystery,"  and 
is  plunging  gaily  into  the  scramble  to  be  called 
"Her  Husband's  Wives."  Bet  he  wishes  they 
were  all  Shirley!  Any  husband  would,  for  one 
cant  have  too  much  of  a  good  thing 


SHIRLEY  MASON 


VN  axman 


JACK   PICKFORD 


Who   represents   the   sartorial   perfection   of   Holly- 
wood and  New  York.     His  next  film  will  be  "Her 
Son."      We    cant    help    wondering    why     his    wife, 
Marilynn  Miller,   doesn't  star  with   him 


Above:     Getting     a     closeup     in     motion. 
Jacqueline  Logan  and   Malcolm  McGregor 


Above:     Altho  it  looks  dangerous,  it  isn't. 
The  scene  was  shot  down  a  hill 


Where  Was 

By  DOROTHY 

AX  English  actress  who  has  played  a  lifetime  of  successful 
roles  on  the  speaking  stage  was  persuaded  to  take  a  part 
L  in  a  motion  picture.     Her  contempt  for  the  proceedings 
grew  during  her  first  morning's  work  at  the  studio  and  when 
the  director  shouted  to  her  not  to  look  at  the  camera  it  found 
most  forceful  vent. 

"Look  at  the  camera !"  shrieked  the  outraged  actress,  "why, 
my  good  man,  I  dont  even  know  where  the  thing  is  I" 

Something  of  the  poor  woman's  bewilderment  fills  the  mind 
of  the  picture  fan  who  watches  a  troop  of  horsemen  gallop 
straight  out  of  the  screen  toward  him.  or  finds  himself  peering 
into  an  eagle's  nest  perched  on  a  dizzy  crag.  Where,  oh,  where 
is  the  camera  ?  It  seems  to  be  able  to  go  everywhere,  and  see 
everything — sometimes,  indeed,  it  reveals  to  us  intimate  scenes 
which  convict  it  of  peering  thru  keyholes ! 

When  Rod  La  Rocque  was  whirled  on  a  seething  rip  tide 
toward  the  rocks  in  the  "Ten  Commandments."  where  was  the 
camera?  When  Dorothy  Devore,  the  feminine  gender  of 
Harold  Lloyd,  hangs  by  one  hand  from  the  tenth  story  of  an 
office  building,  what  is  the  cameraman  who  catches  her  plight 
doing  ?  And  when  Douglas  McLean  in  "The  Yankee  Consul" 
gazes  at  us  over  the  railing  of  the  top  deck  of  an  ocean  steam- 
ship, is  our  mental  picture  of  a  photographer  suspended  by 
one  hand  from  an  aeroplane  while  he  cranks  his  machine  with 
the  other  the  correct  explanation  ? 

The  eye  of  the  camera  is  only  one-eighth  of  an  inch  in 
diameter.  Yet  into  this  tiny  opening  millions  of  dollars  are 
poured  every  year,  thru  this  Cyclops  eye  pass  French 
Revolutionary  mobs  with  thousands  of  extras,  and  closeups 
of  a  single  face,  exteriors  showing  the  restless  horizons  of  the 
sea  or  the  skyline  of  a  city,  and  interiors  of  a  de  Millionaire 
bathroom,  speeding  automobiles  and  peregrinating  snails.  The 
exodus  of  a  race,  and  the  passage  of  the  Red  Sea  in  "The 
Ten  Commandments,"  came  to  us  thru  the  same  camera- 
eye  that  recorded  the  humble  supper^table  in  the 
second  half  of  the  picture. 

The  secret  of  these  widely  different  shots  lies 
in   the   camera   angle,    the    position    from 
which  they  were  taken.     There  used  to 
be  a  saying  to  the  effect  that  a  camera 
doesn't  lie.    Dont  you  believe  it !    The 
modern  movie  machine  makes  Ananias 
a    piker    by    comparison    and    Mun- 
chausen's record  look  as  spotless  as 
George  Washington's.    For  instance, 
the   camera   tells   you — doesn't   it? — 
that  these  children  in  an  "Our  Gang" 
comedy  are  in  deadly  peril  of   falling 
at  any  moment  some  twenty  stories  to 


Above:  Leatrice  Joy  was  followed 
to  the  top  of  this  structure  by  the 
Ackley   camera 


Above:  By  the 
clever  angle  at 
which  this  was 
shot,  the  on- 
looker is  made 
to  feel  he  is 
listening,  too. 
Right :  King 
Vidor  and  his 
cameraman, 
Charles  von 
Enger,  getting 
the  wheels  of 
a  speeding  car 


(Sixteen) 


The  Camera? 

donnell 

the  street  below,  while,  a--  a  matter  of  fact,  the)  are  just  as  safe 
as  tho  they  were  in  their  own  little  beddy  byes.  The  plank 
on  which  they  are  so  dizzily  balanced  is  only  a  few  feet  from 

the  top  of  a  hillside,  and  the  camera  has  simply  shot  the  scene 
at  an  angle  which  doesn't  show  the  ground  and  does  show  the 
street   far  below  at   the  bottom  ^\   the  hill. 

As  for  the  incredibly  beautiful  beings  who  people  the  silver 
in  well,  of  course,  the  stars  are  a  nice-looking  lot  of  hoys 
and  ^irls,  hut  at  that  the  camera  tells  a  few  polite  fibs  ahout  some 
of  them.  It  can  make  an  ordinary  every -day  actor  into  an 
Adonis  and  a  girl  with  features  of  Celtic  architecture  look  as 
tireek  as  Mrs.  Menelaus  oi  Tl 

What  the  camera  sees  and  shows  us  on  the  screen,  is  not  what 
the  cameraman  sees.  The  human  eye  has  a  wider  range  of 
vision  than  the  lens  but  it  can  focus  on  only  one*  point  at  a  time. 
Thus  the  cameraman  who  shot  the  magic-carpet  scene  in  "The 
Thief  of  Bagdad"  saw  not  only  the  seething  crowd  of  three 
thousand  extras  in  the  market  square  of  an  Eastern  dream  city 
which  the  camera  saw,  but  the  board  fence  where  tourists  from 
Keokuk  were  getting  splinters  in  their  noses  trying  to  peek 
thru,  the  hot-dog  wagons  on  the  outskirts  of  Bagdad  and 
the  chewing-gum  signs  and  radio  masts  on  the  roofs  of  the 
apartment  houses  beyond.  On  the  other  hand,  he  saw  only  a 
few  faces  in  the  crowd  distinctly  while  the  camera  saw  every- 
thing with  equal  clearness. 

If  the  motion-picture  camera  couldn't  do  things  impossible  to 
human  eyesight,  there  would  be  no  motion  pictures.  It  must 
be  able  to  depict  the  emotions  on  the  face  of  a  man  standing  on 
the  farther  side  of  a  deep  chasm,  to  follow  a  speeding  auto  so 
swiftly  that  its  occupants  are  plainly  visible,  to  get  above 
people's  heads  and  see  around  them — in  short,  it  must  possess 
the  powers  of  a  telescope,  magnifying  glass,  X-Ray  machine, 
and  an  old  maid's  spy-glass  at  one  and  the  same  time. 

The  increased  flexibility  of  the  camera  angle  is  perhaps  the 
most  important  advance  in  cinema  taking  since  the 
days  when  screen  husbands  turned  erring  wives 
into  the  driving  snow  with  a  stern  semaphore 
gesture  of  the  arm,  screen  villains  struggled  *MK 

with  the  heroines  until  their  hair  came 
virtuously  down,  and  screen  comedians 
sat  down  suddenly  on  a  screen  banana, 
all    within    a    carefully    chalk-marked 
triangle  with  the  camera  as  its  apex. 
Film  wives  still  stagger  thru  the  snow, 
film   comedians   still   heave  the   same 
kind  of  pies  that  mother  used  to  throw, 
but  the  camera  is  no  longer  on  the  floor 
in  front  of  them.     It  may  be  peeking 
Lady  Teazlingly    from   behind  a  screen, 


This  scene  from  "Babbitt"  is  a  natural  eye- 
level  angle,  very  intimate  all  around 


Above:    An    elaborate   device   for   taking   a 
man  at  the  wheel  of  a  car 


Above:  Here 
the  camera 
was  lashed  to 
the  topmast 
of  a  sailing 
vessel  in  Los 
Angeles  har- 
bor. Left:  To 
get  these 
charging 
horses,  the 
camera  was 
buried  in  an 
underground 
dugout 


Above:     We     give     up     guessing 

where    the    camera    was    Tor    this 

scene   in   "Law   Against   Law" 


(Seventeen) 


CLASSIC 


the  angle  from  which  a  human  being  would  be  likely  to  see  the 
same  scene  in  real  life  and  not  from  a  distorted  position  as 
tho  the  onlooker  were  perched  on  the  chandelier  or  draped  on 
the  picture  molding.  The  audience  is  added  to  the  cast  of 
characters.  Step  right  up  onto  the  screen,  Ladeez  and  Gen'le- 
men!  Meet  Mist*  McTeague  and  th'  wife  and  make  yourselves 
at  home ! 

In  one  scene  in  "Greed"  you  sit  with  the  McTeagues  and 
their  gabby  friend  Marcus  as  one  of  the  group,  while  a  slight 
change  in  the  camera  angle  would  make  you  an  eavesdropping 
outsider.  In  another  scene  where  an  old  woman  presses  her  ear 
to  the  wall  in  order' to  overhear  what  is  being  said  in  the  next 
room  you  feel  an  actual  sensation  of  ear  strain,  so  close  does  the 
camera  bring  you  to  the  wall ! 

"A  Woman  of  Paris"  leads  the 
spectator  onto  the  screen  first  by  a 
long  shot  of  a  house,  then  a  closer 
view  of  the  same  house  with  the 
heroine's  face  looking  out  of  an 
upper   window,   and 


Below:  Here  the  camera 
is  raised  thirty  feet  above 
the  mob  to  include  several 
thousand  people  in  the 
angle  of  vision 


Above:  An  odd  camera  angle 
was  required  for  this  monster 
shadow.  It  is  not  the  shadow  of 
the   man    present   in    the   picture 


snooping    up    thru    a    knot-hole    in 
the  floor  or  slung  from  the  ceiling. 

As  the  average  man  can  tell  the 
make  of  a  car  with  a  single  knowl- 
edgeable glance,  as  the  scofflaw  can 
distinguish    Bourbon    from   bootleg 
with  the  first  sip,  so  the  seasoned 
movie  fan  can  name  the  director  of 
a  picture  when  it  first  flashes  on  the 
screen.     And  it  is  the  difference  in 
their  uses  of  the  camera  angle  more 
than  anything  else  which  gives  per- 
sonality   to    pictures.     William    de 
Mille    is    more    interested    in    his 
characters  than  their  setting,  while 
his  brother  Cecil  shoots  his  scenes 
from    the    audience    angle,     never 
losing  sight  of  their  effect  as  a  pic- 
ture.    Griffith  alternates  long  shots 
with     closeups     and     George 
Melford    works    from    the 
story  angle,  and  in  order 
to  catch  interesting  and 
revealing  bits  of  action 
takes  his  camera  right 
onto     the     set     and 
eavesdrops    on    what 
is  going  on  from  be- 
hind   the    piano    or 
thru  the  shower-bath 
curtains.     One  direc- 
tor,   perhaps,    has    a 
penchant     for     close- 
ups    and    so    we   have 
enormous  glycerine  tears 
the  size  of  marbles  rolling 
down    the    giant    cheeks"  of 
beauty     in     distress,     another 
likes     wide     angles     with     solitary 
horsemen  on  the  horizon,  while  still  another  treats  the 
onlooker  to   such  intimate  viewpoints  that  he  has  the 
uncomfortable   sensation   of   having  opened   the   wrong 
door  by  mistake. 

In  "Greed."  von  Stroheim.  the  celluloid  Bernard  Shaw, 
has  taken  a  motion  picture  entirely  from  a  "practical" 
angle  for  the  first  time.     By  this,  he  explains,  he  means 


last  of  all  he  is 
brought  inside  the 
room  with  her.  This 
is  a  familiar  use  of 
the  camera  angle, 
but  there  are  no  such 
rapid  alterations  of 
distance  in  "Greed," 
during  the  course  of 
a  single  episode.  It 
leaves  an  audience 
mentally  breathless, 
von  Stroheim 
claims,  to  approach 
within  three  feet  of 
something,  then  in- 
stantly to  dash  back 
a  couple  of  blocks 
and  the  next  moment 
pounce  to  another 
viewpoint  like  a 
restless  kangaroo 
afflicted  with  Saint 
Vitus'  Dance. 

If  you  are  one  of 
those  who  hoist  an 
opera-glass  at  emo- 
tional moments  in  a 
(Cont'd  on  page  90) 


Left:    The  closeup  is  the  screen's  substitute  for  opera- 
glasses.    Below:    The  only  way  to  get  faces  in  a  crowd 
is  to  shoot  from  above 


/'Eighteen) 


G.  Eder 


Albertina  Rasch 

One  time  premiere  danseuse  of  the  Imperial  Opera  of  Vienna,  this  famous  dancer 
is  now  in  this  country  interpreting  her  art.  She  is  a  stern  and  relentless  maitresse  de 
ballet,  and  the  men  and  women  of  her  ensemble  betray  an  effortless  technique  no 
less  perfect  than  her  own.     She  recently  danced  a  few  feet  of  film  in  "Virtuous  Liars" 


(Ninetten) 


Jetta  and  Her 
Temperament 


White 

NOT  since  Pola  Negri  arrived  from  Germany  with  her  five- 
carat  diamond  has  Hollywood  had  such  a  thrill. 
The  lady's  name  is  Jetta  Goudal.  She  looks  like  a 
beautiful  Cossack.  She  looks  like  an  Oriental  princess.  She 
looks  like  .  .  .  well,  whatever  it  is  that  has  changing  hazel  eyes 
that  slant  at  the  corners ;  that  slumber  and  drowse ;  then  blaze 
with  fires. 

But  Jetta  insists  that  she  is  none  of  these  thrilling  and  excit- 
ing things.    She  says  she  is  just  French. 

She  came  here  from  New  York  to  play  a  vampish  role  in 
"Open  All  Night,"  which  is  being  filmed  at  the  Lasky  studio. 


By 
HARRY  CARR 


Elle  Est  Francaise, 
Mais  Oui  !  Et  Ce 
N'Est  Pas  Tout! 


White 


Above  is  Jetta  Goudal  in  the 
fascinating  role  of  La  Pilar 
in  "The  Bright  Shawl,"  in 
which  she  first  attracted  the 
attention  of  the  critics.  At 
the  top  of  the  page,  a  late 
portrait  and  left,  with  Paul 
Bern,  who  directed  her  in 
"Open  All  Night" 


(Twenty) 


CLASSIC 


In  addition  to  the  Holl)  wood  advent 

of  tht-  beauteous   Jetta,   tin-   picture   ia 

ible  in  some  othei   w ays      it   is  the 

■   independent    free-lance  engagement 

i   I  tana  since  she  \  oluntanly  re 

nounced  stardom;  it  is  the  first  picture  to 

Ik-  directed  bj    Paul   Bern,  the  brilliant 

u  io   hi  iter   recentl)    promoted   to  a 

gaphone ;  the  scenario  is  the  work  ot 

Willis  Goldbeck   and  is   said   to  be   the 

ript  evei    written  in  Hollywood. 

altogether,  Jetta  has  stepped  into  fast 

company. 

In  hoarse  stage  whispers,   Hollywood 

anged  the  information  that  she  is 

in  be  the  most  temperamental  actress 

that  has  ever  been  on  the  screen.    \\  hen 

you  ask  Jetta  about  this,  her  eyes  wander 

up  and  down  your  personality;  then  they 

half  close  and  she  says  with  a  tired  little 

smile  that  she  isn't  temperamental  at  all ; 

she  just  has  her  own  ideas  about  things. 

She    says    otherwise    she    never    would 

been  here  in  America  at  all. 
You  see  it  was  this   way.     When  the 
war  broke  out,  Jetta  was  a  very  young 
sixteen   or   seventeen. 
But   she   was   engaged   to  be  married. 
Her  fiance  was  a  lieutenant  in  the  French 
f.     He  was  wounded  in  the  very  first 
gement   of   his   regiment.     They  re- 
d  him  in  a  hospital  as  well  as  they 
could  and  detailed   him  to  special   work 
in  connection  with  the  diplomatic  corps. 
This  kept  him  galloping  from  one  allied 
country  to  another,   so  Jetta  never  saw 
him.     She  worked  for  a  while  with  the 
Belgian    refugees.      Then    she    couldn't 
stand  it  any  longer.     It  was  too  harrow- 
ing.   She  decided  to  come  to  America. 

Here  was  where  Jetta's  far-famed  tem- 
perament began  to  function.  They  told 
her  she  couldn't  possibly  get  a  passport  in 
lest  than  three  weeks. 


Edward  Bower  Hesser 


White 

Just  now  this  fascinating  foreigner  is  one  of  the  vamps 

in  Valentino's  picture,  "The  Sainted  Devil."     Harry  Carr 

says  of  her:     She  has  the  French  instinct  for  gesture  and 

the  French  adroitness  of  suggestion 

"There's  a  steamer  sailing  tomorrow  and  I  am  going  to  be 
on  board,"  she  said. 

"There  aren't  any  berths,"  they  faltered. 

"I'll  have  one,"  she  told  them.  And  she  showed  me  the 
way  she  looked  at  the  offending  French  officials.  If  Germany 
had  attacked  suddenly  while  the  French  Government  was 
still  quailing  under  that  look,  the  Kaiser  would  right  now  be 
collecting  taxes  in  Paris. 

"When  the  boat  sailed,"  says  Jetta,  "1  was  on  board  and  I 
had  a  berth." 

She  said  she  didn't  want  to  act  over  here.  She  just  wanted 
to  hide  and  forget.  But  somebody  was  always  dragging  her 
out  of  her  solitude  and  making  her  act.  So,  if  she  was  tem- 
peramental, it  was  because  she  didn't  want  to.  anyhow. 

She  appeared  in  the  "Bright  Shawl"'  and  "The  Green 
Goddess"  and  on  the  stage  in  "Simon  Called  Peter";  and  now 
she  has  come  to  Hollywood. 

"They  always  give  me  parts  where  I  have  to  be  drunk,"  she 
said  the  day  she  struck  Hollywood.  "I  hope  they  give  me  a 
(Continued  on  page  78) 


(Twenty  one) 


Some 

Costume 

Caricatures 

By 
VICTOR  De  PAUW 


Above  is  Valentino  in  his  double  role  of 
aristocrat  and  barber  in  "Monsieur  Beau- 
caire."  Right  are  three  characterizations  of 
Milton  Sills  in  the  manly  role  of  The  Sea 
Hawk;  this  picture  is  still  filling  a  big  New 
York  theater  daily,  by  the  way 


Left  is  George 
Walsh  when  he 
was  making  "Ben 
Hut,"  Mary  Pick- 
ford  as  Mistress 
Dorothy  in 
"Dorothy  Vernon 
of  Haddon  Hall," 
and  Ernest  Tor- 
rence  in  "The 
Sideshow  Of 
Life."  It  looks 
as  tho  Mary  was 
telling  George  to 
"cheer  up,  the 
worst  is  yet  to 
cornel" 


(Twenty-two) 


- 


Cleopatra 

FAMOUS 

HEROINES 

NO.  XIII 

POSED  BY 
JANE  COWL 


This  Queen  of  Egypt 
is  perhaps  the  most 
famous  woman  that 
ever  lived.  The  world's 
greatest  poets,  musi- 
cians, artists,  scholars 
and  soldiers  have  vari- 
ously sung,  painted, 
written,  and  waged 
wars  in  her  praises. 
She  had  not  only 
fabulous  beauty  and 
what  is  now  known  as 
"sex  appeal"  but  con- 
siderable mental  en- 
dowment as  well.  It 
was  her  pleasant  cus- 
tom to  give  one 
glorious  night  to  her 
lovers,  then  have  them 
thrown  into  the  Nil*  to 
the  crocodiles.  She  died 
by  putting  a  poisonous 
asp  to  her  bosom  and 
with  her  ended  the 
dynasty  of  the  Ptole- 
mies, and  Egypt  be- 
came a  Roman  province 


Mura» 


(Twenty-three) 


.._. 


The  Drama's  Pousse-Cafe 

Classic's  Monthly  Department  of  the  Vaudeville  Stage 


White 


Across  the  top  of  the  page 
is  a  row  of  the  "incredibly 
rhythmic"  Tiller  Girls,  as 
Percy  Hammond  calls  them. 
This  group  is  the  "Sunshine 
Girls,"  late  of  "Stepping 
Stones"  and  now  in  the  two- 
a-day.  It  affords  everlasting 
interest  to  see  sixteen  girls 
move  as  one,  for  that  is  the 
way.  these  English  dancing 
girls  are  taught.  They  move 
together  in  perfect  time  with 
the   precision   of   a   machine. 

Charles  Snyder 


Henry  Hull,  another  stage  and 
screen  star,  is  "revueing"  in 
vaudeville  with  Edna  Hibbard. 
Theirs  is  a  two-scene  playlet 
called  "Five  Minutes  From 
the  Station" 


Left  and  right  are 
Paul  McCullogh  and 
Bobby  Clark,  late  of 
"The  Music  Box 
Revue,"  who  are  add- 
ing to  the  harmless 
gaiety  of  nations  by 
their  comic  skits,  "The 
Interview,"  and  "The 
Bath  Between."  They 
are  reported  to  be 
funnier  than  Gallagher 
and  Shean 


A  great  many  vaudevillian 
rumors  are  rife  around  Times 
Square.  One  is  that  Elsie 
Janis  will  be  back  this 
winter  on  the  Orpheum  cir- 
cuit at  $3,500.00  a  week  and 
Mother  Janis'  car-fare.  An- 
other is  that  Florence  Wal- 
ton and  Leon  Leitrim  will 
dance  at  the  Palace;  that 
Charles  Foy,  son  of  Eddie, 
will  do  an  act;  that  Beryl 
Mercer,  Frank  Mayo  and 
Jacob  Ben-Ami  will  also 

Charles  Snyde 


(Twenty- four) 


Pictures 
and 

Gossip 
Gathered 

Around 
Longacre 

Square 

and 
Tin  Pan 

Alley 


Above  is  Bird  Millman,  "the 
Little  Queen  of  the  Wire," 
who  is  undoubtedly  pre- 
eminent in  her  entertainment. 
After  an  absence  of  several 
years,  in  the  circus,  "Zieg- 
feld,"  and  "Greenwich  Village 
Follies,"  she  and  her  silver 
wire   are   back   in   vaudeville 


Below  is  Adele  Rowland,  the 
wife  of  our  own  Conway 
Tearle,  who  has  taken  a  little 
flier  in  vaudeville.  Her  turn 
is  called  "Story   Songs" 


Melbourne  Simrr 

Above  is  the  greatest  female 
impersonator  of  them  all, 
Julian  Eltinge,  who  is  billed 
as  "America's  Foremost  De- 
lineator of  Feminine  Char- 
acterizations," and  who  has 
quite  a  repertoire  of  acts  for 
his  brief  vaudeville  tour. 
Back  to  his  first  love,  for  a 
while,  anyway 


Below  is  Pauline  Lord  of 
"Anna  Christie"  fame,  who 
makes  her  two-a-day  debut 
in  a  tabloid  drama  called 
"For  Five  Thousand  Dollars" 


J.  H.  Connolly 

Here  on  the  same  page 
with  America's  Fore- 
most Delineator  of, 
etc.,  is  "A  m  e  r  i  c  a '  s 
Greatest  Male  Im- 
personator," Kitty 
Donner,  who  is  also  at 
home  in  musical 
comedy  or  vaudeville. 
Her  skit  is  called 
"Twenty  Minutes  in 
Paris."  She  is  a  top- 
hole  dancer  and  wears 
evening  clothes  better 
than  most  men 


National 


(Twenty-five) 


Hori 


La    Habanera 

Especially  posed  for  Classic  by  Fokina,  the  talented  wife  of  Michel  Fokine 


(Twenty-sis) 


K-The  Unknown 

Written  in  Short-Story  Form  by  Patricia  Cork  I)i  <,an 


C 


11  \K1  OTTE 
TOWN  was  a 

little  town.  It 
didn't  even  aspire 
tn  he  a  big  town. 
It  had  a  substan- 
tial, settled, 
matronly  sort  of 
air  that  p r  o  - 
claimed  a  placid 
satisfaction  in  it- 
self. Contentment 
hrooded  upon  it. 
Not  for  Charlotte- 
town  the  hectic 
rush,  the  mad 
clamor,  the  eager 
thirst  for  this,  that. 
and  the  other  that 
characterized  great 
cities.  Its  concerns 
were  little  con- 
cerns, its  lives 
serene. 

Not    that    Char- 
lottetown  lacked 
excitement.     Oh, 
no.    There  was  al- 
ways Sidney   Page 
and   Slim   and   Joe 
to  speculate  about. 
Since     her     gram- 
mar school  days 
Slim   and   Joe  had 
been  courting  Sidney,  and  no 
one   ever    knew    which    was 
ahead  in  this  amatory  mara- 
thon.    For  that  matter,  neither  did  Sidney.     That  is,  she 
really  never  thought  seriously  of  marrying  either  one  of 
them,  altho  the  announcement  of  this  fact  to  both  young 
swains  served  only  to  redouble  their  efforts. 

The  truth  is,  Sidney  had  suddenly  begun  to  take  life 
seriously.  Being  the  belle  of  a  small  town  was  pleasant 
in  its  way  but  hardly  absorbing  enough  for  a  lifetime. 
Sidney  had  decided  to  go  to  work.  Charlottetown  buzzed 
with  the  news  and  was  relieved  when  it  was  discovered 
that  she  had  taken  up  nursing  at  St.  Luke's  Hospital. 
This  was  by  all  Charlottetown  standards,  at  least  "gen- 
teel," and  the  village  breathed  calmly  once  more,  giving 
its  interest  to  the  mad  exploits  of  Slim  and  Joe  trying  to 
get  sick  or  hurt  enough  to  be  sent  to  the  hospital.  Finally 
Slim  did  manage  to  get  himself  appallingly  disfigured  with 
poison  oak  and  he  was  turned  over  to  Sidney  to  nurse.  It 
was  an  inimical  triumph,  however,  because  by  that  time 
Sidney  had  another  pair  of  suitors  hot  upon  her  heels. 

Dr.  Max  Wilson,  "Doctor  Max,"  as  everyone  called 
him.  had  just  been  put  in  charge  of  the  hospital.  He  was 
new  in  Charlottetown  and  therefore  mildly  exciting  to 
the  inhabitants.     Thev  wondered  collectivelv  and  individ- 


"> 


It  was  a  page  from  Mary  Blum's  chart  and  underneath 

Mary's  fever  zigzag  it  said:  "Ice  pack;  drops  every  two 

hours;  light  diet:  broth,  cereals,  etc.;  I  love  you" 


uallv  about  this 
arlotta    person" 

who  arrived  with 
him.  She  was  said 
to    be   his    private 

nurse  and  a  purely 
professional  un- 
derstanding was 
reported  to  exist 
between  them  ;  but 
Charlottetown  ele- 
vated its  several 
e  y  e  b  r  o  w  s,  ex- 
amined the  lady, 
and  just  didn't  be- 
lieve it  was  alto- 
get  h  e  r  profes- 
sional. Neither  did 
they  quite  believe 
it  in  the  hospital. 

In  fact,  no  one 
really  credited  it 
but  Sidney  who 
liked  Doctor  Max 
from  the  start,  and 
who  was  quite  sure 
that  Doctor  Max 
liked  her.  Indeed 
she  had  the  proof 
of  it  right  with 
her,  folded  up  in- 
side the  front  of 
her  stiff  .  starched 
waist,  where  it 
crackled  with  pleasant  re- 
assurance from  time  to  time. 
It  was  a  page  torn  from 
Mary  Blum's  chart  and  underneath  Mary's  fever  zigzag 
it  said  in  Doctor  Max's  quick  nervous  handwriting:  'Tee 
pack;  drops  every  two  hours;  light  diet:  broth,  cereals, 
etc. ;  I  love  you."  Thereafter,  the  frequency  with  which 
Sidney  consulted  charts  to  make  sure  of— er  proper  direc- 
tions, was  commendably  regular.  Sidney  was  very  happy 
and  she  made  her  patients  happy — and  well,  which  was 
more  important. 

In  the  nurses'  restroom  one  day,  Carlotta,  who  was 
head  nurse,  waited  for  Max  Wilson  to  come  to  her.  She 
caught  him  as  he  walked  by  the  door,  hat  in  hand,  and 
with  a  coat  over  his  arm.     It  was  Sidney  Page's  coat. 

"Oh.  Max!"  cried  Carlotta.  "it's  such  a  hot  day.  wont 
you  take  me  for  a  little  ride  ?'' 

"Cant  do  it.  Carlotta."  the  man  answered  hurriedly.     "I 

have  a  call  to  make " 

"On  Sidney  Page,  I  suppose,"  angrily  retorted  Carlotta 
and  her  habitual  restraint  gave  way.  "You're  with  her  all 
the  time — everybody  is  talking  about  it.  What  did  you 
bring  me  here  for,  to  flaunt  that  girl  in  my  face?  You 
owe  something  to  me,  Max  Wilson,  and  you're  going  to 
pay  it.     Do  you  think  after  I've  given  you  my  whole  life 


I 


(Twenty-seven) 


CLASSIC 


— everything  a  woman  can  give — that  I'm  going  to  see  it 
thrown  away  for  a  miserable  little  upstart.  You  have 
no  right *' 

"Calm  down,  Carlotta,"  interrupted  the  man  a  little 
anxiously,  for  Carlotta's  voice  rose  with  each  accusation, 
"I  have  a  right  to  do  exactly  as  I  please.  I'm  not  mar- 
ried to  you " 

"Oh,  dear  God,"  moaned  the  woman,  "you  said  you 
wanted  to — you  said  you  would  marry  me  as  soon  as  your 
practice  was  assured.     You  said " 

But  Max  had  gone  and  a  girl  snuggled  down  content- 
edly at  his  side,  in  his  big 
red  car  and  said  shyly, 
"You're  so  good,  Max,  no 
wonder  the  nurses  all  love 
you  and  your  patients  adore 
you.  I  dont  see  how  you 
can  love  only  me." 

"That's  the  easiest  thing 
I  do,  honey,"  answered  the 
man,  for  once  in  his  life 
telling  the  absolute  truth. 
"You  are  the  only  woman 


K— THE   UNKNOWN 

Fictionized  by  permission  from  Universal's  screen 
presentation  of  Mary  Roberts  Rinehart's  novel 
"K."     Directed  by  Harry  Pollard.     The  cast: 

Sidney    Page Virginia   Valli 

"K."  Le   Moyne Percy   Marmont 

Carlotta  Harrison Margarita  Pollard 

George   "Slim"   Benson Francis   Feeney 

Dr.  Max  Wilson John  Roche 

Joe    Drummond Maurice    Ryan 


The  doctor  dropped  untidily  to  the 
floor  and  slipped  in  a  ghastly  comic 
sprawl  down  the  stairs,  "You  dirty 
cad!"  screamed  Joe,  mad  with  excite- 
ment and  terror.  "You  dirty  cad — to 
treat  a  decent  girl  so!"  "Never  mind 
that,  young  man,"  said  the  proprietor, 
"just  come  along  with  me" 


in  the  world  for  me,  that  ever  will  be 
or  ever  has  been,"  he  added  in  his 
more  habitual  manner,  and  Sidney 
was  content. 

"I  was  told  at  the  station,"  said 
the  gentlest  of  voices  to  Mrs.  Page 
as  she  stood  in  her  doorway  regard- 
ing the  man  before  her,  "that  I  could 
perhaps  rent  a  room  here.  You  have 
such  a  pretty  yard  and  such  a  pleas- 
ant faced  house — I'd  like  to  live 
here " 

Mrs.  Page  hesitated.  She  knew, 
of  course,  the  hazards  of  taking  in 
strange  men,  but  this  one  looked  so 
kind,  so  clean  and  kind,  and  so  tired. 
His  clothes,  altho  they  needed  press- 
ing, were  not  the  sort  one  got  from 
the  local  tailors,  she  recognized  that. 
A  fine  piece  of  cloth,  too.  He  had 
white,  firm-looking  hands,  an  artist's 
or  a  surgeon's ;  delicate,  skilful-look- 
ing hands  that  bespoke  breeding  as 
well  as  ability.  Besides.  Sidney  s  ap- 
prenticeship in  the  hospital  was  tak- 
ing money  out  and  not  adding  to  the 
slender  family  purse.  She  consid- 
ered another  moment. 

"I'll  pay  in  advance,"  said  the  man, 
feeling  her  distrust. 

"Oh,  it  isn't  that,"  answered  Mrs. 
Page.  "It's  nothing,  really.  Come 
in.     I'll  show  you  a  room." 

"My  name  is "  he  hesitated  the 

fraction  of  a  second,  "Le  Moyne 

K.  Le  Moyne,"  and  followed  her  into 
the  house. 

For  three  weeks  Charlottetown 
was  occupied  with  the  stranger. 
Where  had  he  come  from  and  why  ?  What  was  he  doing, 
or  going  to  do  in  Charlottetown?  Dr.  Max  could  be 
accounted  for,  one  knew  a  number  of  things  about  him ; 
but  one  knew  absolutely  nothing  of  this  "K.  Le  Moyne" 
beside  the  fact  that  he  kept  to  himself,  seldom  straying 
beyond  Mrs.  Page's  garden,  speaking  to  no  one.  volun- 
teering nothing.  Mrs.  Page  hotly  defended  him  as  she 
was  called  upon  to  do  several  times.  Aside  from  the 
exemplary  habit  of  paying  the  rent  in  advance,  he  kept  her 
garden  like  a  professional — was  tidier  about  his  room 
than  any  man  she  ever  saw — no  more  trouble  than  no  one 

— never  asked  for  a  thing 
— never  intruded — was 
gentle  as  a  lamb  with  the 
children  and  strong  as  an 
ox  for  work. .  No,  he  never 
told  her  anything  about 
himself — she  wouldn't  ask 
—anyone  could  see  he  was 
a     gentleman W'hen 


Sidney  came  home  on  her 
leave,  she'd  be  glad  to  have 
her    daughter    know    him. 


(Twenty-eight) 


CLASSIC 


When  Sidney  did  come  home  the  next  time,  it  was  to 
•nay.  Something  terrible  had  happened  at  the  hospital 
and  the  long-looked-for  leave  was  lengthened  indefinitely 
— or  it  would  have  been  if  Doctor  Max  hadn't  interfered. 
A  heart-broken  and  tearful  girl  sobbed  out  her  story  to 
her  mother. 

"You  know,  mother,"  Sidney  told  her,  "Slim  was  get- 
ting  better Max Doctor    Max   said    I    had    done 

wonderfully  and  then  I  was  ordered  to  increase  his  dose 
— I  thought  it  seemed  a  lot,  but  you  know  we're  not  sup- 
posed to  think  under  orders  and — and  he  got 
so  sick — nearly  died — if  Max — Doc 
tor  Max  hadn't  acted  promptly 
he  would  have  died.     Oh, 
he  was  wonderful, 
mother."    Sidney 
hugged   her    mother 
ecstatically,      forget- 
ting    her     grief     in 
admiration     of     her 
adored  doctor. 

"And    then,"    she 


Above: 
"Gentlemen," 
she  said  a 
few  breathless 
minutes  later, 
standing  with 
K  before  an 
astonished 
group  of  phy- 
sicians, "here 
is  a  surgeon 
who  can  save 
the  life  of  our 
Doctor  Max. 
I  will  stake 
my  life  on 
that.  He  must 
be  allowed  to 
operate  at 
once" 


went  on.  "when  they  investigated  they  discovered  I  had 
given  the  dose — but  mother,  you  believe  me — I  had  orders 
and  when  I  went  to  find  the  order  blank  on  my  desk  it 
was  gone,  tho,  of  course,  I  keep  all  instructions.  I  cant 
understand  it.  Max  has  been  so  sweet,  mother,  I  wish 
you  liked  him  a  little  more.  He  says  he'll  get  me  back- 
in  a  month  or  two." 

"I  hope  so,  dearie,"  answered  her  mother.    "It  isn't  that 

I  dont  like  your   Doctor   Max — it  is  just  that  I    feel   I 

couldn't  trust  him,  but  probably  it's  just  an  old  woman's 

notion.      Now,    wait    until    you    meet    Mr. 

Le  Moyne— K." 

Sidney  didn't  like  the  idea  of 
a  roomer.  She  really  was 
hurt  and  stunned  by 
her  suspension  from 
the  hospital  and  she 
wanted  to  be  alone. 
However,  as  the 
days  went  by,  she 
could  not  fail  to  re- 
spond  to  the   man's 


Left:  "I  alone 
am  responsible 
for  the  death 
of  Dr.  Ed- 
wardcs'  pa- 
tients. I  did 
it  so  that  Max 
Wilson  would 
get  his  place 
on  the  staff  of 
Flower  Hos- 
pital. I  loved 
him  so  —  I 
loved  him  so 
— he  said  he'd 


marry  me 
when  he  got 
on    the    staff" 


(Twenty-nine) 


CLASSIC 


quick  sympathy  and  his  sensitive  understanding.  They 
got  to  know  each  other  rather  well ;  that  is,  Sidney  knew 
how  K's  mind  worked  and  the  way  he  reacted  to  certain 
things,  and  the  way  his  hair  grew  rakishly  up  over  one 
eye,  and  the  proud  way  he  held  his  head,  and  the  odd  little 
trick  of  halting  his  speech  right  in  the  middle  to  smile  at 
her,  and  the  quick  electric  touch  of  his  hands,  and  many 
little  things  like  that  she  learned,  but  of  his  former  home 
or  activities  never  a  thing  was  hinted. 

Max  called  her  up  every  day,  but  he  thought  it  better 
not  to  go  there  until  the  affair  had  blown  over.  Slim  was 
out  of  the  hospital,  and  he  and  Joe,  still  undaunted,  clung 
to  their  hopes  of  Sidney.  Once  Sidney  turned  'from  the 
telephone  to  see  K  looking  at  her  rather  oddly,  almost 
absently.  She  misunderstood  the  look.  "I  suppose,"  she 
said,  "that  you  thought  that  was  a  pretty  affectionate 
conversation.  But,  you  see,  I  was  talking  to  my  fiance — 
Dr.  Max  Wilson." 

"Wilson — Wilson,"  repeated  K,  a  little  stupidly.  Sidney 
thought.  His  lips  tightened  and  his  eyes  closed  almost 
involuntarily  as  if  to  shut  out  a  horrid  sight.  Sidney 
stared  at  him  wonderingly. 

"I  hope,"  the  man  said,  quietly  recovering  himself, 
"that  you  will  be  very  happy — my — my  dear." 

Sidney  didn't  exactly  like  the  way  he  said  "my  dear." 
Or,  rather  she  did  like  it.     It  kept  repeating  itself  in  her 
ears  all  the  rest  of  the  evening,  "my — dear,"  so  soft,  so 
hesitating,  but  so 
decided,    some- 
how.   "My — clear 
.  .  .  my  dear.  .  .  ." 

At  the  end  of 
three  months  the 
stranger  and  Sid- 
ney were  "K" 
and  "Sid"  to  each 
other,  but  neither 
really  knew  how 
each  had  filled 
the  other's  heart. 
Only  Sidney  felt 
an  odd  tugging  at 
her  heart  when 
one  day  Dr.  Max 
telephoned  that 
he  was  coming  to 
take  her  back  to 
the  hospital.  She 
was  standing 
with  K  in  the 
garden  when  the 
big  red  car  drove 
up  and  Max 
cleared  the  drive 
in  one  bound. 
"Sidney  —  sweet- 
heart !"  he  cried 
and  drew  the  girl 
to  him.  Over  the 
top  of  her  head 
he  s  a  w  K.  A 
curious  look  came  into  the 
eyes  of  both  men,  but  neither 
said  a  word. 

"This  is  Dr.  Max,  K,"  Sidney  cried  gaily,  "and  this  is 
K.  Max.     I  want " 

"I  am  acquainted  with  the — ah — gentleman,"  answered 
Max  surprisingly. 

K  raised  his  hand  almost  involuntarily. 

"Never  mind,"  spoke  up  Max  with  malicious  good 
nature,  "I  wont  notify  the  police " 

"What  do  you  mean?"  cried  Sidney  helplessly.  "I  dont 
understand K — explain — cant  you  ?" 


The  first  thing  Dr.  Edwardes  did  after  his  public  ex- 
oneration was  get  into  trouble  again — at  least  some 
folks   call  it   trouble.     What  he   did   was   get   married 


But  the  man  stood  silent  before  her  and  Max  gentlv 
led  the  dazed  girl  to  his  car. 

K's  unhappy  reverie  was  interrupted  by  the  arrival  of 
a  much-excited  Joe  Drummond.  "She's  gone  back  to  the 
hospital  with  that  crook,"  he  yelled. 

"Yes,  I  know,"  answered  K.  "He  isn't  a  crook. 
There's  nothing  we  can  do  about  it." 

"Oh,  yes  there  is,"  retorted  the  boy  angrily.  "I  hap- 
pen to  know  he's  going  to  Schwitters  tonight  with  some 
dame  from  the  hospital — they  lived  together  before  thev 
came  here — I'm  going  to  get  the  dope  and  give  it  to  Sid- 
ney straight — she  wont  marry  me,  but  by  God,  I  cant  see 
her  marry  a  dirty  cad  that  will  break  her  heart !" 

Carlotta  was  making  one  last  desperate  effort  to  keep 
Max.  He  had  picked  her  up  again  during  Sidney's 
absence  almost  as  tho  there  had  not  been  any  indifferent 
interlude.  Poor,  deluded  Carlotta  believed  he  had  come 
back  to  stay.  She  would  get  sick  at  Schwitters  and.  pre- 
tend to  faint.  Max  would  be  a  little  drunk.  They'd  have 
to  get  a  room — a  dozen  desperate  expedients  occurred  to 
her,  but  she  would  be  governed  by  the  moment.  Poor 
Carlotta ! 

It  was  a  wild  ride  Joe  and  K  took  following  the  pair 
from  road-house  to  road.-house.  They  couldn't  recognize 
the  girl,  and  Joe  finally  decided  that  it  was  Sidney. 
Whereupon  K  firmly  refused  to  follow,  feeling  that  after 
all  it  was  her  right  to  go  where  she  pleased  with  the  man 

she  was  going  to 
marry.  Joe,  how- 
ever, had  worked 
himself  up  to  a 
fever  heat  and 
with  some  half- 
formed  quixotic 
notion  of  protect- 
ing Sidney  was 
right  behind  Doc- 
tor Max  and  the 
woman  as  they 
entered  Schwit- 
ters. 

"Oh,  Max," 
said  Carlotta  ex- 
pectantly as  they 
took  their  seats 
in  a  shaded 
alcove,  "you  do 
love  me,  dont 
you?" 

"Sure,"  an- 
swered the  man 
without  looking 
at  her,  and  the 
lack  of  conviction 
in  his  tone  regis- 
tered even  with 
a  woman  who 
wanted  desper- 
ately not  to  feel 
it. 

Carlotta    ran 

her   hands    thru  her   hair  a 

little  wildly.     Tiny  beads  of 

perspiration  stood  out  on  her 

forehead.     She  really  did  feel  sick.     "Oh,  Max,"  she  said 

again,  "I'm  ill— I  feel— faint." 

Carlotta  had  seen  too  many  women  faint  not  to  know 
how  to  do  it  properly.  With  visible  annoyance  Doctor 
Max  picked  her  up  and  carried  her  upstairs  to  a  hastily 
requisitioned  room,  from  which  an  excited  management 
was  with  difficulty  expelled. 

From  the  details  of  the  sordid  ugly  bitter  quarrel  that 
(Continued  on  page  80) 


(Thirty) 


"Great  Britain's  Queen  of  Happiness"' 

Who  Wins  a  Popularity  Contest  Every  Six  Months.     How   Do   You   Like   Her? 


Betty  Balfour  is  England's  favorite 
screen  star,  and  that  means,  we  hope, 
that  we'll  see  her  pictures  over  here 
She  is  under  contract  to  Welsh,  Pearson 
&  Co.,  in  case  any  of  our  American 
producers  want  to  look  her  up!  Below, 
left,  is  Miss  Balfour  as  she  appeared  in 
"Love,  Life  and  Laughter."  Below, 
right,  in  "Squibbs'  Honeymoon" 


With    Ralph    Forbes    in 
"Reveille" 


As  "Squibbs,"  the  Piccadilly 
flower  girl 


(Thirty-one  J 


S.  M.  Cooper, 
L.  A. 

Architect 

M.  Herbert, 
L.  A. 

Decorator 


Blanche  Sweet 

and 

Marshall   Neilan 

Tone  Down 

Their  Colorful 

Personalities 

by  a 

Conventional 

Home 


It  is  a  little  odd  that  two  of  the 
most  arresting  and  original  per- 
sonalities in  Hollywood  should 
elect  to  live  in  a  house  just  like 
other  peoples'.  You  would  expect 
exotic  colors  and  bizarre  hangings 
and  all  sorts  of  unexpected  fea- 
tures. But  nothing  of  the  sort 
obtains  here.  The  home  of  Mar- 
shall Neilan  and  Blanche  Sweet 
is  quiet,  modest,  comfortable  and 
unassuming.  The  exterior  is  white 
stucco  with  a  red-tiled  roof,  square 
and  substantial-looking 


Above  is  the  living- 
room.  The  rug  is  grey 
velour,  the  walls  white 
damask,  and  the  dra- 
peries are  soft  subdued 
colors.  Ornaments, 
pillows  and  upholstery 
furnish  the  high  lights. 
Right  are  the  owners 
on  their  front  lawn 
with  a  distinguished 
guest,  Rebecca  West, 
the  celebrated  English 
novelist.  Mr.  and 
Mrs.  Neilan  are  at 
present  in  England 


(Thirty-two) 


Right     is     a 

junshiny 
corner  of  the 
reading  -  room 
with  Mr.  Neil- 
jh's  desk  and 
Mrs.  Neilan's 
chair 


This  room, 
too,  has  white 
walls  and  grey 
velour  rugs. 
The  furniture 
it  rich  old 
mahogany 


Hollywood  Homes— no.  xxiv 


Above  is  the 
dining-room, 
conventional 
but  charming, 
and  in  perfect 
taste 


Above  is  the 
informal 
b  reakfast- 
room  where 
the  Neilans 
sit  and  talk 
over  their 
next   picture 


Right  is  an- 
other favorite 
corner  flooded 
with    sunshine 


This  room  is 
grey  and 
green  and 
white,  a  pleas- 
ant and  livable 
combination 


(Thirty-three) 


"Elsie  Janis 
At  Home" 

Photographs  ©  by  Abbe 


Our  Elsie  isn't  really  at  home,  she's  over 
in  London,  and  that  is  what  she  calls  her 
skit,  revue,  act,  or  whatever  the  thing  is. 
At  any  rate,  it  is  one  of  the  three  shows  in 
London  that  is  making  money.  To  date,  it 
has  sold  out  for  every  performance.  Elsie, 
we  suppose,  feels  under  some  patriotic  obli- 
gation to  do  for  America  what  the  Chariot 
players  have  done  for  England.  Fair  ex- 
change is  no  robbery  and  all  the  rest  of  it 


Above  is  Elsie  playing  the 
piano,  we  think,  but  this 
fascinating  person  be- 
witches us  so  completely 
that  we  never  really  know 
what  she  is  doing 


Left:  The  tall  gentle- 
man supporting  Miss 
Janis  is  a  "pleasing" 
barytone  named 
Pidgeon  and  the  "ac- 
complished" pianist 
is  named  Lester. 
They  all  help  in 
Elsie's  at  home. 
Upper  left:  Elsie  as 
a  sort  of  glorified 
costermonger  (look 
it  up  in  the  diction- 
ary) with  a  million 
"pearlies."  The  props 
for  this  show,  we  are 
told  on  reliable  au- 
thority, consist  of 
one  grey  velvet  drop 
and  two  gold  pillows 


(Thirty-four) 


mi 


The  Romance  of  the  Extra 


By  ORVILLE  CALDWELL 


$  ■ 


WHEN  I  firsi  be- 
no  to  rehearse 
tor     niv     part     in 

l'hc    Miracle."    the   army 

if     extras i     soldiers, 

nonks,     nuns,     foresters, 

ts.   ft  ill  ;   wire  sini- 

mob  with  no  indi- 

ity     whatever       but 

ij   little  as  rehearsals  went  on  and  then  the  big  spec- 
tacle began  its  run  at  the  Century   Theater,  inure  and  more 
individuals  called  themselves  to  my  attention.  The 
nob  of  extras  one  by  one  became  definite  personalities  to 
me  and    1    am    glad    to    say    many    of    them    have    since 
e     my     friends. 

In  the   background 
>f     each     life     there 
■    dramatic    epic 
-  depicting  the  age-  ^_ 

ild  story   of   a   strug-  ,■ 

de  to  keep  soul  and  H^IK 

ody  together.  It  is 
tot  my  subject  to 
vrite  a  "sob  sister" 
so  I  am  not  go- 
dwell  on  heart- 
iches  and  heartbreaks 
—they  were  all  there 
—but  in  sketching 
;ome  of  the  characters 
[  hope  they  may  serve 
o  prove  that  one  can 
lever  judge  by  ap- 
pearances. 

Many  were  Rus- 
sian refugees  who 
ame  here  after  Lenin 
gained  control  in 
\ussia.  One,  a  splen- 
lid  old  man  of  aris- 
ocratic  appearance 
tad  been  a  Supreme 
lourt  Judge  in  Mos- 
"W.     He  also  owned 

chain  of  dairies  that 
ircumrailroaded  all 
treat  Russia.     All 

ts  wiped  out  in  the 
evolution.  He  is 
ij,Thty-six  years  old 
nd  speaks  eight  lan- 
:uages.  He  ekes  out 
in  existence  by  teach- 
ng  languages  and 
acting  in  "The  Mir- 
cle." 

There  are  two 
'rothers  in  their  earlv 
hirties,  Russian 
■  rinces  with  a  strain  of  royal  blood.  They  came  over 
iere  with  the  Russian  Commission  in  1916,  then  returned 
o  Russia  where  everything  was  taken  from  them.  Thev 
ame  back  to  New  York  where  they  sold  enough  jewels 
0  live  on  for  a  time,  finally  went  broke,  washed  dishes  in 
i  restaurant  and  are  now  numbered  among  the  extras  of 
The  Miracle."     They  are  both  highly  educated  and  fine 

(Tkirtyfivt) 


Mr.  Caldwell  confesses  that  he  is  an  actor  not  a 
writer  and  asked  to  have  his  story  edited,  but  he 

has    told    it    in    SUCh    a    straight  forward ,    interesting 
manner  that  we  haven't  touched  a  single  eomnui. — 

The  I'.ni  roa. 


- 


fellows  '1  bey      hop 

find  enough   work  on  the 
itage  and  icreen  to 
them  going. 

\  Russian  girl,  formerly 
a  member  of  the   Im; 
ballet,   is   also  doing   extra 
Work,         I  -ike     the     Otl  ' 

the   revolution   drove   her 

from  Russia  and  she  is  supporting  a  father  seventy-five 
and  a  mother  sixty-six.  entirely  on  her  earnings  in  "The 
Miracle,"  and  teaching  dancing  on  the  side  whenever  she 
has  time. 

Another  girl  is  the  daughter  of  the  erstwhile  owner  of 

Petrograd'a       leading 
newspaper.     He  also 

owned  a  chain  of  the- 
aters in  Russia,  all  of 
which  were  confis- 
d  by  the  Bolshevik 
government. 

There  is  also  a 
former  Colonel  of  the 
Imperial  Guard  who 
served  two  years  in  a 
<  ierman  prison  and 
another  man  who  was 
an  impresario  on  a 
par  with  Belasco. 
There  were  other 
Russians  but  the 
above  were  the  most 
interesting. 

Among  these  high- 
born extras  were  two 
charming  women,  an 
aunt  and  her  niece, 
both  Roumanian 
Princesses  who  were 
descendants  of  the 
Paleologue's.  the  An- 
cient Greek  royal 
family.  The  girl  is  in 
hopes  of  a  dramatic 
career  and  the  aunt 
is  with  her  heart  and 
soul. 

There  were  also 
two  French  girls,  one 
a  countess,  who 
taught  French,  and  a 
Russian  and  a  Ger- 
man girl  who  each 
taught  their  language 
in  addition  to  work- 
ing in  "The  Miracle." 
But  everyone  who 
was  interesting  was 
not  foreign  by  any 
means.  One  was  a  boy  who  belongs  to  one  of  Chicago's 
first  families.  His  dramatic  career  was  highly  frowned 
upon  by  his  family  so  he  struck  a  bargain  with  his  parents. 
They  gave  him  two  and  a  half  years  to  make  good  on  the 
stage  and  if  he  falls  down  he  must  give  the  next  two  and 
one-half  years  to  his  father's  business.  He  is  a  graduate 
(Continued  on  page  79) 


J/.  7,         '4- 


Orville  Caldwell  is  now  in  California  making  pictures,  but 
New  Yorkers  will  remember  him  as  the  beautiful  Knight 
of  "The  Miracle,"  and  it  was  in  that  extraordinary  mob  of 
extras  that  he  found  so  much  interest  and  pathos,  romance 
and  heartbreak  and  gallant  conquering  of  insurmountable 
odds.  This  sketch  was  made  by  the  mother  of  Lady  Diana 
Manners,  the  Duchess  of  Rutland 


I 


^~ i 

Muray 


Doris   Kenyon 


This  time  appears  as  a  poet.  Inspired  by  her  work  with  Valentino  in  "Monsieur 
Beaucaire,"  and  her  contact  with  his  wife  in  the  interests  of  the  same  picture, 
Miss  Kenyon,  who  is  a  dreamer  of  lovely  lyric  verse,  wrote  the  two  sonnets  on 
the  opposite  page,  which  we  think  the  most  gracious  and  charming  tribute  one  artist 
could  pay  another  and  which  we  are  proud  and  grateful  to  offer  in  the  pages  of 
CLASSIC.     The  sickening  cant  about  professional  jealousy  must  now  forfeit  its  right 

to  be  heard 


(Thirty-six) 


L 


■I 


On  the  Wings 

of  Song 


Two  Sonnets 
By 

DORIS  KENYON 


Rudolph  Valentino 

He  is  the  reason  for  Venetian  nights, 
Ami  low-swung  moons  and  shadows  thai 

caress. 
And  all  the  unsighed  sighs  and  unsung  songs 
Hidden    so    deep    'within    night's    throbbing 

breast  ; 
He   is   the    chant    pale   slave   girls   situ/    at 

dan 
He  is  the  whisper  from  a  lover's  tryst; 
Xo  I  'Won  nor  a  knight  of  olden  times 
Had  more  of  romance  horn  within  his  soul; 
A  Shelley  nor  a  Keats  could  not  express 
More  with   his  pen   that   he   in   pantomime; 
The  lure  of  silence  just  before  a  storm 
Lurks   in   his  slumberous  eyes    and   in   his 

smile. 
Friendly  yet  strange,  familiar  yet  unknown. 
Are  memories  and  unfulfilled  desires. 


Victor  Gcorg 


Russell  Ball 


Mrs.  Rudolph  Valentino 

She  is  an  iris,  swaying  on  its  stem. 
Poised,  cool,  elusive,  in  the  evening  dusk ; 
Her  eyes,  low-curtained  by  a  veil  of  mist, 
Speak    of   strange    dreams,    remembered 

yesterday 
In  some  far  land — as  echoes  call  again; 
The  lilt   of  her  proud  grace  and  gentle 

tread 
Is  like  a  tnusic  played  on  muted  strings; 
Out  of  the  beauties  of  an  age-old  Greece 
Was    born    her    mind,    reflecting    these 

today; 
Her    heart    reveals    a    sheltered    garden 

close, 
Where   none   may   enter  save   he   knows 

the  key 
That    turns    the    magic    lock,    but    once 

inside, 
Is  filled  'with  wonder  at  the  rare  perfume. 


(Thirty  seven) 


At  the  top  of  the  page  is  Doug 
in  his  more  habitual  manner. 
He  is  demonstrating  jiu-jutsu 
to  a  fascinated  audience  of  chil- 
dren in  the  garden  of  the  Hotel 
de  l'Europe.  It  seems  to  de- 
light Mary  also,  tho  you'd 
think  by  this  time  she'd  be  used 
to  Douglas 


Doug  and  Mary 
Vacationing 


AT  AIX-LES-BAINS 


All  Photographs  by  Abbe 


Below  is  Doug  being  quiet.  The  Graflex 
caught  him  resting — a  breathless  moment — 
between  leaps  and  bounds.  Left  is  Mary 
in  a  Lanvin  gown  in  the  gardens  of  their 
hotel  at  Aix-les-Bains 


{Thirty-eight  > 


mm 


Abbe 


The    Siren 

As  Portrayed  in  England  by  Fay  Compton 

Fay  Compton,  one  of  England's  better  known  actresses,  has  just  com- 
pleted her  long  and  successful  run  as  the  spectacular  vampire  of  the 
more-than-spectacular  "Hassam."  She  has  accepted  a  motion-picture 
engagement  to  play  Queen  Elizabeth,  a  long  step  from  the  fascinating 
voluptuary  whose  naughty  career  she  just  finished.  When  "Hassam"  is 
produced  here  in  the  fall,  Mary  Nash  will  have  the  interesting  title-role. 
Comstock    and    Gest    appropriately    sponsor    the    spectacle    in    America 


'Thirty-nine) 


A  Thousand  Dollars  a  Day ! 


By  JIM  TULLY 


A  THOUSAND  dollars  a  day !  There  are  those  who 
claim  that  Jim  Cruze  receives  that  much  for  direct- 
ing pictures.  No  one  would  think  of  calling  Cruze 
James.  He  is  Jimmy  to  most  people.  This  forty-year- 
old  ex-vagabond  and  fisherman  is  undoubtedly  the  most 
dynamic  and  vivid  personality  in  pictures.  I  would  call 
him  the  ideal  director.  Long  vigils  on  fishing  vessels 
plying  Alaskan  waters,  gruelling  rides  on  freight  trains  as 
a  youthful  hobo,  long  days  spent  traveling  over  Utah  and 
Montana  deserts  with  a  wagon  show,  in  which  months 
passed  without  seeing  a 
railroad,  the  descendant 
of  a  long  line  of  Danish- 
Americans  who  trekked 
across  valley  and  moun- 
tain in  covered  wagons 
and  on  foot — this  man 
Cruze  was  for  thirty- 
eight  years  absorbing  the 
masterpiece  which  he 
later  made  and  called 
"The  Covered  Wagon." 

It  was  my  good  for- 
tune to  be  down  among 
men  from  my  twelfth 
birthday.  One  learns 
much  from  such  a  train- 
ing— the  most  valuable 
thing  being — to  appreci- 
ate the  genuine  because 
it  is  so  rare.  Jim  Cruze 
is  all  man  in  the  highest 
sense  of  that  much 
abused  term. 

It   is    only   once   in    a 
while  that  destiny  meets 
the  man.   Napoleon  fret- 
ting his  heart  away  over 
love  for  a  Parisian  demi- 
monde   whom    he    later 
married,  was  vaulted 
into  the  saddle  by  Paul  Barras 
— a  lover  who  was  tired  of  her. 
The     man     whom      Josephine 
laughingly    dubbed    her    "little 
corporal"  then  dashed  away  to 
fame  and  fortune  as  Comman- 
der of  the  Army  of   Italy.     I 
should  apologize  to  Jim  Cruze 
here — he    would    allow    no 
Josephine    to    bother    him    for 

twenty  years  .  .  .  but  when  the  epic  of  the  West  was 
ready  to  be  filmed — Cruze  was  accidentally  vaulted  into 
the  saddle  by  Jesse  Lasky,  who  knows  men.  Lasky  felt 
that  the  job  of  directing  "The  Covered  Wagon"  would 
require  a  man  who  could  obtain  the  required  effects  of 
distance  and  primeval  backgrounds.  Cruze  had  directed 
some  pictures  which  gave  evidence  of  this  knowledge, 
among  them  "The  Valley  of  the  Giants" — but  he  was 
known  principally  as  a  high-class  comedy  director.  Lasky 
had  faith. 

Cruze  was  born  in  Ogden,  Utah,  and  left  home  at  fif- 
teen to  travel  with  a  medicine  show.  It  was  during  these 
days  while  bumping  over  yellow  leagues  of  desert  that 
destiny  prepared  the  boy  for  the  man  that  was  to  be. 

Out  of  the  vast  caldron  of  life  an  atom  is  now  and 


Heavy  shoulders,  quick 
observing  eyes,  a  dark 
complexion,  not  at  all  re- 
vealing the  Scandinavian 
background,  James  Cruze 
is  a  Rabelaisian  character 
with  great  gusto  and  a 
fine  sense  of  humor. 
Right:  Working  on  the 
script  of  "Merton,"  his 
last  picture 


then  thrown  up  that  is  charged  with  more  energy — more 
vitality — more  tremendous  lust  for  surviving.  Cruze 
was  such  an  atom. 

Heavy  shoulders,  a  restless  mentality  that  pounds  at 
things,  quick  observing  eyes,  a  dark  complexion,  not  at 
all  revealing  the  Scandinavian  background,  Cruze  is  a 
Rabelaisian  character  with  gusto  and  a  fine  sense  of  humor. 
In  other  words,  he  knows  what  everything  is  about. 
He  puts  life  into  films  but  there  is  no  film  over  his  eyes. 
He  was  just  born  a  thorobred  and  he  cannot  be  explained. 
It  is  seldom  that  I  meet  a  man  that 
I  feel  instinctively  that  women  would 
like — for  men  are  a  sorry  breed — 
but  I  can  imagine  how  women  would 
like  Jim  Cruze — like  him  for  the  rea- 
son that  he  is  the  master  always. 
For  men  who  lose  their  hearts  to 
women,  lose  the  women.  House- 
keepers for  ages — women  always 
place  doormats  outside  the  door.  The 
real  men  walk  over  the  doormats 
with  the  dust  of  life  on  their  feet,  and 
chant  compelling  songs  in  the  hearts 
of  women  and  lock  the  doors.  Cruze 
is  that  kind  of  man. 

Jim  Cruze  knocked  about  the  West 
with    the    medicine    show    for    some 
time    and    then    tramped    about    the 
country,  meeting  another  chap  on  the 
road    who    was    destined    to    become 
known.     The  two  young  hoboes  ex- 
changed their  views  on  things  in  gen- 
eral  and  told  one  another  of  coun- 
tries where  sandwiches  grew  on 
bushes     and     lager     flowed 
from   the  hills   and  then 
went  on  their  devious 
ways  ribald  in  the  joy 
of   their   picturesque 
existence.    The 
other   chap's  name 
was  Jack  London. 
We    talked    for   a 
moment    of     Jack 
London.  "Jack  was 
a     poseur     always. 
He    died    one.      He 
was    a   poseur   as   a 
hobo.      But   he   wrote 
some  damn  fine  things." 
These    are    Jim's    words 
about   London — no    sentimen- 
tality,   no    film    over    his    eyes,    just    a    plain    statement. 
Cruze  became  weary  of  tramping,  as  smart  tramps  will, 
and  became  a  fisherman.    He  lived  thru  tales  of  death  and 
disaster,  and  saw  fanatics  at  prayer  being  swept  into  the 
sea  and  oblivion,  and  battles  with  whales  and  the  elements 
— all  too  long  to  record  here — but  they  made  Jim  Cruze. 
We  talked  a  long  time.    Cruze,  the  man  who  carries  his 
life  locked  up  within  him  as  a  strong  man  will,  had  met 
a  fellow  rover.     His  secretary  said  when  the  chat  wa> 
over,  "I  never  knew  him  to  talk  so  much — what  did  you 
do    to    him?"      "Nothing,"    I    answered.      "We're    blood 
brothers,  that's  all." 

There  were  certain  things  about  directing  I  wanted  to 
(Continued  on  page  77) 


(Forty* 


Ball 


To  Be  Or  Not  To  Be— 


Back  again  in  pictures,  is  Mabel  Ballin's  particular  query  these  days.  Every  week  we 
get  a  different  report  about  Mabel:  that  her  husband  is  to  direct  her,  that  he  is  not  to 
direct  her;  that  she  is  to  be  a  free-lance  star,  that  she  is  to  form  her  own  company, 
and  so  on.  Meanwhile,  the  screen  languishes  without  her  quaint,  elusive  charm.  We'll 
leave  it  to  you  that  she  should  be  back 


(Forty-one) 


Conrad  Nagel 


CLASSIC'S   GALLERY   OF  HANDSOME  MEN— NO.   V 

Altho  Conrad  Nagel  has  been  a  married  man  lo,  these  many  years,  his  youthful 
charm  never  seems  to  have  deserted  him.  He  is  undeniably  one  of  the 
handsomest  of  our  younger  leading  men,  and  one  of  the  most  popular  as  well. 
His   last   picture   was   "Mrs.    Paramour,"   and   his   next   will   be    "So   This   Is 

Marriage!"     Watch  for  it 


(Forty-two) 


i 


Who's  Who; 

On  Stage  and  Screen 


c  ( landc   H*i  <  is, 


BERNARD    SHAW 

Has  had  so  much  written  about  him  that  there 
is  absolutely  nothing  left  to  say.  This  famous 
Irish  scoffer,  author  of  many  subtle,  brilliant 
and  sophisticated  plays,  has  at  last  written  a 
play  totally  unlike  any  of  his  others.  That 
is  "Saint  Joan,"  which  has  just  ended  its 
most  successful  New  York  run.  It  is  humble, 
beautiful  and  moving,  a  drama  with  a  soul. 
It  is  now  published  in  book  form  by 
Brentano's.  If  you  like  Shaw,  or,  dislike  him, 
get  the  book 


White    Studios 


JANE  MURFIN 

Is  the  owner  of  Strongheart,  distinction  enough  for 
one  woman  in  one  lifetime.  She  has  written  a 
number  of  successful  scenarios;  directed  and  pro- 
duced several  pictures;  collaborated  with  Jane  Cowl 
on  "Smilin'  Through"  and  one  other  stage  play  and 
is  at  present  resting  on  her  laurels  in  Hollywood, 
where  this  picture  was  taken 


W.  C.   FIELDS 

Played  on  the  stage  for  twenty-six  years  and  never 
spoke  a  line!  He  was  a  pantomimist  and  juggler  in 
every  country  on  the  face  of  the  globe,  once  jump- 
ing from  Australia  to  Syracuse,  N.  Y.,  for  a  one- 
night  stand  only  to  find  when  he  got  there  that  his 
part  had  been  written  out!  His  first  speaking  part 
was  in  "Poppy"  and  it  was  an  instant  hit.  Let  us 
hope  he'll  always  talk  after  this 


(Forty-three) 


The  Photographer  Takes  the  Stage 


Right  is  a  pretty 
pose  from  the 
Japanese  music- 
d  a  n  c  e-d  r  a  m  a, 
"Ka-Bu-Ki,"  that 
Michio  Itow  is 
producing  for  the 
Threshold  Play- 
ers. Left  to  right 
they  are:  Mar- 
garet M  a  n  s  o  n, 
Betty  Calender 
and  Marion  Robb 


Next  month 
Classic  will 
have  scenes  from 
all  the  early  fall 
openings,  a  stag- 
gering number 
of  which  are 
promised.  The 
new  dramatic 
season  is  still  in 
its  experimental 
stage  and  needs 
a  lot  of  re- 
vamping 


Hori 


Below  are  Mr. 
and  Mrs.  Al- 
fred  Lunt 
(Lynn  Fon- 
tanne)  who 
are  appearing 
together  for 
the  first  time 
in  "The 
Guardsman," 
by  Franz 
Molnar,  the 
Theatre 
Guild's  first 
production 


Burke 


Apeda 


Above  are  Richard 
Sterling  and  Louise 
Closser  Hale  in  "Express- 
ing Willie,"  one  of  the 
few  plays  to  survive  the 
summer 


Abbe 


Above  is  G  r  o  c  k,  the 
famous  Swiss  clown,  who 
has  been  imported  for 
Selwyn's  great  interna- 
tional revue,  the  "Rue  de 
la  Paix" 


(Forty-four) 


THOSE  FOUR  FUNNY  FELLOWS  IN  "I'LL  SAY  SHE  IS!" 

The  four  Marx   Brothers  who  have  conquered  New   York  without  a  single   casualty. 
Left  to  right  they  are  Chico,  Groucho,   Beppo,   Harpo,   Leonard,  Julius,   Herbert  and 

Arthur  respectively 


(Forty- five) 


The  Play  of  the  Month 


By  KENNETH  MACGOWAN 


White 

CRITICS  have  certain  very  entertaining  habits.     One  is 
to  lay  the  faults  of  the  newspaper  reviews  to  the  fact  that 
they  have  to  be  written  in  the  first  forty-five  minutes 
after  the  curtain  falls.     Another  Hazlittian  habit  is  for  the 
critics  on  the  weeklies  and  monthlies  to  review  the  reviews 
instead  of  the  plays,  to  pan  the  forty-five-minute  opinions 
of  the  daily  critics  instead  of  panning  the  play. 

In  writing  about  "Abie's  Irish  Rose"  in  the  year  of  grace 
1924,  I  naturally  escape  a  lot  of  the  troubles  connected  with 
that  habit-forming  drug-on-the-market,  dramatic  criticism. 

On  the   May  evening  of    1922   when  Anne   Nichols'   play 
was  exhibited  to  the  pained,  but  not  at  all  surprised  collection 
of  second-string  reviewers,  I  was  watching  a  chorus  of  bulky 
Berlin  damsels  coyly  pulling  a  petticoat  half  an  inch  above  a 
Gargantuan   ankle   while   they   sang  about  the  naughtiness   of   a 
"Maedel   von   siebzehn   Jahr."      If    I    had   been    in    New   York,    I 
should  have  revenged  myself  on  the  weather  and  the  whole  stage  by 
completely  losing  patience  with  the  kind  of  show  we  have  to  see  ninety- 
seven   evenings   out  of   one   hundred   and   twenty-one.      I    should   have 
declared  that  "Abie's  Irish  Rose"  was  as  obvious  as  a  Third  Avenue  ham 


sandwich  and  about  as  tasteful. 
And — blissfully  unable  to  pene- 
trate two  years  of  theatrical 
history — I  should  have  declared 
that  this  bit  of  hokum  would 
never,  never  last  out  the  week. 
Now  this  would  have  been 
perfectly  all  right  as  a  revenge 
and  an  estimate  on  the  level  of 
Broadway  drama.  But  I  would 
find  it  just  a  little  embarrassing 
today  to  read  the  electric  sign 
outside  the  Republic  Theater — 
"3rd  Year."  And  as  for  hear- 
ing that  "Abie's  Irish  Rose" 
had  spent  fifteen  weeks  in 
Washington,  twelve  weeks  in 
Baltimore,  seven  months  in 
Pittsburgh,  eight  months  or 
more  in  Cleveland,  ten  weeks  in 
Montreal  and  twice  as  long  in 
Toronto,  twelve  weeks  in  Co- 
lumbus, ten  in  Atlantic  City,  and 
eighteen  nights  in  Erie,  Pennsyl- 
vania— the  spectacle  of  going  so 
(Continued  on  page  89) 


The  phenomenon  of  "Abie's 
Irish  Rose"  is  still  puzzling 
theatrical  savants.  When  it 
first  appeared  nearly  three 
years  ago  it  was  universally 
condemned  by  the  critics. 
Since  then  it  has  earned 
more  than  a  million  dollars 
for  its  author  and  producer, 
Ann  Nichols,  pictured  below. 
Left  are  Alfred  White,  Jack 
Bertin,  Harry  Bradley  and 
Andrew  Mack 


Apeda 


(Forty-six) 


The  Picture  of  the  Month 


Bv  LAURENCE  HEID 


"M= 


KNHANDLED"   (Paramount)   is  one  of  those 

r\    rare   screen  entertainments  thai   serve   to 

projecl    the    entire    business    of    motion  picture 

production  on  to  a  pi. me  closely  parallel  with  the  artistic, 
if  indeed,  it  doesn't  project  it  to  the  very  plane  of  art 
itself.  Here  is  a  picture,  not  new  in  it--  essentials  of  plot 
tn  an)  means,  that  is  so  humanly  told,  so  truthfully 
sketched  in  characterization,  so  convincingly  acted  and 
cleverl)  presented,  that  it  makes  us  forgel  the  un- 
deniable fact  that  sometimes  pictures  are  poor  and  at 
other  times  very  had. 

It  presents  the  very  simple  story  of 
a  girl  and  a  hoy  in   New   York 
City.     And   for  the  most  ^ 

part  it  draws  accurate  _v^ 

and  true  pictures 
o  i  c  0  m  m  on. 
every-day  types. 
In  this,  indeed, 
is  its  great  merit. 
Here  are  char- 
acters living  and 
breathing  the 
very  air  of  Man- 
hattan. They  are 
not  stuffed 
p  u  p  p  e  t  s  who 
jump  into  activity 
thru  the  manipu- 
lated strings  of  a 
director.  They 
are  wholly  ani- 
mate and  alive. 
They  are  truly 
the  characters  of 
which  scenario 
editors  beg 
amateurs  to 
write.  They  are 
the  people  next 
door  or  in  the 
apartment  across 
the  hall.  There 
is  drama  in  their 
apparently  drab 
existences.  I  f 
you  are  a  clever 
dramatist  or 
story-teller  you 
can  find  it. 
Arthur  Stringer 
found  it  and 
wrote  "Man- 
handled." You, 
who  distribute 
prizes,  step  for- 
ward. 

Mr.    Stringer 
was   fortunate   in 

that  his  story  fell  into  thoroly  competent  hands.  Gloria 
Swanson  is  the  girl,  a  department-store  worker,  and 
Tom  Moore  is  the  boy,  an  automobile  mechanic.  Theirs 
is  the  life  of  Xew  York,  of  early  rising  and  trips  to  work 
in  crowded  underground  cars,  of  long,  hard  days 
of  labor,  and  of  subway  rides  back  "home"  again.  Some- 
times a  chop-suey  dinner  is  thrown  in  to  round  off  the 
day.     It  is  a  simple  yarn,  rather  slight  of  plot — but  it  is 


In  "Manhandled,"  Gloria  Swanson  sets  herself  a  new  record.     She 

is  a  brilliant  screen  comedienne,  a  quality  hitherto  unsuspected  in 

her  make-up.     She  and  Tom   Moore  share  the  honors  as  simple, 

human,  every-day  young  people  of  the  working  class 


told   so   humanly    that    the    picture    rises   above    its    talc    b\ 
means  of  the  introduction   of  'plaint   divert)  -  m-iii< 

Neither  Chaplin  nor  Lloyd  has  done  anything  funnier 
than    Miss   Swanson's   pictured   adventure   in   the     ul. 
at    rush    hour.       It    is    the    opening    sequence    of    "Man- 
handled"   and  it  carries  a  gale  of  laughs.    It  is  burlesqued 
slightly,  but  nol  much  at  that.     It  ma)   seem  ridiculoui 

eople  in  cities  where  there  are  no  subways,  but  then 
so  may  all   New  York  seem  ridiculous, 

The   story,   as   said,   is   utterly    simple.      While   the   b 

is   away   exploiting   a  mechanical   invention, 
^^^^^^^^  the  girl  tastes  a  bit  of  Broadway  life. 

.1^1^^  She    has    left    the    subway    for 

od  after  the  first  -cene 
— a  subway  in  which 
^^  the  men  arc- 
heavy  to  be 
young  anil  too 
crowded  to  be 
wealthy.  So  she 
rides  on  a 
cushioned  seat  in 
taxis  or  private 
cars.  Well,  the 
upshot  of  her 
rise  from  the 
department-store 
trenches  is  that 
she  escapes  with- 
out harm,  but  the 
escape  is  close 
and  at  first,  when 
the  boy  returns, 
he  wont  believe 
her.  A  1 1  t  h  e 
gowns  are  honest, 
as  she  explains 
when  he  comes 
back  to  find  them 
hanging  guiltily 
in  her  wardrobe. 
But  there  are 
signs  that  de- 
termine her  true 
character  that  he 
cannot  ignore. 
So  there  is  a  very- 
happy  love  scene 
for  the  finale. 

The  scenes  be- 
t  w  e  e  n  Miss 
Swanson  and 
Tom  Moore  are 
some  of  the 
prettiest  the  cel- 
luloid has  re- 
vealed. They  re- 
in i  n  d  us  of 
Griffith  at  his 
best.  Often  these  two  players  are  motionless  yet  their 
scenes  seem  to  vibrate  with  a  vital  current.  They  are  a 
great  credit  to  the  players  themselves  and  to  Allan  Dwan, 
who  directed  the  picture.  Previously  we  have  associated 
Mr.  Dwan  with  unreal  stories  and  similar  settings. 
Rooms  in  plain  houses  have  become  as  enormous  as  the 
Louvre  under  his  evident  desire  for  space.  Here  he  gets 
(Continued  on  page  92) 


(Forty-seven) 


The  Celluloid  Critic 


REX  INGRAM  did  the  only  thing  possible  in  filming 
"The  Arab"  (Metro-Goldwyn) — he  went  to  the 
Orient  to  stage  it — thus  compensating  for  a  story 
which  has  become  frayed  at  the  edges  thru  long  and  faith- 
ful service.  The  director  came  back  with  some  striking 
photographs.  The  ornate  horizons  of  the  East  have 
served  Ingram's  camera  as  they've  never  served  anyone 
else  who  went  overseas  to  capture 
them.  Scenically,  the  picture  is  hard 
to  beat.  But  Edgar  Selwyn's  play 
is  stereotyped  fictional  fare.  It 
hasn't  enough  variety  of  situation, 
nor  enough  dramatic  substance  to 
cope  with  its  backgrounds.  And 
these  are  as  easy  on  the  eye  as  the 
story  is  tiresome  on  the  mind. 

We  will  not  say  that  these  fine 
shots  diminish  the  plot  values  en- 
tirely.   But  it  is  really  of  little  con- 
sequence     and      countless      serials 
which  have  gone  before  it — serials 
exploiting     the     same     idea — take 
away  the  dramatic  sting  of  show- 
ing impending  massacres  of  Chris- 
tians  by   the 
Moslems.      So 
we  return  to 
the    back- 
grounds   and 
pronounce 
them   good. 
We    also    pro- 
nounce Ramon 
Novarro's  per- 
formance 
good.    Except- 
ing   the    pic- 
torial quality 
of  the  film,  his 
work    is    the 
outstanding 
feature.   He  makes  the  Arab 
scornful,   insolent   and  bold, 
but  a  likable   fellow   for  all 
of  that.     His  heroism  in  be- 
half    of     the     missionary's 
daughter  wins  him  the  neces- 
sary sympathy.    Alice  Terry 
wearing    her    own    brunette 
tresses  (the  blonde  wig  hav- 
ing    been    discarded     here) 
appears     as     beautiful     and 
charming     as     ever.        She 
brings  appeal  to  a  rather  in- 
consequential    role.       There 
are    several    foreign    actors 
whose  work  is  excellent. 

The  picture  will  draw 
crowds  because  of  its  sheik  flavor — and  the 
fact  that  the  names  of  Novarro  and  Ingram 
carry  weight.  These  crowds  wont  see  much 
of  a  story,  but  they  will  see  Nature  at  her 
best  with  her  clays  and  paints. 


A  scene  from  "Wine  of  Youth" 


Top  of  the  page: 
Mae  Bush  and  sup- 
porting players  in 
"Bread."  Above: 
Ramon  Novarro  in 
"The  Arab" 


WILLIAM  J.  LOCKE'S  story,  "The  Mounte- 
bank," which  was  adapted  to  the  stage  last  season, 
has  finally  emerged  as  a  Paramount  picture  under 
the  colorful  title  of  "The  Side  Show  of  Life."  It  is 
treated  sympathetically,  if  with  not  sufficient  feeling — and 


serves  in  registering  as  a  very  good  film,  if  not  a  brilliant 
one.  It  lacks  the  Locke  quaintness,  a  quality  which  is 
woven  in  all  his  stories — and  there  isn't  enough  of  the 
Locke  wistfulness  and  tender  humor.  But  it  does  hold 
you — even  grips  you  at  times,  principally  because  of  the 
gifted  pantomime  of  Ernest  Torrence  who  plays  an  Eng- 
lish buffoon  in  a  French  circus. 

Circus  stories  are  always  senti- 
mental— and  embroidered  with 
pathos.  And  this  clown  suffers 
when  the  show  becomes  bankrupt 
and  when  he  returns  from  the  war 
to  receive  the  jeers  of  his  audience. 
But  the  picture  doesn't  move  with 
that  steady  heartbeat — and  it  often 
lacks  color.  Torrence  uses  his 
plastic  face  to  draw  upon  his  emo- 
tions and  he  gives  a  touching  per- 
formance in  his  moments  of  pathos 
— especially  the  burial  of  the  dog. 
You  may  have  to  use  your  hand- 
kerchief here  to  brush  away  a  tear. 
But  he  is  not  the  hapless  clown — 
the  pitiable  clown  of  all  song  and 
story!  Which 
■B^^^^_  makes    us 

wonder  if  he  is 
not  more 
adaptable  for 
comedy  and 
heavy  char- 
acter. 

The    picture 
is    finely 
staged,    carries 
restraint  and 
considerable 
charm.     And 
there's  a  new- 
comer,   Louise 
La     Grange, 
who  will  be  heard  from  some . 
day.       She     shows     sincere 
emotion  and  a  wide  range  of 
expression.     Anna  Q.   Nils- 
son  plays  a  small  role  with 
her    usual    skill.      A    more 
sprinkling   of   humanities,   a 
little  more  balancing  humor 
— and     the     picture     would 
have   been    a   real    triumph. 
Still,  we'll  call  it  good  enter- 
tainment as  it  stands. 

BREAD"  (Metro- 
Goldwyn)  would  be 
a  real  human  picture 
if  the  director  had  brought 
out  the  pathos  and  mental  conflict  which  are 
found  in  Charles  G.  Norris'  original  story. 
It  fails  to  touch  the  inner  feelings  of  the  heart 
— and  yet  the  central  characters  fairly  cried 
for  sympathy.  It  may  be  that  Victor  Schert- 
zinger,  the  director,  tried  too  hard  to  establish  a  moral. 
But  we  fail  to  find  it  here.  What  we  do  find  is  a  lot  of 
marital  trouble  stressed  with  too  much  unimportant  detail. 
What  should  have  been  a  compact  picture  contains  sev- 
eral loose  ends  which  are  not  well  tied  together. 

Yet  it  is  interesting.     Any  one  will  have  lots  of  fun  in 


A   scene   from   "Babbitt 


(Forty-eight) 


Laurence  Reid  Reviews  the  Latest  Photoplays 


accompanying  Mae  Busch  thru  her  maze  of  marital 
trouble.  It  is  fairly  true  to  life  without  tugging  at  the 
emotions.  It  sketches  a  cross  section  of  humdrum  lift 
it  pertains  to  a  poverty  stricken  family  determined  to  keep 
up  appearances,  rhe  central  figures  are  a  proud  mothei 
and  her  equally  proud  daughters.  The  latter  arc  con- 
•id.  One  marries  a  hard-working  man  and  finds 
solace  with  a 
brood  of  chil- 
li r  i-  n  :  t  h  e 
other  plunges 
into  business 
and  eventually 
marries  a 
young  boaster 
— a  character 
not  well  inter- 
preted by  Rob- 
ert Frazer  who 
it  miscast  as 
an  Irishman. 
The  best  work 
i-  contributed 
by  Miss 
Busch,  Pat 
I  >'Malley  and 
Eugenie   Besserer. 

The  book  hasn't  been  tam- 
pered with  to  any  extent,  tho 
the  Irish  husband  undergoes  a 
too  sudden  change  of  character 
as  depicted  here.  As  we  said 
above,  it  touches  life  fairly 
accurately,  contains  some  first- 
rate  comedy — and  is  appropri- 
ately staged.  And  it  offers  a 
pleasant  hour  and  a  half. 

BOTH  as  an  example  of 
flapper  expression  at  its 
highest  peak  and  as  en- 
tertainment, "Wine 
of  Youth"  ( Metro- 
Gold  wyn)  leaves 
but  little  to  ask  for 
in  the  way  of  en- 
tertainment. It  is 
similar  to  others  of 
its  cloth  in  that  its 
theme  brings  forth 
that  Youth  of  to- 
day is  no  different 
than  when  grand- 
ma was  a  girl.  But 
where  it  surpasses 
the  others  is  in  its 
prodigality  of 
scenes. 

King  Yidor,  you  are  responsible 
for  this  effort.  And  you  have 
brought  out  the  jazz  spirit  here  so 
that  the  picture  eclipses  anything 
heretofore  presented  along  this  line. 

The  heroine  has  her  fling — a  good, 
big  one — then  she  sees  the  error  of  her  ways,  and  accepts 
matrimony  as  the  best  solution  of  a  conventional  exist- 
ence. She  has  been  goaded  into  wedlock  thru  her  quarrel- 
some parents,  each  of  whom  has  accused  the  other  of 
being   responsible   for    Man's   streak   of   wildness.      The 


picture  is  an  adaptation  oi  Rachel  *  i  ither'a  play,  "M 
the  Third."    \n<l  it  moves  at  lively  pace,  offering  one  rub 
-   after  another,  until  its  climax,  when  Victor  allows 

it    to  become  a   pre.u  hmcnt       'I  lie  concluding 

too  much  generalization  on  morals,    Mad  it  maintained  it- 
pace  and   not   flirted    with    preachy  advice   it    would   I 
been  almost  perfect,     It  i-  capitally  played  by  a  group  of 

the    younger 

troupers      who 
ad  i"  the  mod 

em    soph: 

i  a  ted  st  y  I  e 

tailed      for     in 

the  story. 


D  ,1 ' 


Upper  left:  Tom 
Buster."  Upper 
in  "Behold  This 
Ernest   Torrence 


Mix  in  "The  Heart 

right:      Irene    Rich 

Woman."      Center: 

in   "The   Side-Show 

of  Life."     Upper  left:     Marie  Prevost 

and  Monte  Blue  in  "How  to  Educate 

a   Wife."     Upper  right:   Baby   Peggy 

in  "Captain  January" 


B- 
BITT" 

(War- 
ner    Brothers) 
is  a   dull,   rou- 
tine  affair  — 
which  is  minus 
the      necessary 
spark    to    give 
it  life.    Sinclair 
Lewis'  manner 
of  writing  takes  in  every  detail. 
His   is   a   photographic   mind — 
and     translating     one     of     his 
stories  calls  for  laborious  labor. 
It   isn't  that  the  sponsors  here 
haven't    expended    considerable 
effort  to  humanize  Babbitt.     It 
remains     that     Babbitt     simply 
refuses   to    respond    to    camera 
treatment  because  it  is  mostly 
a  study  of  character.     So  the 
parties    who    made    it    did    the 
next  best  thing — they  fashioned 
it  along  picture  lines. 

They  have  injected  some 
drama,  a  faint  dash 
of  comedy,  some 
character  sketching 
— and  a  sprinkling 
of  heart  interest. 
And  there  is  a  note 
of  the  eternal  tri- 
angle interlaced 
thru  it.  The  story 
does  not  build 
much  interest  — 
and  moves  slowly 
without  much  flash 
of  inspiration  to 
its  orthodox  con- 
clusion. 

A  picture  came 
some  seasons  ago  entitled  "A 
Old  Dog"  which  was  much 
closer  the  truth — in  its  portrayal  of  a 
middle-aged  man  searching  for  youth 
and  romance.  Babbitt  here  is  mar- 
ried and  he  has  grown  tired  of 
domesticity.  But  the  note  of  the  obvious  mind  that 
symbolized  Babbitt  in  the  novel  is  missing.  Babbittry 
spells  boobery  as  Lewis  interpreted  it.  But  Willard  Louis 
in  the  title-role  is  not  the  symbol  of  the  man  in  the  street 
(Continued  on  page  94) 


out 
Gay 


(Forty-nine) 


Pertinent  and  Impertinent 
Screen  Comment 


I 


F  Rodolph,  or  Rudolph,  or  possibly  Randolph  by  now, 
Valentino  is  the  most  talked  about  Film  Fiirst  these 
days,  Wallace  Beery  is  certainly  the  most  seen  about. 


Probably  if  all  the  recent  footage  taken  of  Wallace 
Beery  was  connected  in  one  long  roll,  it  would  reach  from 
Xew  York  to  Hollywood  three  times  and  there  would 
still  be  enough  left  to  make  up  nifty  sport  belts  for  Hope 
Hampton,  Nita  Naldi  and  Barbara  La  Marr. 


Or  putting  it  another  way,  it  would  be  only  about  two 
miles  shorter  than  a  picture  directed  by  Eric  von 
Stroheim,  the  man  who  loves  to  hate  himself. 


There  has  been  considerable  pro  and  a  whole  lot  of 
con  about  how  funny  a  fat  man  really  is,  and  we  have 
consistently  stood  up  and  cheered  with  the  contrary- 
minded.  Nevertheless,  it  is  our  public  opinion  that  if 
Walter  Hiers  could  take  over  the  Bawby  Ephalunt 
stories  of  Holworthy  Hall  which  are  running  in  the 
Saturday  Evening  Post  he  would  bust  the  movie 
rhinoceros-hide,  as  we  sport  writers  say,  for  a  circuit 
clout.  The  plots  of  the 
stories  are  not  only  highly 
ingenious  and  diverting, 
but  the  dialog  is  price- 
less. The  material  is, 
Lafayette,  certainly  there, 
and  if  Hiers'  talents  can 
stand  the  strain,  and  if 
Hall  can  keep  them  to  stick 
to  the  text  for  the  titles, 
another  one  of  these  new 
epochs — or  is  it  epics — in 
the  shining  history  of 
cinematography  will  have 
dawned. 

As  usual,  we've  broken 
the  ice.  And  who's  going 
to  produce  the  hair-lini- 
ment? 


> 


•fr       +       + 

While  we  are 
on    the    subject, 
Tommie   Mun- 
din,  of  Chariot's 
Revue,    says   he 
wants    to    do    a 
movie,  or  a  series  of 
shorts     built     around 
"Jarge,"  the  rural 
lout,  or  oaf,  who  has 
made    such    a    hit    in 
the    revue.      In    this 
case,  all  that  is  needed 
is     someone     intelligent 
enough  to   write  him  a 
script,    and    somebody 
else  intelligent  enough  to 
direct  it,  and  somebody 
else  intelligent  enough — 
but    here !    here !    we're 
getting  idealistic. 


K* 


Decoration 

Thru  the  Courtesy  of 

Hal  Roach  Studios 

Posed  by 

Beth  Darlington 

and 

Billie  Beck 


There  is,  we  frequently  notice,  a  touch  of  Socrates. 
Christ,  Mohammed  and  St.  Joan  of  Arc  in  our  attitude 
toward  the  movies.  Try  as  hard  as  we  can,  and  that  isn't 
so  very  hard,  we  cannot  refrain  from  announcing — in  a 
pleasant,  conversational  tone,  to  be  sure,  just  what  is 
wrong  with  the  movie  under  inspection.  And  invariably 
the  five  rows  in  front  of  us,  and  the  five  rows  in  back  of 
us  grow  very,  very  peeved — altho  it's  really  all  in  their 
interest. 

Eventually  if  we  are  not  burned  over  a  rotisserie  grill, 
we  expect  we  shall  be  dragged  forth  by  a  howling  mob 
of  movie  fans  and  made  to  drink  a  Nedick  orange  drink. 

Hh        +        + 

Speaking  of  Socrates,  in  his  preface  to  "St.  Joan," 
Shaw  says,  "he  had  no  suspicion  of  the  extent  to  which 
his  mental  superiority  had  roused  fear  and  hatred  against 
him  in  the  hearts  of  men  towards  whom  he  was  con- 
scious of  nothing  but  good  will  and  good  service." 

Ah,  that's  the  idea,  exactly! 


Milton  Sills,  it  is  rumored,  will  play  the  title-role  in 
"The  Life  of  Christ." 

We  understand  perfectly  what  faction  is  back  of  this 

subtle  propaganda  and  we 
intend  writing  a  letter  to 
Henry  Ford. 

"T*  T"  "T* 

Is  Marriage  Marriage? 
(Twenty-ninth  Instalment) 

Note:  The  preceding  instalments 
were  mysteriously  stolen  from  the 
back  seat  of  an  aquaplane  while  the 
author  was  crossing  the  Andes  on 
roller  skates.  But  dont  let  that 
worry  you. 

Essmore      Dismal,      our 
hero,  after  various  adven- 
tures  is   finally   driven   by 
the  friendly  realtor  to  the 
shores    of    beautiful    Lake 
Apopka.     Here    he 
leaves  him,  rather 
suddenly.    Essmore, 
enchanted    by    the 
scenery,  is  wandering 
thru  an  orange  grove 
when  a  grapefruit 
drops  from  a  tree  on 
his  head  and  knocks 
him  unconscious. 

When  he  comes  to, 

he  finds   his  head  in 

the  lap  of  Guava  Golightly, 

the    girl    he    has    come    to 

Florida  to  seek.    Insert : 

Fate  plays  many  strange 
tricks  when  Cupid  winds 
the  dice. 

"Where  am  I?"  asks  Ess- 
more, just  as  if  the  realtor 
hadn't  been  telling  him 
about  the  natural  beauties 
of  citrus-growing  Florida 
for  five  hundred  and 
(Contini4ed  on  page  93) 


^ 

M 


(Fifty) 


AND  THE  BEST 
CLASSIC'S    LIFE-STORY   SCENARIO    CONTEST 


Cl  ASSIC,  after  its  seven  years  in  the  motion-picture 
field,  has  come  to  the  conclusion,  first,  that  ninety 
per  cent,  of  movie  fans  after  seeing  ninety  per  cent, 
of  the  pictures  come  away  believing  that  they  could  write 
ood  a  one,  if  not  better;  second,  that  their  own  story, 
if  properly  told,  would  make  a  more  thrilling  picture  than 
any  they  have  seen.  This  is  not  surmise — it  is  the 
inevitable  conclusion  of  experienced  facts. 

Now  : 

Every  human  being  has  his  story,  no  matter  how  drab 
or  uninteresting  he  may  appear  on  the  surface.  You 
remember  your  girlhood  on  the  farm  and  the  amazing 
thing  that  happened  there,  that  you  can  never  forget,  tho 
only  three  people  knew  about  it.  You  remember  when 
you  first  ran  away  from  home  as  a  mere  boy,  and  the 
exciting  adventures  that  you  never  dared  tell,  that  you 
had  before  you  got  safely  home.  You  remember  that  wild 
survey  up  in  Canada  and  the  dangers  and  hardships  and 
loneliness ;  the  forbidden  voyage 
to  the  South  Sea  Islands;  the 
mutiny ;  the  railroad  wreck ;  the 
fire  and  the  heroism  of  the 
mysterious  stranger ;  the  curious 
neighbor  that  never  left  his 
house  without  an  overcoat,  no 
matter  what  the  weather ;  the 
suspicious  couple  that  drifted  un- 
expectedly into  your  life  and  left 
as  inexplicably  as  they  had  come ; 
the  dope  raid  in  your  own  here- 
tofore respectable  neighborhood ; 
your  own  love  story  that  you 
have  never  told  before ;  and  so 
on  ad  infinitum.  Life  is  full  of 
thrills — they  cant  all  have  passed 
you  by. 

We  want  you  to  tell  us  your 
story,  the  story  of  your  life,  the 
thing  that  has  happened  to  you 
that  would  serve  as  the  nucleus 
for  a  moving  picture.  Dig  deep 
in  your  memory — and  find  a 
movie  plot,  or  just  an  idea,  or  an 
incident  that  could  be  elaborated 
into  a  scenario.  More  exciting 
things  happen  daily  in  real  life 
than  one  could  ever  find  on  the 
screen.  Truth  is  stranger  than 
fiction  no  matter  how  often  it  has 
been  said.  Every  fiction  story 
has  its  counterpart  in  reality. 
Just  read  the  daily  papers ;  just 
keep  your   eyes   open   and   your 


THE   RULES 

1.  No  manuscripts  will  be  returned. 

2.  Positively  no  exceptions  will  be  made  to 
Rule  1.    Keep  a  copy. 

3.  Manuscripts  must  not  exceed  600  words 
(about  two  typewritten  pages). 

4.  Your  name  and  address  must  be  distinctly 
printed  at  the  top  of  every  manuscript.  If 
you  wish  another  name  used,  sign  it  at  the 
end  of  the  story. 

5.  Manuscripts  are  better  typewritten,  but  long- 
hand will  be  accepted. 

6.  Address  your  manuscripts : 

Life-Story  Scenario  Editor 

MOTION  PICTURE  CLASSIC 
175   Dufheld    Street  Brooklyn.    X.    Y. 


THE   PRIZES 

1.  Every  month  as  long  as  the  contest  lasts 
Classic  will  print  three  Life  Stories;  the 
best  to  win  $15.00;  the  second,  $10.00;  and 
the  third,  $5.00. 

2.  At  the  close  of  the  contest,  which  will  be 
announced  later,  Brewster  Publications,  Inc., 
will  engage  a  competent  author  to  develop 
the  story  or  plot  adjudged  the  best  of  all 
those  submitted,  published  or  unpublished, 
into  a  workable  scenario  and  will  use  its  in- 
fluence and  best  effort  to  sell  it  to  some  pro- 
ducing company,  whatever  price  obtained  to 
be  paid  directly  to  the  winner. 

\Vatch   each    issue  of    Classic    for   news, 
awards  and  announcements. 


wits  about  you  and  you'll  find  a  story  in  real  life — if  not 
your  own  story,  your  friend's,  or  your  neighbor's.  Life 
is  nothing  but  stories,  true  stories  that  have  been  lived 
You've  got  one — send  it  to  us. 

Never  mind  the  form.  This  contest  has  nothing  to  do 
with  literature.  Correct  spelling,  a  neat  paper,  big  words, 
style,  the  proper  approach — all  these  things  that  have  been 
of  importance  in  determining  tire  winners  of  other  con- 
tests, mean  nothing  here.  It  is  the  story  we  want — the 
idea — the  plot.  We'll  put  it  in  its  proper  form  if  it  proves 
saleable.  All  you  have  to  do  is  write  it  down  as  you 
remember  it.  All  you  really  need  is  to  know  how  to  write  ! 
Every  month  Classic  will  publish  three  of  these 
stories;  the  one  judged  best  in  the  opinion  of  the  editor 
and  her  staff  will  be  awarded  $15.00;  the  second.  $10.00. 
and  the  third,  $5.00.  These  three  awards  will  be  given 
every  month  as  long  as  the  contest  lasts,  so  that  your 
chances  multiply  indefinitely. 

At  the  end  of  the  contest 
Brewster  Publications,  Inc.,  will 
engage  a  competent  author  to  de- 
velop the  story  or  plot  adjudged 
the  best  of  all  those  submitted, 
published  or  unpublished,  into  a 
workable  scenario  and  will  use 
its  influence  and  best  effort  to 
sell  it  to  some  producing  com- 
pany, whatever  price  obtained  to 
be  paid  directly  to  the  .winner. 
Naturally,  if  accepted,  your 
scenario  will  get  publicity  in  all 
three  of  our  magazines.  You 
are  also  free  to  sell  your  story 
elsewhere,  even  if  it  has  been 
published  in  Classic,  any  time 
after  the  contest  closes. 

It  seems  to  us  that  this  is  the 
opportunity  of  a  lifetime.  It  is 
the  sort  of  thing  that  practically 
everybody  can  try  for.  since  it 
requires  neither  education,  nor 
skill,  nor  any  technical  knowl- 
edge whatever.  The  moving 
picture  is  badly  in  need  of  origi- 
nal stories,  real  life  stories.  Thru 
you,  and  you,  and  you.  Classic 
is  going  to  supply  them. 

The  rules  are  as  simple  as  we 
can  make  them.  You  must  fol- 
low them.  They  will  be  printed 
every  month.  Because  of  the 
enormous  bulk  of  material  we 
(Continued  on  page  86) 


(Fifty-one) 


Flashes  From  the 


Of  the  Stage 
Caught  by 


Above:  Bcbe 
Daniels  in  a 
blonde  wig  and 
Richard  Dix  in  a 
merry  moment 
from  "Sinners  In 
Heaven."  Right: 
Adele  Astaire  and 
her  mother  and 
her  husband 
Fred,  who  are 
leaving  their 
London  triumphs 
to  come  home  to 
star  in  a  comedy 
by     Guy     Bolton 


THINGS  theatrical  are 
picking  up  after  the  sum- 
mer slump  that  makes 
each  year  a  quiet  country 
lane     of     Broadway — almost. 

There  have  been  dozens  of  new  openings  and  some  of  them 
have  stuck.  *  *  *  After  several  disappointments  with  foreign 
revues  early  last  season,  Andre  Chariot's  revue  upset  the  dope 
and  now,  confident  that  novelties  from  abroad  are  fixtures, 
Arch  Selwyn  already  has  arranged  for  a  second  revue  by 
Chariot.     Prior,  however,  will  come  "Rue  de  la  Paix,"  with  a 

cast    of    interna- 
tional    names  : 
Raquel      Meller, 
Grock,       the 
clown,   the   Rus- 
sian   Lilliputians 
(who    originated 
the     "parade     of 
the   wooden   sol- 
diers"),  Maurice 
and       Leonora 
Hughes,     Ivor 
Novello,       and 
Patou,   the   Pari- 
sian  fashion   de- 
signer.    Because 
of  the  wealth  of 
revues  nominated 
for     New     York 
in  the  fall,  "Rue 
de   la   Paix"   has 
been     timed     to 
enter     after     the 
others,     about 
November  1st. 
*    *    *    Edward 
Laemmle,      Uni- 
versal     director, 
is   making   shots 
of  the   shrine   of 
St.      Anne      de 
Beaupre     near 
Quebec,   for   use   in   Clarence 
Budington     Kelland's     story, 
"Miracle,"     which     is     being 
filmed.  *  *  *  Judith  Anderson, 
who  plays  the  wicked,  wicked 
lady  in  "Cobra,"  was  greatly 
incensed     recently     when     a 
letter,    addressed    merely    to 
the  wickedest  woman  in  New 
York,      was      marked      "Try 
Judith      Anderson,      Hudson 
Theater,"  by  some  one  in  the 
Post  Office  Department.  The 
letter  was  a  scathing  arraign- 
ment    of     women     vampires, 
and    altho    the    actress    takes 
pride    in    her    realistic    work, 
she  thinks  that  is  going  a  bit 
far.      Altho    Miss    Anderson 
has    been    signed    by    David 
Belasco  for  several  years  and 
will   appear  in  a  play  under 
his   management   in   the   fall, 
the  idea  has  occurred  to  Mr. 
Williams,    of    the    Ritz    Pic- 
tures   Corporation,    that    she 


(Fifty-hvo) 


Eastern  Stars 


On  the  Screen 

the  Editor 


would   be  i   ver)    kri,,i(l   bet 
to  play  the  part  which  she 
created   on    the   stage    in   ■ 
pictui  c    \  ei  si<  'ii       whether 
her  appearance  in   the  film 
ean  be  arranged  with  Mr.  Belasco  remains  to  be  seen,  but  so 
favorably  impressed  was  Mr.  Williams  by  the  acting  of  the 
young  star  that  he  is  endeavoring  to  arrange  it.  *  *  *  Rehearsals 
of  Billic  Burke's  latest  vehicle,  tentatively  called  "Annabelle," 
which  her  husband,  Florenz  Ziegfeld,  will  produce  this  season, 
have  begun  on  the  lawn  of  the  country  estate  leased  by  the 
producer  on  Long 
Island.        Edward 
Royce    is    staging 
the   piece.     Ernest 
Truex     plays     the 
male   lead.      Clare 
Kummer,     author 
of  the  play,  is  di- 
recting    most     of 
the    rehearsals    in 
conjunction    with 
Mr.   Royce.   *   *   * 
Richard     Barthel- 
mess    is    complet- 
ing   "Classmates" 
at     the      Tec-Art 
Studios      which 
they     leased      for 
this  picture.     The 
company    just    re- 
turned from  Flor- 
ida    where     some 
exteriors     were 
shot.    *    *    *    Wil- 
liam   Brush,    pro- 
ducer    of     Kings- 
ley's  "The  Water 
Babies,"     is     in 
Miami,     Florida, 
trying     to     per- 
suade     a      sword 
fish    and    a    shark 
to  give  him   a   mortal   combat 
for  his  picture.     He  is  going  to 
stay  aboard  his  lugger  until  he 
gets  it.  Mr.  Brush  has  selected 
little    Charles    Gould    for    the 
role  of  "Tom."   Charlie   has  a 
record     of     remaining     under 
water     eighty  -  eight      seconds 
which    is   supposed    to    be    the 
world's  record.  *  *  *  It  is  con- 
sidered likely  Madge  Kennedy 
will  be  seen  this  fall  in  Lynn 
Starling's     new     comedy,     "In 
His    Arms,"    which    was    tried 
out  on  the  coast  this  summer 
by  Margaret  Lawrence.  *  *  * 
While    abroad,    Gilbert    Miller 
saw     "Antonia,"      which      his 
company     will     present     here, 
and  he  brought  back  a  trans- 
lation  by   Somerset   Maugham 
of  Luigi  Chiarelli's  "The  Mask 
and  the  Face."     Mr  Miller  also 
obtained  the  rights  for  Ameri- 
can   presentation    of    Barrie's 
"Shall   We  Join   the    Ladies?" 


Above:  Dorothy 
Dalton  and  her  new 
husband,  Arthur 
Hammerstein,  re- 
turning from  their 
honeymoon 


Abbe 


Above:  The 
Dolly  Sisters 
with  their  best 
friend,  Pearl 
White,  pose  to- 
gether before  the 
Dollys  left  Paris 
for  the  United 
States  to  star  in 
the  new  "Green- 
wich Village 
Follies."  Left: 
Two  of  our  own 
movie  stars  in  an 
English  film 
called  "Swords 
and  the  Woman." 
They  are  Pedro 
de  Cordoba  and 
Holmes    Herbert 


(Fifty-three) 


CLASSIC 


Puffer 


Above:  Flora  Le  Breton  direct- 
ing her  director,  E.  H.  Griffith, 
in  "Another  Scandal."  Right: 
The  first  of  the  "Follies"  girls 
to  get  her  millionaire,  Addie 
Rolph,  now  Mrs.  Cecil  Sillman, 
posing  on  the  most  famous 
fire-escape  in  the  world,  that 
behind  the  New  Amsterdam 
Theater  which  houses  the 
"Ziegfeld   Follies" 


O  Keystone   View 


An   exciting  moment   from   Commissioner   Enright's   screen 
serial,  "Into  the  Net."     Both  Jack  Mulhall  and  the  camera- 
man risked  their  life  on  Brooklyn  Bridge  for  this  stunt 


*  *  *  Eve  Stuyvesant,  well-known  scenario  writer,  together  with 
Helen  Klumph  and  Elizabeth  Stuyvesant,  have  incorporated  The 
Stuyvesant  Pictures  to  produce  a  series  of  split  reels  featuring  famous 
women  of  our  time.  The  company  intends  making  a  pictorial  hall  of  ; 
fame  or  historical  record  in  motion-pictures  of  what  women  are  doing 
in  the  way  of  world's  work.  *  *  *  Recently,  while  making  "Dixie"  in 
Charleston,  S.  C,  Allan  Conner,  who  plays  the  lead,  met  Charles 
Durand,  millionaire  clubman,  and  the  latter  became  so  interested  in 
picture  making  that  he  took  an  active  part  in  the  picture.  Both  Mr. 
Durand  and  Allan  Conner  are  expert  duelists,  and  in  one  of  the 
scenes  for  the  picture  a  duel  was  staged.  Unfortunately  Mr.  Conner 
wounded  Mr.  Durand  so  badly  that  he  was  taken  to  a  hospital.  *  *  * 
Hope  Hampton  bought  more  than  one  hundred  gowns  while  in  Paris 
recently.  Francs,  Miss  Hampton  said,  were  selling  at  twenty-eight 
for  one  American  dollar  the  week  she  selected  the  gowns  and  she 
quickly  learned  to  compute  the  price  of  the  raiment  in  dollars  and 
cents  as  soon  as  it  was  announced  to  her  by  the  shopkeepers.  But 
alas,  when  she  went  to  pay  for  the  gowns  which  she  had  selected,  she 
learned  that  only  seventeen  francs  could  be  purchased  for  a  dollar ! 
And   so   that   shopping   expedition   cost    Miss    Hampton   nearly    ten 

thousand  dollars  more 
than  she  had  expected ! 
*  *  *  The  McCall  Pub- 
lishing Company  will 
produce  a  series  of  fash- 
ion films  which  probably 
will  be  called  "Notes 
for  Women,"  in  which 
Miss  Hampton  will  star 
with  her  one  hundred 
Paris  gowns.  A  regular 
story  has  been  woven 
and  the  film  will  not  be 
merely  a  fashion  parade. 
Miss  Hampton  plans  to 
go  abroad  at  least  twice 
a  year  to  bring  back 
gowns  for  the  McCall 
series.  This  is  the  first 
time  that  any  such  thing 
has  been  attempted  on 
the  screen  and  it  should 
prove  interesting  as  well 
as  profitable.  *  *  * 
Horace  Liveright,  book 
publisher,  heads  a  new 
firm  of  theatrical  pro- 
ducers just  incorporated 
with  offices  'at  61  West  Forty- 
eighth  Street.  Four  plays,  includ- 
ing one  musicaT  comedy,  already 
have  been  obtained  by  the  firm  for 
October  production.  The  first 
offering  will  be  an  American 
comedy  by  Edwin  Justus  Mayer, 
a  young  author,  with  scenery  and 
costumes  by  Lee  Simonson.  *  *  * 
A  new  Owen  Davis  play  is  sched- 
uled for  early  presentation  under 
the  management  of  Lewis  &  Gor- 
don. It  is  entitled  "The  Haunted 
House."  Wallace  Eddinger  will 
be  the  principal  player.  This  piece 
was  tried  out  at  the  tag  end  of  last 
season  under  the  name  of  "Find 
the  Woman,"  and  later  as  "The 
Long  Arm."  *  *  *  After  an  out-of- 
town  tour  "The  Green  Beetle,"  by 
John  Willard,  is  to  be  brought 
into  the  Klaw  Theater  early  this 
month.  *  *  *  Herbert  Brenpn  is 
in  New  York  chafing  to  begin 
(Continued  on  page  97) 


(Fifty-four/ 


In  a  California  Garden 

BEING    THE    FOURTH    OF    CLASSIC'S    "FINE    ARTS"    SERIES 

This  lovely  spot  is  a  corner  of  one  of  the  many  beautiful  gardens  of  the 
Jewett  Estate  in  Pasadena,  which  was  most  generously  loaned  for  the 
exteriors  of  First  National's  "Single  Wives."  An  appropriate  setting 
for  Corinne  Griffith,  who  starred  in  this  picture,  we  think.  This  one 
charming  view  is  a  perfect  example  of  what  the  screen  can  do  to  bring 
beauty  to  those  whose  lives  lack  it  altogether.  If  one  cant  have,  one 
can  at  least  see  lovely  things,  merely  by  going  to  the  movies 


(Fifty-five) 


Fictionized    by    permission    from    the    Marshall    Neilan    production    of    the 
screen    adaptation    by   Dorothy    Farnum    of    Thomas    Hardy's    famous    novel 


IT  all  seemed  so  queer  like,  thought  Tess,  watching  the 
hot  red  moon  behind,  the  haystacks.  Harvest  moon 
again,  a  farm  dog  baying  somewhere  beyond  the 
downs,  the  doves  making  a  sound  like  running  water  in 
the  thatched  eaves,  and  she  sitting  here  in  the  dimsey 
— waiting 

Like    as    if,    thought    Tess,    it    was    meant    somehow. 
Always  it  was  that  way,  things  just  seemed  to  happen. 
She  was  like  that  leaf  there  blown  along  the  ground  by 
the  wind.     It  had  to  go  the  way  the  wind  sent  it,  and 
the  wind  was  strong  and  cruel.    There  was  no  use  trying 
to   hold   against   the   wind.      Her 
arms    which    had    been    cradling 
something    invisible    fell    listlessly 
at  her  sides.     Leaves — blown  into 
the     hedges — or     into     bonfires — 
leaves   blown   among   tall    stones, 
strange,  grey,  old  stones — 

"I   must   be    fey !"   Tess 
whispered,  "why  should 
I  always  be  dreaming 
of   stones    standing  on 
end  ?      And    yet — it 
frightens     me     sore — 

that    dream "    a 

shudder  ran  thru  her 
slight  frame,  "they're 
so  cold " 

Thru  the  shadows  a 
deeper  shadow  was 
moving  toward  her. 
Tess  knew  well  who 
came,  yet  she  watched 
him  coming  with 
horror  washing  in  a 
chill  tide  over  her 
soul.  The  moon- 
flashed  night  became 
another  night  when 
the  Wessex  woods  and 
fields  of  her  childhood 
had  looked  to  her 
waking  eyes  unfamiliar 
under   a   pallid    moon, 


like  the  dead  body  of  a  loved  friend.  In  the  pale  light 
the  face  that  she  lifted  to  Angel  Clare  was  stamped  with 
fear. 

"Why,  Tess!"  he  said,  in  that  gentleman's  voice  of 
his  that  was  the  echo  of  another  voice,  "Why,  Tess,  my 
dear  little  girl — did  I  startle  you?" 

Fear   and    the    weight    of    memory    slipped    from    her 

spirit  as  she  looked  up  into  the  sensitive,  clear-cut  face 

that  made  her  think  of  Saint  Michael's  in  the  stained 

glass  window  of  the  church.     Angel  Clare  was  beautiful. 

rather  than  handsome,  but  his  slight  figure  in  its  rough 

homespun  farm  garb  had  a  man's 

„„  „  -,         .      .    ,   „,  strength.    Yesterday  he  had  lifted 

He  gave  me  no  peace,    Tess  pleaded,    but  .  °,       ,  ■      \  ■  t 

I  knew  'twas  not  the  right  way  of  loving.  a    slck    sheeP    in    hi%   arms    and 

...    I  begged  him  to  let  me  go"  carried  it   from  the  fields   to  the 

byre,  crooning  to  it  all  the  way 

like    a    mother    soothing    a    sick 

child.      And    today    she    had 

seen  that  nervous,  slender 

hand  double  into  a  fist 

and     knock     down     a 

hulking  yokel  who  was 

teasing  a  dairymaid. 

"No  I  beant  afeard 
— I'm  not  afraid,"  she 
corrected  herself, 
cheeks  scorched  with 
shame  of  her  uncouth 
tongue. 

Angel  Clare  laughed 
as  he  sat  down  on  the 
bench  beside  her.  But 
there  was  no  mockery 
in  the  sound,  rather  a 
rushing  tenderness. 
"Dont  be  ashamed  of 
your  Wessex  dialect. 
Tess  !  With  your  face 
it  gives  you  a  charm- 
ing air  of  a  great  lady 
masquerading  as  a 
milkmaid — for  you 
have  birth  and  family 
in  every  line  of  you !" 


(Fifty-six) 


CLASSIC 


Die  small  head  beside  him  with  iti  crown  ol  hair  like 
metallic  gold  lifted  with  an  odd  pride  "Please.  Mr, 
Garel  Fve  told  you  afore  that  I'm  from  verj  humble 
folk,  born  .md  reared  in  .1  cottage  Fathei  did  ">l<l  jobs 
foi  the  gentry  and  there  was  never  food  nor  clothes 
enough  to  go  around  the  six  of  us  children  — " 

"Durbeyville "  mused    tagel  Clare,  unheeding  her 

piteous  attempt  to  change  the  trend  of  Ins  thought,  "it 
might  easil)  be  the  corruption  of  some  noble  name.  (  Kir 
old  families  have  always  had  branches  thai  went  to  seed. 

I  must  look  a  up  .uid  find  a  crest  foi    rets  to  wear " 

he  took  her  hand,  but  it  was  snatched  from  him  suddenly. 
Tess  had  leaped  to  her  feet,  small  bosom  rising  and  fall- 
ma  with  stormy  breaths. 

"I  tell  ee  1  daont  want  to  be  gentry!"  all  her  hard-won 
precision  oi  speech  forgotten,  she  swept  on  into  the  broad 

VOWels  oi  her  childhood,  "us  was  happ\  and  hard-work- 
ing till  Parson,  he  comes  to  the  cottage  wi'  a  tale  as  we 
ought  rightly  to  be  D'Urberville.  Seems  like  he'd  looked 
us  up  in  a  book  he  had.  and  when  my  fevther  gets  it  in 
ee  head  as  he's  got  blue  blood  he'us  too  proud  to  do  an 
honest  day's  work  and  spends  his  time  in  the  Three 
Highwaymen  drinkin'  and  tellin'  folk  how  grand  he  be 
till  he  drank  hisself  under  sod." 

"'D'Urberville'"  cried  Angel  Clare,  giving  the  word  the 
correct  pronunciation.  There  was  a  triumphant  note  in 
his  voice  as  tho  answering  some  question  in  his  own  soul. 
Homespun  and  heavy  boots  he  might  wear,  and  work  at 
Talbothavs'    farm    in 


His   hands   w(  tie   "ii   hen    that    fluttered    like 

quivering  bird  wings,  his  eyes  looked  down  at  bet  with 
the   dear    light     she    thought    of    the    candles   on    tl" 
church  altar  ..i  a  Sundaj      Why  did  she  rememl 
that  held  the  hot  flame  <>i  bonfirei     bonfires  that 
sume  wind-swept  i<a 

"1   want  you   for  mj    wife,  Teas,"  said    tagel  c  . 
Perhaps  there  was  just  a  trace  of  vaingloriousness  in  his 
attitude,  a  hint  that  not  ever)  fellow  iii  bis  position  would 

have  said  that,  hut  it   th(  she  did  not   under-t 

It   seemed   to  her  that   she  would  (he  of   worship   for  this 

godlike    being    who    had    COOie    down    from    his    stained 

-  window  to  the  common  ground.    Yet  she  tat  silent, 

Staring  with  suk  eyes  at  the  hot  red  harvest  moon  which 
lighted  the  hayrick   with  ghostly  flames. 

"Of  course."  said  Angel  Clare,  with  a  new  note  of 
humility,  "I    know    I'm   not  good  enough    for  you.  d< 

"i  rood  enough."  thought  TeSS.    "(  >h  (  Jod,  hint  not  good 

enough  for  met" 

"I've  always  known  I   would  have  to  tell  the  woman   I 
wanted  to  marry."  went  on  Clare,  almost  with  a  fan;: 
pride  of  confession,      "But   years  ago   when   I    was  onK 

a-  boy   I   went  to   London   for  a  school   vacation "  it 

was  a  common  enough  experience  he  had  to  relate,  that 
of  an  ignorant  boy  initiated  into  sin  by  a  woman  he  met 
in  a  restaurant,  a  tawdry  little  incident  of  a  night  of  gin 
and  love  in  a  red-papered  room  over  a  pub.  but  it  had 
evidently  assumed  terrible  proportions  in  his  eyes  from 


order  to  learn  how  to 
manage  a  dairy  farm 
of  his  own,  but — the 
Clares  had  been 
gentlefolk  since 
Alfred's  reign,  and 
he  never  forgot  that 
fact  even  in  his  sleep. 
"Why,  Tess  !  Do  you 
realize  that's  a  fine 
name  —  a  great 
name?"  He  saw  that 
she  was  trembling 
violently,  and  drew 
her  down  beside 
him,  "There  !  There  ! 
We  wont  talk  about 
it  any  more,  you 
queer,  proud  little 
thing!  We'll  talk 
about  something  else 
— something  that  I 
came  out  here  to  tell 
y  o  u  tonight, 
Tess — — " 

He  thought  that 
that  was  true,  swept 
away  from  his  life- 
long moorings  by  the 
warm,  sweet  near- 
ness of  her,  tl-ie  touch 
of  her  hair  on  his 
face.  "I  love  you — 
nothing's  been  the 
same  since  I  saw  you 
six  weeks  ago,  com- 
ing in  at  the  gate 
with  your  little  bag — 
I've — I've  been  want- 
ing to  tell  you  so  ever 
since,  but  I  didn't 
dare!  You're  such 
an  easily  frightened 
little     thing.     Tes~'" 


"It  died,"  whispered  Tess,  "the  parson  wouldn't  baptize  it  so  I  did  it  myself. 
Such  a  little  pretty  baby     .     .     .     but  it  died" 


(Fifty-seven) 


CLASSIC 


Angel  Clare  discovers  that  poor  Tess  Durbeyfield  is  one  of  a  fine  old  family 
formerly  called  D'Urberville,  whereupon  he  asks  her  to  marry  him 


long  brooding  on  it.   His  sensitive  soul  had  been  scorched 
by  the  everlasting  firev». 

Tess  listened,  hardly  hearing  his  stumbling  abasement, 
and  happiness  which  had  seemed  so  far  away  and  im- 
possible a  moment  ago  suddenly  reached  out  a  hand  to 
her.  She  who  could  never,  now,  marry  a  stained-glasf. 
saint  perhaps  might  still  be  the  wife  of  a  human  being 
who  had  sinned  and  suffered  and  who  could  understand 
— the  way  of  leaves  in  the  wind.  Strangely  enough,  he 
grew  only  the  dearer  for  his  sordid  little  story,  for  his 
ludicrous  fall.  And  then,  at  the  end  of  it,  his  head  went 
down  on  her  knees  she  gathered  it  against  her  breast  with 
mother-tenderness. 

"There,  there,  my  deary!  I'm  glad  you  told  me — glad!" 
"Then  in  spite  of  what  I  did  you  can  still  love  me?" 
Angel  asked  humbly,  and  yet  complacently — for  after 
all  not  every  man  would  have  confessed !  "You  will 
marry  me,  Tess — Tess  of 
the  D'Urbervilles !"  He 
gave  the  name  its  aristo- 
cratic form.  Tho  he  had 
loved  Tess  as  he  had  told 
her,  since  her  first  coming 
to  work  in  the  dairy  at 
Talbothays.  he  loved  her 
even  more  now  that  he  felt 
her  connected  with  the 
nobility.  She  would  be 
easier  to  explain  to  the 
narrow-minded   old 


TESS  OF  THE  D'URBERVILLES 


A   Marshall   Neilan   production   for   Metro-Goldwyn- 
Mayer.     Starring   Blanche  Sweet.     The  cast: 

Tess Blanche    Sweet 

Angel  Clare Conrad  Nagel 

Alec   D'Urberville Stuart   Holmes 

John  Durbeyfield George  Fawcett 

Joan    Durbeyfield Victory    Bateman 

Dick Courtenay   Foote 

South  American  Priest Joseph  J.  Dowling 


North  Country  parson, 
his  father,  and  that 
(laughter  of  a  Squire, 
his  mother. 

And  then  —  for  he 
was  only  a  boy  and 
very  much  stirred  by 
the  white  loveliness  of 
this  girl,  the  dross  of 
self  was  gone  from  the 
moment  and  only  the 
gold  remained.  He  took 
her  gently  into  his  arms 
and  held  her  close, 
murmuring  broken 
words — "Tess — so  beau- 
tiful— love — always   and 

always " 

A  little  wind  came  up 
sending  a  shower  of 
leaves  dancing  by  in  gay 
carousal.  A  lamb  in 
the  near-by  byre  made 
a  thin  plaintive  sound. 
Why,  thought  Tess, 
when  she  was  safe  in 
Angel  Clare's  arms 
must  she  be  minded  of 
other  arms,  ruthless — 
terribly  strong?  Would 
it  be  so  always?  No. 
no,  thought  Tess,  she 
would     be     happy,     she 

must  be  happy 

And  the  wind  whirled 
the  leaves  on  and  on. 

The  master  and 
mistress  of  Talbothays 
would  have  given  them 
a  fine  country  wedding 
with  hearty  eating  and 
drinking  and  dancing  in 
the  great  kitchen,  but 
Angel  Clare  refused  in  that  gentleman's  way  of  his.  "We 
shall  go  to  her  people  in  Wessex,"  he  explained. 

Tess  said  nothing  at  first  when  he  spoke  of  his  plan 
to  her,  only  one  small  hand  went  up  to  her  throat  and 
for  a  moment  her  eyes  seemed  to  look  on  some  terrible 
thing.  Then  she  laughed  it  off — no,  she  wouldn't  go  home, 
nor  to  his  home  either !  She  wanted  no  staring  folk  eating 
her  up  with  their  greedy  eyes  and  making  a  fuss ! 

Angel  Clare  remembered  afterward  the  way  she  had 
clung  to  him,  as  tho  something  was  tearing  her  away. 
"No  one  at  our  wedding,  dear  heart!  Just  the  parson 
and  you  and  me — and  God !" 

On  his  wedding  eve  Angel  walked  for  miles  across 
field  and  down,  wondering  at  the  beauty  of  the  world, 
a-tremble  with  his  own  happiness.  But  Tess  knelt  all  night 
by  her  window  gazing  into  the  darkness  with  desolate 
eyes.     "Maybe  I'll  never  tell  him,''  she  whispered  once. 

then  in  passionate  denial, 
"Why  should  I  be  afeared ! 
He  will  understand.  He'll 
see  that  it  wasna  my  fault 
— 'twas  meant  to  be — I'll 
tell  him  afore  we  go  to  the 

church "  her  hands 

wrung  together  convul- 
sively,   "—  —or    maybe 


afterward !"' 

The  eglantine  was 
a-bloom  on  all  the  hedges 
when     Tess     and     Angel 


(Fifty-eight) 


CLASSIC 


Clare  walked  along  the  road  to  the  village  the  next  da> 

I'lu-ir  simple   luggage   was   to    follow    on   ■   cart 

wagon  and  after  thr\    were   married   the)    would 

take   .1    train    for    the    nexl    town,       Hie    kinc' 

mistress  of   ralbothays  had  helped  Tesa  make 

the  plain  white  dress  she  wore,  commenting 

d\l\   the   while  thru   a   mouthful   of  pint, 

"Well,  well,  art  thin  as  a  rail,  my  dear]  ' 

Ess   faj  '     But   never   mind    a   rafl   of 

young  'uns  will  plumpen  'ee  up  wum 

full    W  hy,  .what's  amiss,  lass!    I  >id   I 

■tick  'ee  wi'  a  pin  that  you  trj  to  jump 

OUten  your  skin  ">" 

ress    was    feverishlj    gay,    pulling 
-    from    the    hedge    and    tearing 
them  to  tatters  with   restless  fingers. 
The  molten  gold  of  lu-r  hair  dazzled 
Angel's  eyes.     It   made  a  radiance  in 
the  dark  little  church  with  the  smell  of 
mold   and   candle  grease   that   lie.  a   par- 
son's  son.   had    learned    to   associate    with 
religion.      It   seemed   the  only   living  thing 
in  a  world  oi  shadows  as  they   whirred  end- 
lessly thru  green    English   landscape  afterward 
and  later  sought  supper  and  lodging  in  the  busy 
shire  town. 

When  at  last  they  were  alone  in  a  clean,  hare  little 
room  high  above  the  rattling  carts  and  clamor  of  tongues 
in  the  market  square,  he  took  Tess  into  his  arms  and  they 
1  so  for  a  long  time,  not  speaking,  while  the  flicker: 
ing  candle  cast  a  grotesque  shadow  embrace  upon  the 
whitewashed  wall.  "Are  you  happy,  Tess?"  he  whispered, 
and  she  answered  almost  defiantly,  "Yes!    I  am  happy." 

"Do  you  know  why  I  came  here?"  Angel  Clare  asked, 
presently.  "1  played  a  little  trick  on  you,  darling!  You 
asked    where    we    were   going,    but    I    didn't   tell    you    it 

was  to  Marlott "  he  laughed  boyishly,  "I'm  jealous, 

Tess !  Jealous  of  the  long  years  when  I  didn't  know  you. 


So  we're  going  to  your  home  village  and  you  shall  show 
me  all  the  places  where  you  played  when  you  were  a  fat 
little  girl  with  tow-colored  pigtails!" 

He  stopped,  for  Tess  had  made  a  strange  sound.  Step 
by  step  she  drew  away  from  him  till  she  was  standing 
against  the  wall.  Something  in  the  stricken  face  she 
turned  toward  him  warned  him  not  to  follow.  Then  her 
arms  dropped  helplessly.  "See!"  said  Tess  in  a  dead 
tone,    "things    just    happen    wi'out    our    contriving.      I 


At  the  top  of  the 
page:  Tess  and 
Angel  Clare  on 
their  honeymoon, 
at  last  alone  in  a 
clean  little  bare 
room,  high  above 
the  rattling  carts 
and  clamor  of 
tongues  in  the 
market  square, 
Tess  tells  her 
story.  .  .  .  Left: 
"I  .  .  .  killed 
him,"  said  Tess. 
"I  suppose  they 
will  hang  me, 
wont  they?  'Tis 
proper  queer  how 
things  come  —  I 
never  wanted  to 
be  wicked  and 
now  I  must  be 
hung — — " 


(Fifty-nine) 


CLASSIC 


thought  I'd  never  see  Marlott  again — and  I'm  going  there 
on  my  wedding  trip!"     She  laughed  rather  dreadfully. 

"Tess!"  said  Angel  Clare.  His  face  had  grown  hard 
and  stern,  a  stranger's  face  staring  horrified  at  her,  "what 
— can  you  mean  ?" 

In  the  silence  the  bang  of  the  shutters  as  some  trades- 
man closed  his  shop  for  the  night  came  to  their  ears, 
and  the  light,  empty  sound  of  a  girl's  laugh. 

"I'll  tell  'ee!"  said  Tess,  stonily,  "you'd  hear  it  anyhow 
afore  you'd  been  ten  minutes  in  Marlott.  There  was 
little  else  they  talked  about  when  I  ran  away  to  be  beyond 
the  clack  of  their  tongues " 

It  was  a  year  and  a  bit  more  ago — said  Tess — that  her 
father  got  it  into  his  head  that  he  was  by  rights  one  of 
the  D'Urbervilles  and  after  that  nothing  would  do  but 
they  must  claim  kin  with  the  family  that  lived  in  a  grand 
house  on  the  hill  beyond  the  village.  By  night  nor  day 
her  mother  would  give  her  no  peace  till  she  promised 
to  go  to  the  D'Urberville  house  and  ask  them  to  do  some- 
thing for  their  blood  relations.  And  at  last  she  went, 
tho  she  thought  she'd  die  of  shame  telling  the  parson's 
silly  guess  to  the  haughty  lady,  and  seeing  her  smile  so 
scornful  like. 

But  the  lady's  son,  Alec  D'Urberville,  a  fine  young 
gentleman  with  rings  on  his  fingers,  was  there,  too.  and  he 
spoke  up  and  begged  his  mother  to  give  her  work  in  the 
poultry  yard.  So  she  stayed  on  in  the  grand  house  and 
Alec  D'Urberville 

"He  gave  me  no  peace,"  Tess  pleaded,  and  now  her 
stony  calm  was  gone  and  she  rushed  on  wildly,  "he  told 
me  he  loved  me,  but  I  knew  'twas  not  the  right  way  of 
loving  and  I  tried  to  keep  away  from  him.  I  begged 
him  to  let  me  be  but  he  only  laughed — and  then  one  night 
I  was  walking  home  from  town  with  some  o' 
the  other  maids  and  they  •  started 
quarreling  and  shoving,  and  Alec 
D'Urberville  came  riding  by 
and  offered  to  drive  me  to 
the  big  house  himself.  I 
was  afeared  •  of  the 
girls,  for  they'd  been 
drinking  so  I 
climbed  into  the 
cart  with  him 
and    I    fell 


Sobs  choked 
her.     Thru 

them 

Angel 

voice, 

came 
Clare's 
harsh 

with 
"And 

scorn 
I     w  a 

afraid  to  kiss  you  ! 
God!    What  a   fool 
I've  been !" 

She     ran     to     him, 
with  frantic  hands,  "but  I 
wasna  to  blame  !   I  was  asleep 
and  when  I  woke  up — I  wanted 
to  die !     Angel,  dont  look  at  me 
like    that.      Why — why   you   look 
just  like  the  rest  of  'em  when  I 
come  home  wi'  my  shame " 

He  moved  his  rigid  lips  with  an  effort,  " you  mean 

— you  have  a — child?" 

"It  died,"  whispered  Tess.  Unconsciously  her  arms 
made  a  cradling  motion,  "the  parson  wouldn't  baptize 
it  so  I  did  it  myself  wi'  a  basin  of  water.  Such  a  little 
pretty  baby,  Angel — but  it  died.  And  I  couldn't  bear 
the  staring  eyes  and  the  whispers,  so  I  went  away.  And 
then  I  met  you  and  it  seemed  maybe  God  was  sorry  and 
was  going  to  give  me  a  chance  to  be  happy  after  all." 


In   the   grim   grey  shadows   of   Stonehenge 
the  "strange  men"  find  Tess 


He  put  her  away  not  ungently  and  strode  to  the 
window,   frowning  out  into  the  darkness,  "and  you  let 

me  marry  you " 

"But  you  told  me — about  that  night  in  Lunnon " 

Tess  pleaded,  "it  didn't  make  me  love  you  the  less!  After 
all,  how  am  I  different  than  I  was?  I  always  wanted 
to  be  good !" 

He  had  loved  her  very  much,  tremulously  like  a  boy, 
bitterly  like  a  man,  and  the  struggle  between  love  and 
hurt  pride  was  a  sharp  one.  But  after  all  he  had  been 
the  lover  but  a  few  weeks,  and  he  had  been  Angel  Clare, 
the  parson's  son,  for  twenty-four  years.  The  end  was 
marked  from  the  beginning,  tho  it  did  not  come  until  after 
devastating  hours  of  tears  and  futile  words  and  fierce 
spasms  of  rage  on  his  part  toward  the  man  who  had  in- 
solently stolen  what  belonged  to  him. 

Toward  morning  Tess,  sunk  upon  the  floor  by  the 
window,  fell  into  the  troubled  sleep  of  utter  exhaustion 
to  dream  of  great  grey  stones  towering  over  her  and 
when  she  awoke  Angel  Clare  was  gone.  A  note  pinned 
with  some  bills  to  the  window  sill  said  briefly  that  he 
thought  it  best  for  both  of  them  not  to  see  each  other 
again.  "I  am  going  to  South  America."  he  wrote,  "I 
love  you,  but  things  cant  ever  be  the  same  after  what 
you've    told    me.      If    you    need    money    write    to    my 

father "  he  gave  the  address  and  that  was  all. 

In  the  grey  dawn  beyond  the  window  a  tiny  object 
whirled  by,  a  leaf  borne  on  ;the  gust.  The  easy  relief 
of  tears  was  beyond  Tess  now.  She  had  wept  herself 
dry  thru  the  dreadful  scenes  of  the  night.  In  a  stony 
calm  she  took  off  the  crumpled  white  bridal  dress,  put  on 
a  coarse  clean  smock  from  her  bag,  and  smoothed  the 
heavy  gold  of  her  hair.  "When  there's  nothing  more  as 
can  happen  to  'ee,"  she  said  to  the  white  face 
in  the  glass,  "you're  safe." 

This  fatalistic  sense  of  being 
driven  by  forces  outside  of  her 
went  with  Tess  Durbeyville 
thru  the  drab  days  that 
followed  when — back 
in  her  native  village 
again — she  moved 
a  u  tomatically 
rK  thru  the  old 
^^i  familiar 
drudgery,  un- 
heeding the 
avid  stares  of 
old  crones  who 
paused  by  the 
gate  to  watch 
her,  unheeding 
her  mother's  per- 
petual  whine. 
"Live  on  fat  o' 
the  land  'ee  could,  an' 
a'd  rather  see  her  own 
brothers  an'  sisters  starve, 
an'  the  mother  who  bore  'ee !" 
Tess  knew  that  she  referred  to 
Alec  D'Urberville  and  the  money 
she  might  be  able  to  get  out  of 
him.  She  knew  that  their  situa- 
tion was  growing  desperate  and 
that  soon  something  must  be  done  or  they  would  be  put 
out  of  the  miserable  cottage,  but  it  was  the  hungry  wails 
of  her  youngest  brother  which  finally  pierced  the  numb- 
ness of  her  heart.  They  were  a  little  like  the  thin  plaint 
of  the  hapless  scrap  of  life  that  she  had  held  for  a  short 
few  weeks  in  her  arms. 

x\nd  when  Alec  D'Urberville  rode  his  curveting  black 
horse  down  the  winding  street,  flung  the  bridle  rein  to  a 
(Continued  on  page  76) 


(Sixty) 


Star  Light 

A  Billion  Dollar  Cast 

The  combined  glory  of  this  group  would  outshine  the  sun.  We  never  saw  so 
many  stars  together  before.  The  occasion  was  a  party  that  Conway  Tearle 
gave  in  honor  of  Ethel  Barrymore  at  the  conclusion  of  her  Los  Angeles 
theatrical  engagement.  The  group  includes:  Conway  Tearle,  Ethel  Barrymore, 
Laurette  Taylor,  Bessie  Love,  George  Archainbaud,  Natalie,  Constance  and 
Norma  Talmadge,  Leatrice  Joy,  Colleen  Moore,  Theda  Bara.  Donald  Brian, 
Vivian  Martin,  George  Fitzmaurice,  Percy  Marmont,  Buster  Keaton,  Ernest 
Torrence,   Owen   Moore,   John    McCormick,   John    Gilbert   and   others.      How 

many   can   you   recognize? 


iSirty-one) 


Rex,  King  of 


His  Story 


THE  making  of  "Rex,  King  of 
Wild    Horses,"     featuring    a 
wild    horse,    under    the    Hal 
Roach  banner,  has  marked  a  new 
epoch  in  the  production  of  animal 
pictures.      It    has    brought    to    the 
screen  the  impossible,  and  in  days  to 
come  will  bring  many  more  new  pic- 
tures  of   real,   original  and   interesting 
entertainment. 

When  it  was  decided  to  make  "The  King 
of  Wild  Horses,"  Hal  Roach  very  naturally 
wanted  the  best  man  obtainable  to  handle  the 
selection,"  training,  and  direction  of  the 
animal.  He  wanted  a  man  who  could  go  out 
on  the  ranges,  get  a  real  wild  horse,  tame  it 
sufficiently  without  breaking  its  spirit,  to  carry  the  lead 
in  this  picture.  There  was  little  doubt  in  the  producer's 
mind  as  to  what  man  he  wanted,  and  he  succeeded  in  gain- 
ing the  services  of  Chick  Morrison,  the  dean  of  horsemen. 
After  a  search  thru  several  states,  Morrison  found 
Rex,  an  untamed,  yet  registered  stallion  in  Colorado.  It 
may  seem  peculiar  to  the  reader  to  call  Rex  a  real  wild 
horse  and  at  the  same  time  say  that  he  is  a  registered 
Morgan  stallion,  but  the  following  few  lines  will  explain 
this  complex.  When  this  horse  was  but  a  colt,  he  dis- 
played every  sign  of  what  might  be  called  meanness.  He 
was  treacherous  and  dangerous  and  developed  an  extreme 
hatred  for  man.  Deciding  to  leave  him  alone  for  a  while, 
as  he  was  yet  too  young  for  commercial  purposes,  his 
owner  gave  him  the  freedom  of  the  range.  The  call  of  the 
wild  was  greater  than  that  of  civilization  and  after  a  short 
while  he  became  a  character  not  unlike  the  "Black,"  which 
he  portrays  in  the  picture.  Many  attempts  were  made  to 
capture  him,  none  meeting  with  success. 


Wild  Horses 


Rex  and  his  trainer, 

the     late     "Chick" 

Morrison 


By  Tom  Reeves 


The  State  Reformatory,  located  in 
the  little  town  of  Golden,  found 
themselves  in  need  of  a  work  horse. 
The  most  economical  thing  for 
them  to  do  was  to  take  a  horse  from 
the  range.  In  their  search.  Rex  was 
discovered.  His  beauty  attracted 
them.  Several  times  individuals  at- 
tempted a  capture,  but  in  vain.  A 
round-up  took  place  and  they  succeeded 
in  driving  the  stallion  into  a  large  corral. 
The  next  move  was  to  rope  and  break  him. 
Many  attempts  were  made  which  resulted  in 
serious  injury  to  the  participants  and  to  one, 
even  death.  They  gave  up  the  job  as  hopeless 
and  driving  him  into  a  box-stall,  left  him  un- 
molested. Even  those  who  fed  him  did  so  with  the  greatest 
caution.  It  was  then  that  Morrison  appeared  on  the  scene. 
After  an  examination  of  the  animal,  he  knew  that  Rex 
was  the  horse  he  wanted.  Of  course,  having  gone  thru 
the  excitement  of  being  captured,  which  was  none  too 
gentle,  the  horse  had  increased  his  hatred  for  man.  Such 
a  thing  as  kindness  from  a  human  was  beyond  his  imagi- 
nation. Overcoming  this  was  Morrison's  task.  It  cost 
him  a  good  deal,  from  a  physical  standpoint,  to  do  this. 
He  was  kicked,  stamped,  bitten  and  pawed  by  Rex,  many, 
many  times.  Morrison's  leg  was  broken  twice  during  the 
production  of  this  picture.  Each  time  thru  the  treachery 
of  Rex.  But  this  did  not  stop  him.  It  was  really  pitiful 
to  watch  him  hobble  around  on  crutches,  talking  to  Rex, 
telling  him  to  do  this  and  that. 

That's  how  Rex  was  trained.     Not  thru  beating,  but 
by  first  being  shown,   using  a   certain  set  of   words   or 
phrases  in  explaining.     This  same  set  of  words  were  used 
(Continued  on  page  83) 


(Sixty-two) 


Alexandresca 


Havral 


This  interesting  woman  is  considered  a  great  beauty  in  her  own  country,  Roumania. 

By  any  standards  she  is  fascinating.    She  lends  atmosphere  and  color  to  Rex  Ingram's 

picture,  "The  Arab."     Let  us  hope  the  screen  will  keep  her 


(Sixty-three) 


The  Hollywood 


Above  is  Bessie  Love  answering 
her  fan  mail  probably.  Right  is 
"Peter  the  Great,"  a  rival  of 
Strongheart,  and  his  trainer,  or 
should  one  say  director,  Chester 
Franklin.  They  are  making  "The 
Silent  Accuser" 


Left:  They  are  using 
everything  in  First 
National's  "The 
Lost  World,"  from 
a  dinosaur  to  a 
baby.  This  is  the 
baby  and  another 
small  actor  whose 
name  we  didn't  get 


Clarence. 
Badger  and 
Laurette 
Taylor  lunch- 
ing on  loca- 
tion, while' 
making  "One 
Night  in 
Rome."  Dont 
they  look  cool 
and  comfort- 
able and  satis- 
fied? 


Transcribed  by 


BEX  TURPIN  finds  that 
the  business  of  acting  is 
taking  too  much  of  his 
time.  It  interferes  with  the 
progress  of  his  art.  Ben's 
favorite  form  of  art  is  acting 
as  an  amateur  traffic  cop. 

It  began  some  time  ago 
when  an  enterprising  pub- 
licity man  arranged  to  have 
Ben  boss  the  traffic  on  one  of 
the  busiest  corners  in  the 
business  section.  The  experi- 
ences that  he  had  that  after- 
noon were  like  strong  drink 
to  a  reformed  inebriate.  Every 
other  experience  in  life  has 
become  tame  by  contrast. 

Every  afternoon,  at  six 
o'clock,  Ben  takes  his  station 
at  the  corner  of  Western  Ave- 
nue and  Santa  Monica  Boule- 
vard— in  the  heart  of  Holly- 
wood's heaviest  traffic.  Until 
eight  o'clock,  he  stands  there 
Jike  an  island  in  a  swirling  sea 
and  bosses  the  passing  motor- 
ists. The  official  glare  that  he 
gives  offending  chauffeurs  is 
said  to  be  particularly  terrifying  from  the  famous  eyes 
built  on  the  bias.  Meanwhile  Mrs.  Turpin  stands  on 
the  corner  and  watches  him,  simply  transfixed  with 
admiration. 

Ben  excused  himself  reluctantly  from  his  duties  the 
other  day  and  I  hauled  him  over  to  a  corner  behind  a 
telephone  post  where  he  told  me  about  it. 

"No  more  of  this  actin'  stuff  for  me,"  he  said. 
"Wha*  do  I  want  to  act  fer?  I  got  all  the  money  I 
want ;  got  lots  of  property  and  everything ;  my 
wife  isn't  so  well  and  I  gotta  stay  home 
and  keep  her  company."  Ben  says 
that  the  producers  are  trying  to 
get  him  to  sign  another  con- 
tract, so  he  might  slip  back  to 
play  acting  after  all.  Mean- 
while he  will  not  lack  for  en- 
tertainment— not  while  the 
traffic  trundles  on  down  the 
boulevard. 


Charles  Brabin,  who  is  suing 
the  Mayer  -  Goldwyn  -  Metro 
corporation  because  he  was 
ousted  as  director  of  "Ben 
Hur,"  is  returning  to  Holly- 
wood. He  is  going  to  direct 
Colleen  Moore  in  Edna  Fer- 
ber's  "So  Big."  This  will  be 
a  big  change  from  Colleen's 
flapper  stories.  She  plays  the 
part  of  a  worn  and  weather- 
beaten  woman  who  earns  her 
own  living  by  running  a  vege- 


(Sixty-four) 


Boulevardier  Chats 


H\KHY  CAKH 


table   farm       Possiblj    t<  ■   get 

It    ,n    >appi<>t    with    tin- 

Colleen  has  planted  her 

back   yard    full   of   cab- 


\\  allace  Beery,  who  has  the 
distinction  of  having  been  the 
first  husband  of  ( iloria  Swan- 
ibout    tn    he    married 
The  bride  is  Rita  ( iil- 
a  motion  picture  actress 
Wallace    is    building    a    very 
handsome     home      in      Holly- 
wood.      In     the     process     of 
building,    his    contractor    sud- 
left   tor  parts  unknown  ; 
wherefore  Wallace  had  to  pay 
all  the  gentleman's  hills  to  the 
hired  help.     The  consequence 
is  that  his  house  cost  him  just 
double  the  contract  price. 


A  sprightly  young  lady  who 
runs  a  gossip  column  in  a  local 
newspaper  has  brought  word 
to  a  breathless  and  astonished 

world  about  "slave  bracelets."  It  appears  that  the  thing 
to  do  is  to  present  your  favored  swain  with  a  bracelet 
showing  ownership.  It  seems  that  Ben  Lyon  is  wear- 
ing one  and  the  young  lady  writer  has  a  feeling  that 
it  was  Barbara  La  Marr  who  gave  it  to  him  ;  and  John 
Bowers  has  one  and  Lois  Wilson  gave  one  to  Richard 
Dix.  Constance  Talmadge,  to  tease  her  sister  Natalie, 
has  presented  a  slave  bracelet  to  Buster  Keaton,  her 
brother-in-law. 


J 


Above  is  Nazimova  greeting  her 
director,  Edwin  Carewe,  before 
beginning  her  return  picture, 
"Madonna  of  the  Streets."  Left 
is  Dorothy  Mackaill  trying  to  get 
fat    on    five    quarts    of    milk    a    day 


Right  is  Beverly 
Bayne,  the  wife  of 
Francis  X.  Bush- 
man, who  is  making 
"H  er  Marriage 
Vow,"  while  her 
husband  is  in  Italy 
working  in  "Ben 
Hur" 


Irene  Rich  returned  to  Hollywood 
from  Europe  the  other  day,  and 
the  Warner  Brothers  gave 
an  immense  luncheon  in  her 
honor.  Irene  thrilled  every- 
body to  the  marrow  bones  by 
telling  them  how  she  went  to 
the  Queen  of  England's  lawn 
party  and  another  time, 
danced  with  the  Prince  of 
Wales.  She  said  all  they 
talked  about  was  the  movies. 


Probably  to  start  the  right 
trains  of  thought  in  operation, 
many  yeanling  Hollywood 
girls  are  having  themselves 
photographed  as  Peter  Pan. 
Gladys  Hulette  says  that  she 
wanted  to  have  some  publicity 
stills  taken  in  a  Peter  Pan  cos- 
tume recently.  Every  Peter 
Pan  costume  in  every  costum- 


Young  Mr. 
Ben  Lyon, 
who  has  been 
in  the  lime- 
light lately, 
getting  an 
eyeful  during 
the  making  of 
"The  White 
Moth" 


(Sixty-five) 


CLASSIC 


At  the  top  of  the 
page  is  Ben 
Turpin  in  "Two 
Week  s,"  bur- 
lesquing von 
Stroheim  and 
Elinor  Glyn 
all  in  one  picture. 
Above  is  Fox's 
baby  star,  Marion 
Nixon,  getting  a 
free  ride  in  "The 
Circus  Cowboy." 
Right  is  George 
Fitzmaurice  with 
Irene  Bordoni, 
the  popular  musi- 
cal comedy  star, 
and  Samuel 
Goldwyn 


er's  store  in  town  was  "out"  except  one ;  and 
that  one  was  literally  worn  to  rags  by  over- 
use. Every  copy  of  the  book  has  been  worn 
to  pieces  in  the  public  library  by  ambitious 
young  ladies  seeking  to  get  themselves  into 
practice — if  it  should  happen. 


The  month  of  August,  by  official  decree 
of  the  Mayor  of  Los  Angeles>,  was  set  apart 
as  "Better  Film  Month"  with  street  parades 
and  all  sorts  of  public  demonstrations.  The 
object  is  to  stimulate  interest  in  pictures. 
The  big  exhibitors  are  alarmed  at  the  falling 
off  in  attendance.  It  is  estimated  that  the 
daily  attendance,  which  was  20,000,000  in 
the  years  between  1912  and  1915,  has 
fallen  off  to  about  5,000.000.  The  gen- 
eral opinion  of  picture  producers  is  that 
this  is  not  due  to  poorer  pictures ;  the  trouble  is  high  prices  for  tickets. 


Will  Hays  is  in  Hollywood  at  the  time  of  this  writing.  He  is  making  a 
great  crusade  against  off-color  pictures  and  off-color  advertising.  He  made 
an  address  before  a  meeting  of  the  Wampas  (an  association  of  motion  pic- 
ture advertising  men)  at  which  he  hurled  fire  and  brimstone  against  the 
practice  of  placing  decent  pictures  before  the  public  thru  the  medium  of 
smutty  advertisements. 


Ora  Carew's  domestic  affairs,  which  usually  keep  the  public  keyed  up  to 
a  pitch  of  excitement,  took  another  turn  last  week.  Miss  Carew  accepted  a 
vaudeville  engagement  at  a  local  house.  The  second  day  of  her  appearance 
she  appealed  to  the  police  for  an  armed  guard  because  she  explained  that  her 
husband,  John  C.  Howard,  was  jealous  of  the  theater  manager.  Mr. 
Howard  is,  by  occupation,  a  manufacturer  of  salad  dressing.  It  is  suggested 
that  he  has  too  much  paprika  in  his  cosmos. 


Shirley  Mason  has  announced  her  engagement  to  Harlan  Fengler,  a  dash- 
ing young  automobile  race  driver.    They  are  to  be  married  in  the  fall. 


Word  comes  to  Hollywood  by  the  way  of  private  letters  that  Mrs.  Doug- 
las Fairbanks,  the  first,  is  having  hard  sledding  in  Paris.  She  has  dropped 
the  name  of  her  second  husband  and  calls  herself  Mrs.  Douglas  Fairbanks 

again.  She  is  said  to  have 
lost  a  lot  of  money  in  the  film 
ventures  of  her  son,  Douglas 
Fairbanks,  Jr.,  whose  brief 
picture  career  was  a  tragic 
failure.  His  one  picture, 
"Stephen  Steps  Out,"  is  down 
on  the  list  as  one  of  the  worst 
selling  pictures  of  the  year. 


Alice  Terry  has  announced 
that  she  is  a  blonde  for  keeps. 
For  one  of  the  first  times  of 
her  film  career,  she  appeared 
with  her  own  hair  in  "The 
Arab."  Having  taken  one 
look  at  herself,  Miss  Terry 
has  taken  a  never-again 
pledge. 


Oddly    enough,    the    three 
women    who   are    always    di- 
rected   in    pictures    by    their 
beloved  husbands  have  all  dis- 
(Coutinued  on  page  70)     , 


(Sixty-six) 


Gloria  Gould  telLs  -uhij 

the  care  of  the^kiais  ^vital 


I  hi  WOMBM  of  the  younger  set  today  never 
permit  the  strain  of  many  engagements  or  the 
attacks  of  wind  and  sun  to  mar  the  smooth 
delicacy  of  their  complexions. 

"Fatigue  and  txpoSMH  can  leave  no  trace  on 
the  skin  that  is  cared  for  by  Pond's  Two  Creams. 
Thev  are  really  remarkable." 


GLORIA  GOULD,  who  has  recently  become  Mrs. 
Gloria  Gould  Bishop,  is  the  youngest  —  and  many 
think  the  loveliest  —  daughter  of  one  of  America's 
oldest  families  of  great  wealth.  She  commands  a  unique 
position  in  New  York's  exclusive  younger  social  set. 

When  in  the  cream-and-blue  drawing  room  of  her 
smart  Fast  Side  apartment  she  gave  me  her  views  on 
the  care  of  the  skin,  the  simple  friendliness  of  her  manner 
delighted  me,  but  still  more,  her  vividness,  her  enthu- 
siasm.  Even  her  lovely  ivory  skin  seemed  to  breathe  life. 

"  Mrs.  Bishop,"  I  asked,  "what  in  your  opinion  is  the 
most  important  factor  in  a  woman's  looks?'" 

"Three  things,  I  think,"  prompted  Gloria  Gould, 
"are  vital  to  the  woman  who  wants  to  keep  an  impor- 
tant place  in  the  social  world.  Fine  eyes,  white  teeth 
and  a  lovely  skin.  The  latter,  luckily,  any  woman  may 
possess,  if  only  she'll  take  the  right  care." 

Then  we  spoke  of  the  young  women  of  her  set,  who 
in  their  need  to  keep  themselves  looking  fresh  and 
lovely  have  turned  to  Pond's  Two  Creams  which  pre- 
vent all  weariness  from  showing  and  keep  the  com- 
plexion   satin-smooth    and    exquisitely  protected. 

*  *  1 
The  first  step  in  the  Pond's  Method  is  a  thorough 
daily  cleansing  of  the  skin  with  Pond's  Cold  Cream. 
Smooth  it  on  generouslv  over  the  face  and  neck.  With 
a  soft  cloth  wipe  it  all  off,  and  rejoice  at  the  black  look 
the  cloth  gives  you!  Repeat  the  process,  finishing  with 
a  dash  of  cold  water  or  a  brisk  rub  with  ice. 

The  second  step  in  the  Pond's  Method 

is  to  smooth  over  your  freshly  cleansed  face 
a  light  film  of  Pond's  Vanishing  Cream.  Do 
this  before  powdering  and  especially  before 
going  out  into  the  wind,  sun,  dust  or  cold. 
This  delicate  cream  renders  a  four-fold 
service  —  it  protects  the  skin  from  the 
weather,  gives  it  a  soft,  smooth  finish,  holds 
rouge  and  powder  evenly  and  long,  and 
freshens  and  rests  it  amazingly. 

Like  Gloria  Gould  and  rhe  other  smart 
young  women  of  the  exclusive  social  set, 
you  can  have  an  exquisite  complexion.  Begin 
today  with  Pond's  Two  Creams.  Their  daily 
use  will  keep  your  skin  exquisite  and  with 
Gloria  Gould  you'll  agree  .they  "are  really 
remarkable  !  "    Pond's  Extract  Company. 


Gloria  Gould's  lovely  ivory  complexion  bespeaks  exquisite  care 


THE  PRINCESSE  MATCHABELLI 
MRS.  CORDELIA  BIDDLE  DUKE 
MRS.  MARSHALL  FIELD,  SR. 
THE  DUCHESSE  DE  RICHELIEU 


MRS.  O.  H.  P.  BELMONT 

THE  VICOMTESSE  DE  FRISE 

'  MRS.  JULIA  HOYT 

'        LADY   DIANA  MANNERS 


These  are  among  the  women  of  distinguished 
taste  and  high  position  who  have  expressed 
their  approval  of  the  Pond's  Method  of  caring 
for  the  skin  and  of  Pond's  Two  Creams. 

t  REE  OFFER — Mail  this  coupon  at  once  and  we 
will  send  you  free  tubes  of  these  two  famous  creams 


On  Gloria  Gould's  dressing  table  stand  Pond's 
Two  Creams  which  keep  the  complexion 
exquisite  despite  the  strain  of  social  life 


The   Pond's   Fxtract  Company,  Deft.  K 
145  Hudson  Street,  New  York 

Please  send  me  your  free  tubes,  one  each  of  Pond's 

Cold  and  Vanishing  Creams. 

Name 

Address 

c't> State 


(Sixty-seven) 


Dick  at  West  Point 


Below  is  Dick,  dressed 
as  a  plebe,  with  John 
Robertson,  his  director, 
and  Cadet  Officer  E.  L. 
Johnson.  Left  is  Dick 
(first  row)  in  a  real 
plebe  drill 


Above  is  the  winning 
West  Point  class 
marching  out  to  take 
the  Oath  of  Allegiance. 
Dick  is  among  them. 
Below,  he  stands  with 
Mary     Hay,     his     wife 


The  young 
cadets  got  the 
thrill  of  their 
lives  being  in 
the  picture 
with  Barthel- 
mess,and  some 
inter  e  s  t  in  g 
and  original 
material  was 
shot 


Left  is  the 
fine  o  1  d  en- 
trance gate 
where  many 
scenes  were 
taken.  The 
routine  was 
not  disturbed, 
Dick  was  just 
included  in 
the    drilling 


(Sixty-eight) 


- 


Women  who  use  the  right  shade  of  powder 
are  never  obviously  "powdered" 


Your  powder  should  always  com- 
plement the  color-tone  of  your  skin 
—  and  be  applied  to  cover  it  evenly. 

3MME.  JEANNETTE 

COMETIMES  we  have  the  experience  of  sce- 
^  ing  a  woman  approaching  us  on  the  street 
and  we  havea  horrible  feeling  that  her  face 
is  deformed.  Then  when  she  reaches  us  we  sec 
a  very  pretty  person  with  her  nose  so  powdered 
that  it  is  accented  out  of  all  proportion  to  her 
Cue. 

This  unpleasant  result  is  especially  no- 
ticeable if  the  wrong  shade  of  powder  is  used. 

The  shade  of  your  powder  should  match 
the  natural  tone  of  your  skin.  If  we  are 
of  the  Caucasian  race,  we  all  naturally  think 
we  are  "white"  women,  and  therefore  must 
use  white  powder.  This  is  a  mistake — there 
are  several  gradations  of  color-tone  in  our 
skins.  Even  sisters  are  frequently  found  whose 
skin-tones  are  as  different  as  though  they  be- 
longed to  different  races.  So  we  should  study 
our  skin  and  determine  its  classification. 

In  a  general  way,  there  arc  four  distinct 
tones  of  skin  found  among  the  women  of 
America  —  the  medium,  the  very  dark,  the 
white,  and  the  pink  skin.  And  because  of  this 
fact  there  arc  four  shades  of  Pompeian  Beauty 
Powder  —  a  right  shade  of  powder  for  every 
typical  skin. 

The  Medium  skin  is  more  variable  than 
the  others.  It  is  harder  to  determine,  for  it  is 
frequently  found  with  light  or  dark  hair,  light 
or  dark  eyes,  or  combinations  of  middle  shades. 


The  medium  tone  of  skin  is  neither  milk- 
white  nor  swarthy,  it  is  pleasantly  warm  in 
tone,  with  faint  suggestions  of  old  ivory,  and 
fleeting  suggestions  of  sun-kissea  russet. 

Medium  skins  need  the  Naturcllc  shade  of 
Pompeian  Beauty  Powder.  If  you  find  it  diffi- 
cult to  determine  whether  you  have  a  light 
skin  or  a  dark  skin,  the  chances  are  that  you 
really  have  a  medium  tone  of  skin,  and  should 
use  the  Naturelle  shade  of  Pompeian  Beauty 
Powder. 

The  Milk- White  skin  that  is  quite  with- 
out trace  of  color  except  where  the  little  blue 
veins  show  is  the  only  skin  that  should  ever 
use  white  powder. 

The  Pink  skin  can  be  turned  into  a  definite 
asset  of  beauty  if  it  is  properly  treated. 

Women  with  pink  skins  often  make  the 
mistake  of  using  a  white  or  a  dark  powder. 
They  should  always  use  the  pink  tone  of  pow- 
der— the  Flesh  shade  of  Pompeian  Beauty 
Powder. 

The  Olive  skin.  Many  artists  think  there 
is  no  type  so  beautiful  as  the  clear,  dark  skin 
we  frequently  see  in  beautiful  Spanish  or 
Italian  women.  The  shade  of  powder  for  this 
rich  skin  is  Rachel  Pompeian  Beauty  Powder. 

Pompeian  Beauty  Powder  is  made  from  the 


■■l  Beauty  Vowdei 


finest,  selected  ingredients.  This  powder  has 
an  exceptional  adhesive  quality  that  keeps 
the  skin  well  covered  over  an  unusual  period 
of  time.  6oc  a  box.    (Canada,  65c.) 

The  New  Pompeian  Beauty  Powder 
Compact — a  thin  model 

Thousands  of  women  who  arc  devotees  of  the 
superior  qualities  of  Pompeian  Beauty  Powder 
will  welcome  the  news  that  there  is  now 
available  this  delightful  powder  compacted 
in  a  smart  new  rcfillablc  case. 

The  new  Pompeian  Powder  Compact  is  a 
graceful,  round,  golden-finished  case — thin, 
of  course,  to  avoid  ugly  bulging  when  carried 
in  pocket  or  bag.  The  top  is  engraved  in  a 
delicate  design,  the  cuttings  filled  with  violet 
enamel,  the  color  that  is  typical  of  the  regal 
purple  of  the  Pompeian  products.  The  mirror 
in  the  top  covers  the  entire  space  to  give 
ample  reflection  and  the 
lamb's-wool  puff  has  a  satin 
top.  At  toilet  counters  $1.00. 
Refills  50c  (slightly  higher 
in  Canada). 

Get  1925 

Pompeian  Panel 

and  Four  Samples 

This  new  1915  Pompeian  Art  Panel. 
'  Beaut v  Gained  is  Love  Retained," 
Mic  18x7  Yi.  Done  in  color  by  a  famous 
artist,  worth  at  least  \o  cents  We 
send  it  with  samples  of  Pompeian 
Beauty  Powder,  Bloom,  Day  Cream 
and  Might  Cream  for  ioc. 


POMPEIAN  LABORATORIES,  111S  Payne  Avenue,  Cleveland,  Ohio 
Gentlemen:    I    enclose    ioc    for   the    new    1925    ^rt  Panel,  "Beauty 
Gamed  is  Love  Retained,"  and  the  four  samples  named  in  offer. 

Name 


Address 


City 


.  State 


Shade  of  face  powder  wanted  i . 


(Sixty-nine) 


The  Hollywood  Boulevardier  Chats 


(Continued  from  page  66) 


solved  partnership  the  same  week.  Mae  Murray  is  to  be 
directed  by  Eric  von  Stroheim  in  "The  Merry  Widow," 
while  her  husband,  Robert  Z.  Leonard,  will  go  to  First 
National  to  direct  Corinne  Griffith.  Mabel  Ballin,  hereto- 
fore working  only  under  the  direction  of  her  husband,  is 
free-lancing,  while  Hugo  Ballin  is  directing  Dorothy 
Devore  in  "The  Prairie  Wife."  And  Alice  Terry,  who 
has  seldom  worked  under  any  other  director  than  her 
husband.  Rex  Ingram,  is  in  "The  Great  Divide."  working 
under  Reginald  Barker.  In  each  case  it  was  a  purely  busi- 
ness separation,  no  domestic  storms  involved. 


Irving  Cummings  tells  a  quaint  little  story  about  Carl 
Laemmle,-  the  big  chief  of  Universal.  While  Mr.  Cum- 
mings was  making  a  picture  for  U,  an  amiable  dispute 
came  up  over  money.  Mr.  Laemmle  good-naturedly 
disposed  of  it  by  saying  they  should  toss  up  a  quarter 
and  decide  the  matter 


was  embarrassed  the  other  day  when  the  owner  of  the  pet 
seal  "Freddie,"  used  in  the  "Galloping  Fish,"  made  her  a 
formal  present  of  his  darling  swimmer.  She  took 
"Freddie"  home  and  put  him  in  a  fountain  in  her  yard. 
The  first  thing  he  did  was  to  eat  all  the  goldfish.  Love  is 
at  times  embarrassing. 


They  are  making  a  picture  at  First  National,  "The  Lost 
World,"  in  which  prehistoric  monsters  are  seen  fighting, 
breathing,  eating,  running.  It  promises  to  be  one  of  the 
greatest  trick  pictures  ever  made. 


How's  this  for  a  test  of  true  love?  Rod  La  Rocque 
and  Pola  Negri,  who  are  reported  to  be  engaged  to  be 
married,  are  to  act  in  the  same  picture — "Forbidden 
Paradise"  to  be  directed  by  Ernst  Lubitsch. 


of  the  thousand  dol- 
lars. The  old  magnate 
produced  a  quarter 
and  Cummings  tossed 
it — and  won.  "Well, 
I  won,''  he  said 
absently  putting  the 
quarter  back  into  his 
pocket.  "Yes,  you 
won  the  thousand  dol- 
lars, but  you  dont  get 
my  quarter,"  said 
Laemmle,  laughing 
and  holding  out  his 
hand. 


Nazimova,  who  is 
working  in  ''A 
Madonna  of  the 
Streets"  for  Edwin 
Carewe,  says  frankly 
that  her  future  screen 
career  depends  upon 
this  picture.  "I  didn't 
turn  against  pic- 
ture s,"  she  sard 
candidly  to  an  inter- 
viewer. "Pictures 
turned  against  me. 
This  picture  will  de- 
cide whether  or  not 
they  still  want  me." 
The  truth,  of  course, 
is  that  pictures  did 
not  turn  against 
Nazimova.  She  will 
be  always  recognized 
as  one  of  the  great 
artists  of  the  history 
of  the  screen.  She 
was  all  but  wrecked 
financially  when  she 
tried  to  make  a  too- 
high  brow  picture  out 
of  "Salome." 


Louise     Fazenda 


At  the  time  of  going  to  press  the  producers  are  still  dead- 
locked over  the  choice  for  Peter  Pan.  It's  been  worse  than 
the  Democratic  convention.  By  the  time  this  appears  some- 
one will  undoubtedly  have  been  chosen,  but  no  matter  who  it 
is,  Classic  still  casts  all  its  votes  for  Mary  Pickford  and 
will  keep  right  on  doing  it  indefinitely 


John  Bowers  has 
taken  a  leave  of  ab- 
sence from  his  film 
work  to  train  for  an 
automobile  race  to  be 
held  Thanksgiving 
Day.  It  is  regarded 
as  the  most  danger- 
ous  course  over 
which  a  race  has  ever 
been  attempted.  In 
some  places  the 
grades  are  so  steep 
that  the  wheels  skid 
when  locked,  the 
brakes   will  not  hold. 


Ian  Keith  is  the 
latest  sheik  to  thrill 
Hollywood.  He  was 
brought  out  from 
New  York  to  appear 
with  Florence  Yidor 
in  "Christine  of  the 
Hungry  Heart,"  at 
the  Ince  Studio.  He 
is  handsome,  but 
haughty. 


Madge  Bellamy  has 
been  selected  to  play 
the  lead  in  Adela 
Rogers  St.  John's 
"Inez  of  Hollywood." 
Anna  Q.  Nilsson, 
Lloyd  Hughes  and 
Lewis  Stone  will  also 
be  in  the  cast. 


S  a  m  u  e  1  G  o  1  d  w  y  n 
has  won  a  decree 
from  the  courts  per- 
mitting him  to  use  his 
own  name  in  his  own 
(Contd.   on  page  82) 


(Seventy) 


1'ONt'    »"*    ' 


«•••       JON'.IO'. 


CAREFUL,  conscientious  training  by  members  of 
our  faculty  made  this  possible.  Today,  trained 
illustrators  who  draw  pictures  for  magazines, 
newspapers,  etc.,  both  men  and  women,  earn  $200.00  to 
$500.00  a  month  and  more.  The  present  splendid  oppor- 
Mp^papj     ■PQBH  tms  ^c'<'  have  never 

|^^^^|     )g    ^  been     excelled.      Thousands     of 

^"*J     Itr      S,,*J      publishers  buy  millions  of  dollars 
^sj     jft  worth    of    illustrations,    like    the 

km  a  mm     M      one     shown    here,     every    year. 

Illustrating  is  the  highest  type  of 
art.  If  you  like  to  draw,  let  your 
talent  make  your  fortune.  De- 
velop it.  It  takes  practice,  but  so 
does  anything  worth  while. 
Learning  to  illustrate  is  fascinat- 
^MtV  ^^\  I  ing  to  anyone  who  likes  to  draw. 
"J      f-  -4%J  The  Federal  School,  one  of  the 

A      ?T         ',     rm        oldest  and  largest  art  schools  in 
^\^        ,J^>C  America,    has    trained    hundreds 

of  successful  illustrators.  It  was 
originally  founded  by  the  Bureau 
of  Engraving  to  sapply  artists 
for  its  own  needs.  Since  then 
Federal  School  graduates  have 
become  so  distinguished  for  their 
2«  high  quality  work  that  they  are 

in   great   demand   by   publishers 
VI     ^^^-J       an<^  art  organ'zat'ons-     The  rea- 
r M     PV^B       son  *or  this  was  plainly  because 
^f  Bk^vl        of  the  thorough  training  given  by 


cl»«i  an'oct 


SOt>M    flOCKAlLt 


»O^T*     S|     »C, 


$500^ 

IN  ONE  MONTH 

DRAWING 


Othd    institution   in   the  country  has   such  an  array   oi 

.n-ti-t-  .l>.  .ir<-  on  ttu-  Federal  StafT. 

The  Federal  Authors 

The  Federal  Authors  include  such  nationally  known 
artists  as  Sid  Smith,  Xeysa  Mi  Mi  in,  Fontaine  Fox, 
Charles  Livingston  Bull,  Clare  Briggs,  Norman  Rock- 
well, Fay  King,  Frank  King,  Charles  Russell,  Her- 
bert Johnson,  Walter  Wilwerding,  Charles  Bartholo- 
mew and  over  fifty  others.  Exclusive  original  lessons 
and  drawings  especially  prepared  by  these  famous 
artists  are  included  in  the  Federal  Home  Study  Course. 
They  teach  you  everything  you  need  to  know  about 
illustrating  so  that  when  you  finish  the  course  you 
will  not  find  anything  new  to  you.  You  will  be  pre- 
pared for  any  problem  or  emergency  which  may  arise. 

The  Federal  Course  is  a  Proven  Result  Getter 

Federal  School  Graduates  are  employed  by  pub- 
lishers and  commercial  organizations  all  over  the  country.  The 
usual  salary  for  the  beginner  is  from  $35.00  to  $50.00  a  week 
and,  with  increasing  experience,  promotion  is  rapid.  Xo  previous 
experience  is  necessary  in  order  to  take  this  course.  Every  step 
is  plain  and  you  will  be  led  gradually  from  simple  sketches  to 
complex  illustrations  having  a  high  market  value.  At  all  times 
contact  with  you  is  direct  and  personal  and  every  effort  is  made 
to  develop  your  own  individual  style.  What  this  style  is  can  only 
be  determined  after  thorough  training  in  the  fundamentals  of 
draftsmanship. 

Study  at  Home  in  your  Spare  Time 

In  studying  with  the  Federal  School  you  can  take  as  long  as 
you  like  to  finish  each  piece  of  work.  The  fact  that  you  are 
busy  during  the  daytime  makes  no  difference.  The  course  may 
be  completed  in  your  own  home  at  night  or  during  any  spare 
time  you  have.  Earn  while  you  work  \(  you  wish.  Many 
students  find  a  market  for  their  drawings  long  before  they  finish 
the  course.  Some  earn  the  price  of  the  course  several  times 
over  before  they  finish.  Moreover,  when  you  graduate  your  con- 
nection with  the  school  is  not  terminated.  We  take  a  personal 
interest  in  the  success  of  our  graduates  and  our  business  connec- 
tions enable  us  to  offer  many  fine  opportunities.  In  our  files  are 
hundreds  of  letters  from  students  telling  what  the  Federal  School 
has  done  for  them. 

Send  for  FREE  BOOK 

Our  free  illustrated  book,  "A  Road  To 
Bigger  Things"  contains  some  of  these.  It 
also  shows  the  work  they  have  done  and 
gives  all  the  details  of  the  course. 

If  you  like  to  draw,  do  not  give  it  up  for 
something  you  do  not  like  so  well.  You 
owe  it  to  yourself  to  develop  the  ability  you 
possess.  Fill  in  the  attached  coupon,  mail 
it  today  and  start  up  the  "Road  To  Bigger 
Things." 


MAN!    ftINC 


the  school,  instruction  which  was 

4HjW          not  duplicated  by  any  other  in-  ^mir   M  mTrnw    ^>£%        W  ^S^^/u' 

I  -  <^|         '  ~*wi         stitution  in  the  country.  ^^M^^^^^          ^^*mT  ^^f\m 

fd.M                         Why  the  Federal  "Master  ^^JL    QPC^-A-^+i               . 

Zf™    .^3!K!                Course     Excels  V  ^/UuUJiihCUlIXCP 

A    strictly    up    to    date    and    practical    art    course    must    give  ^m 

thorough  and  comprehensive  training  in  many  different  subjects  .„.•••-.•••....•.........--.•••••••___•_ 

such    as    illustrating,    serious    and    comic    cartooning,    lettering,  FEDERAL  SCHOOL  OF  ILLUSTRATING 

poster  designing,  window  card  illustrating,  etc.     No  one  artist  is  1075  F*d*ral  School  Building,  Minneapolis,  Minn. 

competent  to  give  instruction  in  all  these  branches.     For  this  rea-  N                                                                                           . 

son  the  Federal  School  has  established  its  "Master  Course,"  in  e g  

which  every  subject  is  covered  by  a  specialist,  an  artist  who  has       Address 

made  a  success   in  that  one  particular  field.     Xo  other   school 

can  offer  a  course  of  instruction  which  is  nearly  comparable.    No       

(Seventy-one) 


N  IbeiDviellncyclopdecli 


Dot  B. — I  hope  you  have  had  a  pleasant  summer.  Mahlon 
Hamilton  and  Lillian  Rich  played  in  "Half  a  Chance."  Glenn 
Hunter  played  in  "Grit."  D.  W.  Griffith  has  signed  a  contract 
to  make  pictures  for  Famous  Players,  at  a  salary  of  $10,000  a 
week,  to  take  effect  after  completion  of  his  latest  picture  for 
United  Artists,  entitled  "Dawn."  Under  his  new  contract,  Mr. 
Griffith  is  to  produce  three  pictures  in  two  years. 

Washti. — But,  we  promise  according  to  our  hopes,  and  perform 
according  to  our  fears.  Address  Mary  Hay  at  the  Abbott  Cottage, 
Mamaroneck,  New  York.  Betty  Blythe,  Lon  Chaney  and  Forrest 
Stanley  have  been  added  to  the  cast  of  "The  Breath  of  Scandal." 

Bonnie. — You  must  not  believe  all  the  critics.  Burns  once 
said  :  "Critics  are  cutthroat  bandits  in  the  paths  of  fame."  Well, 
I  am  over  eighty,  whether  you  believe  it  or  not.  Plenty  of  butter- 
milk is  the  secret.  So  you  didn't  like  Gloria  Swanson  in  "The 
Society  Scandal."  You  dont  like  her  new  personality.  Well, 
you  must  grant  she  can  wear  clothes.  Clara  Bow  is  nineteen. 
Ben  Lyon  is  twenty-three.  Mrs.  Wallace  Reid  is  playing  in 
"Broken  Laws"  for  F.  B.  O. 

Rhea  R. — Thanks  a  lot  for  the  fee.  Ramon  Novarro  at  Metro- 
Goldwyn,  Culver  City,  California.  Enid  Bennett,  also.  Dorothy 
Mackaill  is  with  Principal  Pictures,  7250  Santa  Monica  Boulevard, 
Los  Angeles,  California.  Well,  I  hope  I  am  sane.  The  defects 
of  the  mind,  like  those  of  the  face,  grow  worse  as  we  grow  old. 
Reed  Hawes,  the  Arrow  collar  man,  and  Lefty  Flynn  are  playing 
in  F.  B.  O.  pictures. 

Mimi  H. — Most  of  the  players  you  mention  are  with  Famous 
Players. 

Ginny.— Well,  to  fall  in  love  is  much  easier  than  to  get  rid 
of  it.  Enid  Bennett  with  Metro-Goldwyn  and  she  was  born  on 
January  22,  1896.  No,  I  dont  think  Richard  Barthelmess  and 
Lillian  Gish  will  play  in  "Romeo  and  Juliet."  Lucille  Ricksen 
is  only  sixteen  and  not  married. 

M.  C.  B.,  N.  J. — That  was  Joseph  Schildkraut  in  "The  Song  of 
Love,"  and  Rudolph  is  his  father.  No,  I  never  did  hear  what 
happened  to  Irene  Rich's  husband.  Wanda  Hawley,  Nigel  Barrie 
and  Pedro  de  Cordoba  are  playing  in  "The  Desert  Sheik,"  which 
is  taken  from  the  Conan  Doyle  novel,  "The  Tragedy  of  Korosko." 

Florence  S. — No,  I  never  got  the  cast  for  "The  Timber  Queen." 
I  should  say  not,  Florence,  no  picture  of  me.  Yes,  I  like  all 
the  players,  no  favorites.  Anna  Q.  Nilsson  is  playing  in  "Vanity's 
Price,"  for  F.  B.  O.  It'  was  made  under  the  working  title  of 
"Purchased  Youth,"  and  concerns  a  woman  who  has  been  re- 
juvenated. 

Ellen    A. — You   can   get   the    September,    1923,    magazine    by 
writing  to  our  Circulation  Department,  at  this  address. 

Fay  Blossom. — It  is  difficult  to  define  love;  we  may  say  of  it, 
however,  that  in  the  soul  it  is  a  desire  to.  reign ;  in  minds  it  is  a 
sympathy  and  in  bodies  a  secret  inclination  to  enjoy  what  we  love 
after  difficulties.    No,  Gloria  Swanson 
is  not  dead.     You  must   not  believe 
all  you  hear.     Thomas   Meighan   is 
playing  in  Peter  Clark  Macfarlane's 
novel,  "Tongues  of  Flame." 

Classic  Reader.  —  Thanks  for 
yours — I  know  that  Monte  Blue  has 
been  married,  but  he  isn't  now. 

Sunny. — It  is  impossible  to  love 
those  a  second  time  whom  we  have 
really  ceased  to  love.  Yes,  the  Moore 
boys  are  brothers.  Ernan  Hansson 
in  "The  Blizzard."  He  is  a  for- 
eigner, you  know.  Tom  Moore  has 
been  engaged  to  play  opposite  Bebe 
Daniels  in   "Dangerous   Money." 


This  department  is  for  information  of  general  interest 
only.  Those  who  desire  answers  by  mail,  or  a  list  of 
film  manufacturers,  with  addresses,  must  enclose  a 
stamped,  self-addressed  envelope.  Address  all  in- 
quiries: The  Answer  Man,  Classic,  Brewster  Build- 
ings, Brooklyn,  N.  Y.  Use  separate  sheets  for  matters 
intended  for  other  departments  of  this  magazine.  Each 
inquiry  must  contain  the  correct  name  and  address 
of  the  inquirer  at  the  end  of  the  letter,  which  will  not 
be  printed.  At  the  top  of  the  letter  write  the  name 
you  wish  to  appear,  also  the  name  of  the  magazine  you 
wish  your  inquiry  to  appear  in.  Those  desiring  imme- 
diate replies  or  information  requiring  research,  should 
enclose  additional  stamp  or  other  small  fee;  otherwise 
all  inquiries  must  wait  their  turn.    Let  us  hear  from  you. 


Robin  DeG. — It  is  most  dangerous  nowadays  lor  a  husband  to 
pay  any  attention  to  his  wife  in  public.  It  always  makes  people 
think  that  he  beats  her  when  they're  alone.  The  world  has  grown 
so  suspicious  of  anything  that  looks  like  a  happy  married  life. 
I  understand  First  National  will  film  "The  Life  of  Christ."  Buck 
Jones  in  "The  Desert  Outlaw." 

Renault. — Well,  I  have  never  found  the  one  best  seller  to  be  tlu 
wine  cellar.  That  was  an  interesting  picture  of  the  tree  growing 
from  the  stone  roof  of  the  court-house  tower  in  Greensburg,  In- 
diana. It  was  a  very  interesting  picture.  The  soft  maple  fifteen 
feet  six  inches  seems  to  have  rooted  from  seed  carried  by  birds  in 
1872,  now  fifty-two  years  old.  Address  Rod  La  Rocque  at  the 
Famous  Players  Studio,  1520  Vine  Street,  Los  Angeles,  California, 
and  Nita  Naldi  at  Famous  Players,  Astoria,  Long  Island.  Mary 
Pick  ford  at  Pickford-Fairbanks  Studios,  Los  Angeles,  California. 
M.  E.  F. — Most  of  the  players  you  mention  are  with  Famous 
Players,  at  the  above  address. 

Miss  L.  O. — That  was  good  of  you,  and  I  hope  you  received 
your  answer  by  now. 

M.  C.  B. — Conceit  may  puff  a  man  up,  but  never  prop  him  up. 
Doris  Kenyon  is  playing  in  "If  I  Marry  Again."  Sylvia  Breamer 
arid  Ben  Lyon  also  in  the  cast.  Well,  it  happened  this  way.  About 
twenty-eight  years  ago,  short-length  pictures  were  shown  at  the 
Eden  Musee  on  23rd  Street,  New  York  City.  They  were  "The 
Crying  Baby,"  "Jumping  the  Hurdles"  and  "Feeding  the  Sheep." 
The  first  three-reel  subject  produced  in  America,  so  far  as  I 
know,  was  the  "Passion  Play,"  about  twenty-six  years  ago.  It 
was  taken  on  the  roof  of  the  old  Grand  Central  Palace  and  ran 
continuously  for  nine  months  at  the  Eden  Musee  and  was  con- 
sidered to  be  the  highest  production  of  the  cinematograph  art 
at  that  time.    That  was  Joseph  Schildkraut  you  speak  of. 

John? — All  right,  John,  see  how  prompt  I  am?  Baby  Peggy 
was  born  October  26,  1918.  Address  her  at  the  Sol  Lesser  Pro- 
ductions, 7250  Santa  Monica  Boulevard,  Los  Angeles.  Richard 
Talmadge  is  playing  in  "American  Manners."  Helen  Lynch 
opposite  him. 

Irish. — If  you  marry  a  girl  who  is  disagreeable  to  every  one 
but  you,  you  will  get  your  share  of  it — after  the  knot  is  tied. 
Robert  Ellis  is  married  to  May  Allison.  Helene  Chadwick  is 
playing  right  along.  No  trouble  to  answer  your  questions.  Be 
sure  to  write  me  again. 

Dream. — Yes,  Alma  Bennett  is  five  and  one-half  feet  tall  and 
weighs  130  pounds.  She  has  dark  complexion  and  black  hair  and 
brown  eyes.  You  are  right.  We  are  by  no  means  aware  how 
much  we  are  influenced  by  our  passions. 

Edith. — That  is  Irene  Rich's  real  name.  Jackie  Coogan  at 
Metro-Goldwyn.  "  Why  Marion  Davies  has  a  sister,  Rosemary, 
and  another,  Renee.  Glad  you  like  the  Classic.  Tell  us  what 
you  like  and  what  you  dont  like  about  it. 

Elita. — No,  I  dont  mind  getting 
old.  even  tho  old  age  is  a  tyrant, 
which  forbids  the  pleasures  of  youth. 
Harrison  Ford  is  playing  opposite 
Rosemary  Davies  in  "Souls  Adrift," 
after  which  he  will  return  to  play 
opposite  Marion,  her  sister,  in  "Zan- 
der." He  recently  played  with 
Marion  Davies  in  "Janice  Meredith." 
Margaret  R.— You  want  to  know 
why  Cecil  De  Mille  had  Miriam 
younger  than  Moses,  when  the  Bible 
says  that  Miriam  was  old  enough  I 
to  care  for  Moses  when  he  was  a 
boy.     I  really  dont  know. 

(Continued  on  page  74) 


(Seventy-two) 


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Buy  several  $20  hats 

with  what  it  saves! 

In  twelve  months  The  YVETTE  Marcel 
Waver  will  actually  save  you  from  $40  to  $50 
over  and  above  Its  slight  cost!  And  it  will  last 
for  a  lifetime.  We  guarantee  it  against  de- 
fective workmanship  or  material,  you  know. 
Remember,  too,  that  you  take  no  risk  at  all  in 
testing  it  for  ten  days. 


Then,  too.  it  saves  you  a  great  deal  of  money  I  More 
than  ten  times  enough  to  pay  for  itself,  in  twelve 
months.  The  cost  for  electric  current,  each  time  you 
use  it,  is  less  than  half  of  a  penny. 

A  remarkable  offer 

This  unusual,  new  waver  will  delight  you  as  it  has 
thousands  of  others.  It  was  originally  made  to  (ell  at 
$10 — which  is  really  a  low  price,  when  you  consider 
the  time  and  money  to  be  saved.  But  we  have  deter- 
mined to  reduce  the  price — and,  by  selling  still 
greater  numbers,  have  just  as  large  a  business  as  ever. 
So  we  make  this  amazingly  generous  offer. 

Simply  clip,  fill  in  and  mail  the  coupon  below. 
Don't  send  any  money,  unless  you  particularly  wish 
to.  We  will  immediately  6end  you  a  YVETTE 
Waver.  When  the  postman  delivers  it  to  your  door, 
give  him  $4.97,  plus  a  few  pennies  postage,  the  new, 
reduced  price.    But — note  this: 

Keep  and  use  the  Waver  for  ten  days.    Test  it  in 
any  way  you  see  fit.    Then,  if  you  are  not  entirely  and 
completely  delighted  with  what  it  does  for  your  hair, 
with  the  saving  in  time  and  money,  just  send  it  back 
to  us.     Immediately,  and  without  the  slight- 
est questioning,  we  will  mail  back  your  $4.97. 
Isn't  that  fair? 

Just  think  what  a  pleasure  it's  going  to  be. 
having  your  hair  freshly  and  beautifully 
waved  all  the  time!.  And  with  enough  money 
saved  to  pay  for  several  very  lovely  hats,  a 
new  suit,  or  frock!  Clip  your  coupon  now. 
Mail  it  today,  sure. 


YVETTE 


MARCEL  WAVER 

pronounced  EE-VET' 


Send  No  Money — 10  Days '  Trial 

Distributing  Division, 
YVETTE  et  Cle.,  Dept.  11 
719  Chamber  of  Commerce  Bldft.,  Chicago. 

Please  send  YVETTE  Marcel  Waver.  1  will  deposit 
$4.97  with  postman  when  he  brings  it.  You  are  to  return 
this  $4.97  to  me  if,  after  10-day  trial,  I  do  not  care  to  keep 
the  waver. 


Name 

Address 

City State. 


J 


(Seventy-three) 


WLDouglas 

$5,$6,$7  &  $8  Shoes 

BOYS  AT  $4  50  &  $5.00 

Women  of  fashion  should  know  that  our  women's 
shoes  are  high-class,  made  in  the  most  distinctive, 
up-to-date  and  exclusive  styles,  which  appeal  to 
those  who  desire  stylish,  comfortable  and  serviceable 
shoes  at  reasonable  orices. 


"$ 


New 

Fall  Style 

for  Women 
Patent  Colt .  Centre  Strap 
Pump.with  Elastic  Gore.  $6.00 


New 
Broad  Toe 

for  Men 
In  Black  Velour  Calf, 
alsolight  Russia  Calf.  97.00 


W.L  DOUGLAS  PEGGING 
SHOES  AT  7  YEARS  OF  AGE 
WEAR  W.  L.  DOUGLAS  SHOES  AND  SAVE  MONEY 

FOR  38  YEARS,  W.  L.  Douglas'  name  and  portrait  have  stood  for  quality,  for  economy 
and  for  satisfactory  service.  W.  L.  Douglas  shoes  are  exceptionally  good  values.  Only  by 
wearing  them  can  you  appreciate  their  superior  qualities.  The  exclusive,  smart  models, 
designed  especially  for  young  men  and  women,  are  leaders  everywhere. 

W.  L.  DOUGLAS  $7.00  SHOES  are  remarkably  good  value.  Seldom  have  you  had  the 
opportunity  to  buy  such  high-grade  shoes  at  this  popular  price.  Shoes  of  equal  quality, 
comfort  and  service  are  rarely  found  in  other  makes  at  our  prices. 

WHEREVER  YOU  LIVE,  demand  W.  L.  Douglas  shoes.  They  are  sold  in  1 20  of  our  stores  in 
the  principal  cities  and  by  over  5,000  shoe  des.  ers.  For  economy  and  dependable  value, 
wear  shoes  that  have  W.  L.  Douglas'  name  and  the  retail  price  stamped  on  the  soles.  The 
stamped  price  guarantees  the  value.  If  not  for  sale  in  your  vicinity,  write  for  catalog. 
£* W.  L.  Douglas  Shoe  Company,  174  Spark  St.,  Brockton,  Mass.        ^ 


The  Breath  of  Scandal 


Do  you  prefer  to  know  "the 
truth"  about  the  private  lives 
of  your  favorite  stars?    ' 

Does  this  make  you  more — 
or  less— interested  in  their 
films? 

Gladys  Hall  puts  this  ques- 
tion to  the  readers  of  Classic 
in   a   lively  fashion. 


Animal  Actors  and  Human  Stars 

They  work  together  very  calmly  (sometimes)  says  Dorothy  DonnelL 
And  as  for  the  pictures!  You'll  want  one  of  the  cubs,  or  perhaps 
a  full-grown  tiger,  the  minute  you  see  these  photographs  we  have  to 
illustrate  the  story. 

The  Man  Who  Sold  Himself 

Monta  Bell,  the  director  of  one  of  the  best  pictures  of  the  year, 
"Broadway  After  Dark,"  broke  all  the  supposedly  cast-iron  rules 
for  directing.     And  got  away  with  it.     Jim  Tully  tells  the  story. 


On  the 
news-stands 


NOVEMBER 


Q  motion  picture: 
JKSSIO 

That  "Different"  Screen  Magazine 


October  12th 


The  Movie  Encyclopaedia 

{Continued  from  page  72) 

Arnold  B. — That  was  Marion  Nixon  in 
"Circus  Cowboy."  Hope  Hampton  is 
going  to  play  in  a  series  of  one-reel  fashion 
pictures  in  which  she  will  display  the  ex- 
tensive wardrobe  that  she  purchased  in 
Paris  with  her  husband,  Jules  Brulatour. 
Buck  Jones  in  "The  Desert  Outlaw." 

Movie  Fan. — You  should  see  me  in  my 
one-piece  bathing  suit.  Yes,  Patsy  Ruth 
Miller  and  Matt  Moore  are  playing  in 
"The  Girl  on  the  Stairs."  Percy  Marmont 
and  Zazu  Pitts  have  the  leads  in  "The 
Legend  of  Hollywood."  William  Duncan 
is  with  Universal.  Ben  Lyon  with  Famous 
Players. 

Billy  F. — Just  pronounce  it  Ne-gree. 
They  say  she  was  born  in  Poland,  of 
German  extraction.  Gloria  Swanson  and 
Pola  Negri  are  each  twenty-seven  years 
old  and  Thomas  Meighan  is  forty. 

Myrtle  H. — Well,  the  pleasure  of  lov- 
ing is,  to  love ;  and  we  are  much  happier 
in  the  passion  we  feel,  than  in  that  we 
excite.  I'm  not  much  of  a  connoisseur  on 
the  subject,  being  an  old  bachelor.  Harold 
Lloyd  at  the  Harold  Lloyd  Studios,  6642 
Santa  Monica  Boulevard,  Los  Angeles, 
California.  Edna  Murphy  is  with  Pathe. 
Yes,  the  Lloyd  daughter  is  named  Mildred 
Gloria  Lloyd. 

Billy. — Pearl  White  has  red  hair. 
Norma  Talmadge  has  dark  brown.  Buster 
Keaton  has  purchased  the  screen  rights 
to  "Seven  Chances,"   from  the  stage-play. 

French  Doll. — Sometimes  I  consume 
as  much  as  two  quarts  of  buttermilk  a  day. 
There's  nothing  like  it.  Alice  Terry  is 
with  Metro-Goldwyn.  No,  I  never  heard 
the  answer  to  question  Number  two. 
Ramon  Novarro   is   with   Metro-Goldwyn. 

Betty  Sweet  16. — You  must  write  to  me 
whenever  you  feel  like  it.  I  nearly  died 
with  the  heat  this  summer.  Besides  my 
movie  fans,  I  had  all  the  electric  fans 
going.  Yes,  I  read  "A  Tale  of  Two 
Cities,"  quite   some  time  ago. 

Cutie. — Pola  Negri  was  born  January 
3,  1897.  You  know  her  father  was  a 
gypsy  and  her  real  name  is  Apollonia 
Chalupez  and  she  was  once  the  Countess 
Dombski.  She  appeared  in  the  Russian 
Imperial  Ballet  and  her  first  picture  shown 
in  this  country  was  "Passion."  She  is  five 
feet  four  and  weighs  120.  Black  hair  and 
grey-green  eyes. 

Serial  Fan.  —  Moderation  resembles 
temperance.  We  are  not  unwilling  to  eat 
more,  but  are  afraid  of  doing  ourselves 
harm.  Marie  Prevost  and  Raymond  Mc- 
Kee  have  the  leads  in  the  latest  Grand- 
Asher  production,  "Desires  of  Men."  You 
refer  to  G.  O.  Williams  and  George  Routh 
in  "Hazards  of  Helen."  ''"hat  was  some 
serial. 

The  Westerner. — You  cant  be  so  bad- 
Wild  oats  never  grow  near  wall  flowers. 
Robert  Frazer  was  born  in  Worcester, 
Massachusetts,  and  W'illiam  Boyd  was 
born  in  Cambridge,  Ohio.  Constance  Binney 
is  touring  for  the  stage  right  now.  That's 
all  right,  I  dont  mind. 

Beaver  Meadow. — Bebe  Daniels  in 
"Dangerous  Money"  with  Tom  Moore. 
Norman  Trevor  has  been  signed  up  by 
Famous  Players  as  leading  man  in  Gloria 
Swanson's  "The  Wages  of  Virtue." 

Teenee. — No,  I  am  not  a  genius;  if  I 
were  I  could  cheat  my  grocer,  rob  my 
neighbor  and  betray  my  friend's  wife,  and 
all  would  be  excused.  That  is  Robert 
Agnew's  real  name.  He  was  born  in  Day- 
ton, Kentucky,  in  1899.  His  first  big  part 
was  in  "Clarence." 

N.  D.  G  H— You  must  not. 

A  Collecting  Bug. — You've  got  it  too, 
(Continued  on  page  87) 


(Seventy-four) 


jlgfgigjgjgjgMgjgMfflgjgjgMgMBjafsreuBiBiaiBiB^^ 


B 


rewmg 


Beauty 


'Olive  oil,  oatmeal,  lemons,  salt,  and  cornmeal! 

Any  bachelor  would  order  this  list  of  groceries  for  food,  and  for  food  only. 
But  a  woman  buying  these  things  might  not  have  thought  of  eating  them. 
Far  from  it!  But  she  would  use  them  in  another  life-saving  way  which  is, 
perhaps,  just  as  valuable — for  the  magic  beautifying  properties.  It  s  aston- 
ishing what  happiness  and  comeliness  can  be  found  on  the  pantry  shelves. 
If  you  believe  it  isn  t  so,  read  all  about  what  s  what,  in  The  Kitchen  Beauty 
Shelf.  And  when  you  have  read,  you  11  not  be  able  to  resist  trying  their 
effects  on  that  ever-present  problem  that  is  yourself. 


The  Problems   of  the  Girl  Who 

is  Not  an  Acclaimed  Beauty  is  told  by 
Alice  Brady,  the  very  attractive  stage  and 
screen  star.  She  writes  of  the  joys  of  the 
girl  who  has  no  worries  about  the  sun, or  the 
wind,  or  rain,  butwho  has  other  cares. ... 


The  Problems  of  the  Acclaimed 
Beauty  are  those  that  concern  Mary 
Eaton.  She  is  well  qualified  to  write  on  this 
subject,  for  is  she  not  radiantly,  blondely, 
beautiful?  And  hasn  t  she  been  "glorified 
by    Mr.    Florenz    Ziegfeld    in  his  Follies? 


The  motlth  is  a  '"dead  give-away,"  If  yOU  care  to  keep  your  five  senses 

says  Penelope  Knapp.  And  it  isn  t  so  much  '"until  the  end,     you  11   care  for  your  eyes 

the  words  you  speak  that  counts;  it  s  what  and  ears  and  nose  now.         See  how  to  do 

your  mouth  says  when  you  are  silent.  this  in  Coddling  the  Five  Senses. 


/ft©<avit 


Foi 
NOVEMBER 


'» 


■ 


Pin    a   Dollar   Bill    to   this    coupon    and    receive    the   neit    five    big:   numbers   of 
••Beauty"  Magazine.  Mail  at  once  to  BEAUTY,  175  Duffield  St.,  Brooklyn,  X.  Y. 

Name 

St.  and  No 

City State 


On  the  news-stands  Octoher  15th 


(Seventy-five) 


Adds  Glossy 

Lustre,  Instantly! 

Keeps  Your  Hair  Soft  and 

Easy  to  Manage 

Just  moisten  the  bristles  of  your  hair  brush 
with  a  few  drops  of  Glostora  and  brush  it 
on  your  hair.  You  will  be  surprised  at  the 
result.  It  will  give  your  hair  an  unusually 
rich,  silky  gloss  and  lustre — instantly. 

Glostora  simply  makes  your  hair  more 
beautiful  by  enhancing  the  wave  and  color. 
It  keeps  the  wave  and  curl  in  and  leaves 
your  hair  soft  and  easy  to  manage,  so  that  it 
stays  just  as  you  arrange  it — even  after 
shampooing. 

Use  a  little  once  or  twice  a  week  and  you 
will  be  delighted  to  see  how  much  more 
beautiful  and  attractive  your  hair  will  look 
and  how  much  easier  it  will  be  to  manage 
— whether  long  or  bobbed. 

There  is  nothing  better  for  children ,  whose 
hair  lacks  natural  life  and  lustre,  or  is  in- 
clined to  be  stubborn  and  hard  to  train  and 
keep  in  place. 

Glostora  is  inexpensive  and  you  can  get 
a  bottle  at  any  drug  store 
or  toilet  goods  counter. 

Keeps  Hair 
Neatly  Combed 

Glostora  gives  the  hair  that  rich, 
naturally  glossy,  refined  and  or- 
derly appearance,  so  es- 
sential to  well-groomed 
men  and  boys. 
A  little  Glostora  rubbed 
through  the  hair  once  or 
twice  a  week,  or   after 
shampooing,  keeps  it  so 
soft  and  pliable  that  it 
stays  in  place  just   as 
combed  or  brushed  and 
does  not  becomemussed 
up  or  disarranged. 

Not  sticky,  pasty 
or  greasy         \y 


^s> 


Jn-fior-mal 


mm 


Jf  famous 
movie  stc/rs 


Just  the  sort  of  pictures  you  might 
have  taken  yourself  had  you  been  wandering  around 
the  studios  with  a  kodak.  They  will  fit  in  your  album 
with  your  other  snapshots.   Any  6  for  25c  or  15  for  50c. 


Wanda  Hawley 
Jarkle  Coogan 
Anita  Stewart 
Harold  Lloyd 
Charlie  Ray 
Agnes  Ayr«a 
Ethel  Clayton 
Mary  Pickford 


Rudolph  Valentino 
Charlie  Chaplin 
Mae  Murray 
Hobart  Bosworth 
Bill  Hart 
Charlie  Murray 
Lila  Lee 
Douglas  Fairbanks 


Clara  Kimball  Young 
Lloyd  Hughes 
Tom  Mix 
Baby  Peggy 
Claire  Windsor 
Priscilla  Dean 
Norma  Talmadge 
Reginald  Denny 


536  So.  Hope  St. 


GROVER  C.  MARTIN 


Los  Angeles, 


wmnmmm 


Stonehenge,  the  ancient   Druid  temple  whose  mystery  will  never 

be  solved,  where  Tess  went  out  to  die.     This  is  the  original  pile 

of  strange  grey  granite  undisturbed  for  centuries 


Tess  of  the  D'Urbervilles 


(Continued  from  page  60) 


scraping  old  grandsire  and  strode 
into  the  yard  where  she  was  digging 
in  their  standing  garden,  with  his 
lordly  air  of  owning  the  earth  by 
right  of  inheritance,  Tess  only  flung 
back  the  dull  gold  wisps  of  hair  with 
one  arm  and  listened  to  what  he  had 
to  say. 

Old  flames  fanned  themselves  to  a 
blaze  behind  Alec's  dark  eyes  as  he 
looked  at  the  sweet  curves  of  her 
young  body  in  the  tight  outgrown 
gown.  He  was  sorry,  he  said  with 
a  light  laugh,  for  the  way  things 
had  gone  with  her,  but  he  was  will- 
ing to  make  amends. 

"I  couldn't  forget  you,  Tess!"  his 
hand  was  hot  on  her  bare  arm. 
"You  were  such  a  sweet  little  thing, 
but  upon  my  word  now  you  are 
positively  beautiful !  In  the  right 
clothes — with  the  jewels  and  furs 
that  belong  with  beauty,  why  there 
isn't  a  woman  in  London  could  touch 
you !"  He  had  come  prepared  to 
override  her  fury  but  this  still  calm 
disconcerted  him,  and  intrigued  his 
fancy.  "Listen,  Tess !  Come  to 
London  with  me — let  me  give  you  a 
fine  apartment  —  clothes,  luxury. 
I'll  see  that  your  family  is  taken  care 
of  for  life!" 

"You  know,"  said  Tess  in  a  flat 
voice,  "that  I'm  married?" 

Alec  D'Urberville  laughed,  "I 
heard  all  about  that !  You'll  never 
see  that  sanctimonious  prig  of  a  par- 
son's cub  again.  Come  to  London, 
Tess,  where  you'll  be  appreciated !" 
He  saw  himself  beside  this  glorious 
creature  in  the  opera,  stared  at 
enviously.  "Damn  these  gaping 
clowns!  I'm  afire  for  you,  Tess! 
You  beauty — you  cold  tantalizing 
beauty!  I  want  to  kiss  you  all  over 
from  your  golden  head  to  your  little 
feet." 

"I  ought  to  hate  you,"  Tess  said 
wearily,  "but  somehow  I  cant  feel 
anything  any  more.     Maybe  I  will 


some  day,  and  then  you  will  be  sorry 
I  came  with  you.  But  perhaps  my 
heart  is  dead — it  feels  dead,  and 
cold — and  so  if  you  will  give  my 
mother  a  thousand  pounds  so  the 
little  ones  wont  go  hungry  I  will 
come  to  Lunnon." 

With  the  voluptuous  idea  of  giv- 
ing his  passion  a  perfect  setting, 
D'Urberville  made  no  attempt  to 
claim  Tess'  promise  until  he  had  in- 
stalled her  in  a  handsome  apartment, 
and  bought  her  the  clothes  that 
would  flatter  her  strange  white 
loveliness.  Like  a  marble  woman, 
Tess  stood  in  softly  lighted,  deeply 
carpeted  rooms  while  they  put  soft 
silks  and  chiffons  and  laces  upon 
her,  did  amazing  things  to  her  hair 
and  skin,  decked  her  with  jewels. 
The  winds  were  whirling  the  lost 
leaf  into  strange  places,  and  the 
wind  was  too  strong  for  leaves. 

She  moved  thru  the  days  and  the 
new  sights  and  sounds  like  one  in 
a  trance,  and  Alec  D'Urberville,  see- 
ing, smiled  a  distorted  smile.  When 
the  time  came  he  would  waken  her, 
and — he  drew  a  slow  breath — the 
time  was  almost  come.  He  had 
chosen  the  horse  show  as  the  setting 
for  his  first  display  of  Tess  in  all 
her  glory. 

The  world  could  not  know  it  was 
a  dead  woman  sitting  in  regal  dis- 
dain of  their  staring  eyes  in  the  box 
beside  the  handsome,  insolent  young 
man  who  gazed  at  her  instead  of  at 
the  ring.  They  couldn't  know  that 
when  she  leaned  forward  suddenly 
and  looked  down  at  someone  in  the 
audience  below  they  were  witnessing 
a  dead  woman  coming  to  life  with  all 
the  agony  of  the  birth  throe.  But 
Alec  D'Urberville,  following  her 
eyes,  had  seen  the  tall,  slender  man 
who  started  up  from  the  benches  and 
was  fighting  his  way  thru  the  crowd. 

His  fingers  sank  into  Tess'  bare 
(Continued  on  page  85) 

(Seventy-sis) 


A  Thousand  Dollars  a  Day  I 
(Continued  from  pogt  40) 

know,    bul     Cruze     wanted     to     talk 
about  far  places.     "1  low  do  you  «li 
rect,  Jim  "    i  'raze  hates  to  speak  in 
the  first  person. 

"Dont  know,"  he  answered.  "Donl 
like  to  talk  about  pictures.  Direct  on 
impulse ;  wait  foi  o<  casions.  Put  in 
the  thing  I  think  is  real.  Don!  follow 
rule-      Never  did.     Never  will." 

"What  quality  is  absolute!)  essen- 
tia] in  directing 

"Resourcefulness  bul  hell,  a  fel- 
low has  to  he  resourceful  if  he  drives 
an  automobile  a  hundred  miles." 

He  really  does  not  like  to  talk  pic- 
tures, hut  in  talking  about  life-  he's 
a  great  conversationalist.  One  can 
see  that  he  abhor S  the  academic  and 
bloodless  makers  of  rules  that  real 
talent  breaks.  For  the  benefil  of  the 
longhairs  taking  walks  in  pseudo 
Greenwich  villages,  Cruze  never  uses 
the  word  "art."  And  for  the  benefit 
of  the  too  well  educated  it  may  be 
well  to  remember  that  Cruze  is  a 
brilliant  man  and  had  less  schooling 
than  any  man  1  know  schooling  in 
the  academic  sense. 

"What  is  your  routine  of  direct- 
tog?" 

"There  is  none.  It  changes  with 
every  picture.  No  two  pictures — 
no  two  situations — even  no  two 
leaves  are  exactly  alike.  A  fellow 
cannot  steep  himself  in  stock  meth- 
ods, he's  got  to  have  guts,  imagina- 
tion, sympathy.  He  must  make  the 
story  live.     But  I've  said  enough." 

I  once  talked  with  an  old  Mormon 
in  Salt  Lake  City.  The  conversation 
turned  to  the  best-known  man  from 
Utah. 

"You  know,"  he  said,  "about  seven 
years  ago  a  young  fellow  came  down 
here  from  Hollywood  and  talked  to 
a  lot  of  us  about  filming  the  history 
of  our  coming  across  country  in 
wagons.  He  said  he'd  weave  a  love 
story  thru  it  and  make  it  a  big  pic- 
ture and  we'd  all  make  a  lot  of 
money.  He  stayed  down  here  with 
us  four  weeks  hut  none  of  us  would 
spend  any  money,  for  we  all  knew 
the  youngster  and  didn't  think  he'd 
make  good.  So  he  went  back  to 
Hollywood  and  we  decided  to  make 
use  of  his  idea.  We  made  a  picture 
giving  our  entire  history — but  I 
guess  it's  no  good.  We're  ashamed 
to  show  it  to  anyone  now.  Anyhow, 
the  fellow  who  talked  to  all  of  us  was 
that  youngster  we  all  know.  Jimmy 
Cruze.  So  you  see.  he  had  that  pic- 
ture in  his  head  a  long  time — or  one 
like  it,  'The  Covered  Wagon,'  I 
mean.  That  Cruze  hoy  always  was  a 
smart  kid." 

Jim  Cruze  entered  pictures  in  1908 
— rather  a  long  time  ago.     In  fact. 


J 


X 


/ 


One  Happy  Day 

She  learned  how  to  beautify  teeth 


Countless  people  have  attained 
prettier  teeth  by  making  this  ten- 
day  test.  They  accepted  this 
offer,  they  watched  the  results. 
Then  they  resolved  to  brush 
teeth  in  this  new  way. 

Now,  wherever  you  go,  you  see 
the  whiter,  cleaner  teeth  this 
method  brought  about. 

They  fight  the  film 

Film  is  the  teeth's  great  enemy 
— that  viscous  film  you  feel.  It 
clings  to  teeth,  enters  crevices 
and  stays.  No  ordinary  tooth 
paste  can  effectively  combat  it. 

Soon    that    clinging    film    dis- 
colors, then    forms    dingy   coats. 
That's    why  teeth  grow 
cloudy. 

Film  also  holds  food 
substancewhich  ferments 
and  forms  acid.  It 
holds  the  acid  in  contact 
with  the  teeth  to  cause 
decay.  Germs  breed  by 
millions  in  it.  They,  with 
tartar,  are  the  chief  cause 
of  pyorrhea. 

The  New -Day  Dentifrice 
A  surprise 

Send  this  coupon  for  a  10-Day  Tune.  Note 
how  clean  the  teeth  feel  after  using.  Mark 
the  ahsence  of  the  viscous  film.  See  how 
teeth  become  whiter  as  the  film-coats  disap- 
pear. 

You  will  be  amazed  and  delighted.  You 
will  want  that  new  beauty,  that  new  safety 
all  your  life.     Cut  out  coupon  now. 


Protect  the 
Enamel 

Pepsodent  disinte- 
grates the  film,  then 
removes  it  with  an 
agent  far  softer 
than  namcl.  Never 
use  a  film  combat- 
ant which  contains 
harsh  frit 


Hardly  one  in  fifty  escaped  film 
troubles  under  old  ways  of  tooth 
brushing. 

That's  why  dental  research 
sought  ways  to  fight  that  film. 
Eventually  two  ways  were  found. 
One  disintegrates  the  film  at  all 
stages  of  formation.  One  removes 
it  without  harmful  scouring. 

These  methods  have  been 
proved  by  many  tests.  A  new- 
type  tooth  paste  has  been  created 
to  apply  them  daily.  The  name 
is  Pepsodent. 

The  results  are  so  remarkable 
that  careful  people  of  some  50 
nations  have  adopted  this  new- 
day  dentifrice. 

The  hidden  results 

But  the  visible  results  are  not 
alone  important.  Pepsodent 
multiplies  the  alkalinity  of  the 
saliva,  also  its  starch  digestant. 
Thus  it  gives  Nature  multiplied 
power  in  the  tight  against 
starch  and  acids  on  teeth. 

These  comhined  results  mean 
a  new  dental  era.   The  benefits 
belong  to  you  and  yours.     Let 
this     delightful     ten-day 
show  you  how  much  they  mean. 


10- 

DAY   TUBE    FREE  ,s" 

TH  E 
Dtpt. 

Mail 

PEPSODENT  COMPANY 

180,   1104   S.   Wabash  Ave..  Chicago,  III. 

10-Day  Tube  of   Pepsodent  to 

Only  one  tube  to  a  family 

(Seveiity-sticn) 


To-morrow's  Telephones 

So  vital  a  factor  has  the  telephone  become  in  American  life  that 
the  demand  for  it  would  undoubtedly  grow  even  without  increases 
in  population.  New  businesses  are  founded;  others  expand.  New 
homes  are  established  in  town  and  city,  in  suburban  dwellings  and 
apartment  houses. 

To  meet  the  needs  of  America,  to-day  and  to-morrow,  with  the 
best  and  cheapest  telephone  service,  is  the  responsibility  of  the  Bell 
System.  The  telephone  will  grow  with  the  population  and  prosperity 
of  the  country,  and  the  plans  of  to-day  must  anticipate  the  growth 
of  to-morrow. 

The  service  which  is  given  to-day  was  anticipated  and  provision 
was  made  for  it,  long  in  advance.  Money  was  provided,  new 
developments  were  undertaken,  construction  work  was  carried 
through  on  a  large  scale.  The  Bell  System,  that  is,  the  American 
Telephone  and  Telegraph  Company  and  Associated  Companies, 
has  continuously  met  these  requirements.  It  has  enlisted  the  genius 
of  technical  development  and  the  savings  of  investors  for  investment 
in  plant  construction. 

Over  315,000  men  and  women  are  owners  of  the  American 
Company's  stock  and  over  half  a  million  are  investors  in  the  securities 
of  the  System.  With  a  sound  financial  structure,  a  management 
which  is  reflected  in  a  high  quality  of  telephone  service,  the  Bell 
System  is  enabled  to  serve  the  increasing  requirements  of  the 
American  public. 

k  American  Telephone  and  Telegraph  Company 
And.  Associated  Companies 

BELL  SYSTEM 

One  Policy,  One  System,  Universal  Service) 


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many  of  the  leading  financial  men  in 
pictures  were  still  in  the  cloak  and 
suit  business  and  had  not  developed 
the  spiritual  in  their  natures  in  1908. 

Cruze  played  leads  for  some  time 
and  then  started  directing,  his  first 
picture  being  "Too  Many  Millions," 
in  which  Wallace  Reid  was  starred. 
Since  that  time  he  has  made  many 
good  pictures  and  it  is  claimed  that 
he  is  the  only  man  in  Hollywood  who 
has  never  made  a  financial  failure. 
That  is  not  a  bad  record  for  a  lad 
brought  up  in  tent  shows  and  on 
freight  trains  and  fishing  vessels. 

Cruze  is  the  master  of  broao 
and  subtle  humor.  Like  all  people 
with  a  delicate  sense  of  humor — 
Cruze  may  be  laughing  at  you  and 
not  with  you — and  you  may  not  know 
it.  Cruze  learned  so  much  about 
chivalry  and  all-round  fakiloriums 
in  the  salons  of  fishing  vessels,  just 
as  Shakespeare  learned  so  much 
about  English  aristocracy  while  hold- 
ing horses  in  front  of  theaters.  I 
said  before  that  Cruze  just  is.  He 
has  something  that  approaches 
genius.  A  better-rounded  man  than 
Griffith — not  a  propagandist — an  art- 
ist if  you  will — and  like  all  real 
artists  .  .  .  unconscious  of  it.  .  .  . 
The  First  American  Director. 


Jetta  and  Her  Temperament 

(Continued  from  page  21) 

part  out  here  in  one  of  Cecil  De 
Mille's  bath  tubs.  It  would  be  a 
change."  But  when  she  came  to  ex- 
amine her  part  she  found  she  was  a 
young  lady  of  unfortunate  morals  in 
a  French  dancehall.  She  sighed  and 
made  the  best  of  it — or  the  worst  of 
it,  whichever  way  you  look  at  it. 

Her  first  days  in  the  part  showed 
her  to  be  a  thoro  and  a  subtle  artiste. 
She  has  the  French  instinct  for  ges- 
ture and  the  French  adroitness  of 
suggestion.  Also  she  is  really  beau- 
tiful in  a  strange  exotic  way.  She 
suggests  both  Pola  Negri  and  Bar- 
bara La  Marr — a  more  tingling  and 
more  electrical  Barbara. 

So  far  she  hasn't  exhibited  the 
famous  Jetta  temperament  except  to 
cry  when  the  railroad  lost  her  trunks. 
But  Hollywood  reflects  with  the 
gooseflesh  of  anticipated  thrills  that 
Pola  and  Jetta  are  working  on  ad- 
joining sets.  And  if  they  should 
ever !     Oh,  my.  .  .  . 


Welt,  they  never  did!  Since  this 
sketch  was  written ,  Jetta  Goudal  has 
left  Hollywood  and  is  playing  in 
"The  Sainted  Devil"  with  Valentino 
in  New  York,  and  to  date  she  seems 
to  have  the  famous  temperament  un- 
der perfect  control. — Editor's  Note. 

(Seventy-eight) 


The  Romance  of  the  Extra 

of  Princeton  and  his  real  ambition 
i>  to  become  a  playwright.  So  be  i-> 
Studying  at  first  hand  stage  direction, 
etc.  I  le  has  one  more  year  to 
I  certainly  wish  him  hick.  1  le  has 
ted  a  play  ami  from  what  In- 
to nit-  I  think  he  has  a  chance. 

There    are    four    boys    from    my 

home  town,  Oakland.  California,  also 

king  as  extras       I  lu  \   arc  stud)  - 

ing  art  here,  and  between  their  pa) 

and   selling   an    illustration   now   and 

again    the)     manage    t>>    live.       \lto- 

er  I   found  twenty-one  hoys  who 

studying  in  the  universities  here 

in  New  York  City  working  in  "The 

Miracle"  to  defra)  expenses.  Several 

of    the   dressers    also    act    as    extras 

and  each  one  has  an  objective  in  life 

not    seen   on    the    surface.      (  >ne    is 

studying  law,  another  medicine,  and 

another  is   studying   stage   direction. 

The  most  remarkable  character  of 
all  is  "Mother."  She  is  eighty-four 
rs  old  and  everyone  in  "The 
Miracle"  loves  her.  She  dances  and 
jigs  with  wonderful  agility  for  one 
of  her  years  and  is  always  "the  life 
of  the  party."  She  is  all  alone  in  the 
world,  only  six  years  age  losing  her 
husband,  two  sons  and  a  daughter 
thru  the  capsizing  of  a  catboat. 

She  has  had  enough  happen  in  her 
long  life  to  kill  a  hundred  women 
and  certainly  enough  to  sour  her 
whole  outlook  on  life.  "Mother," 
however,  is  always  cheerful. 

I  almost  forgot  one  old  gentleman 
who  was  a  scout  with  Buffalo  Bill 
and  traveled  with  every  wild-west 
show  of  the  past.  He  could  tell  the 
most  hair-raising  stories  and  I  be- 
lieve everyone  was  true.  Anyway, 
we  were  always  willing  to  listen. 

And  there  were  many  others,  each 
one  with  a  story  to  tell,  but  all,  no 
matter  how  old.  with  hope  for  the 
future.  There  was  not  a  pessimist 
in  the  lot.  That  is  the  lesson  the 
extras  of  "The  Miracle"  taught  me. 
and  no  matter  how  much  good  the 
role  of  The  Knight  may  have  done 
me  professionally  it  is  nothing  com- 
pared to  "the  lesson"  I  learned 
among  my   friends  of  extradom. 


REBUKE 
By  James  Courtney  Challiss 

White-hot  with   temper,   from  his   raging 

throat 
Came  crimson,  hell-hued  words  that  flamed 
With  hate  till— suddenly— the  vocal  cords, 
With  curses  burnt,   snapped   like  a   string 
And  left  him  dumb ! 
Thru  all  the  long  years  dumb- 
But  calm. 
And  kind. 
And  loving. 

(Seventy  nine) 


FACE  POWDER  OF  SPUN  MOON 
BEAMS  AND  AZURE  NIGHTS 

QVhat  Princess  Vat  did  bij^ 
Verfeclmg  the  Almond  Bases 


WHEN  Puck  was  abroad  with  his 
fairies,  weaving  the  spell  of  a 
Midsummer  Night's  dream  over  hill 
and  dale,  his  enchantments  were  the 
delicate  gossamer  of  thought  and  fancy. 

Sometimes  in  a  workaday  world  men 
have  achieved  almost  the  fabric  of 
dreams  with  the  stuffs  of  sense  and 
sight.  Almost  always  this  super- 
achievement  has  been  wrought  in  the 
name  of  beauty,  with  womankind  for 
audience  and  inspiration. 

So  it  is  with  Princess  Pat  Face 
Powder.  Always  there  has  been  face 
powder  "of  a  fineness,"  as  the  French 
say.  But  what  of  the  face  powder  that 
some  alchemy  of  loving  care  should 
transform  into  spun  moonbeams  and 
the  allure  of  azure  nights.  What  of  the 
face  powder  which  should  call  forth 
all  the  feminine  superlatives,  which 
would  be  as  smooth  as  the  satin  skin  it 
adorned,  as  delicate  as  the  rose  tints 
of  dawn. 

Truly,  of  such  a  powder,  you  would 
say  it  is  different — and  delectable.  And 
that  is  what  women  do  say  of  Princess 
Pat.  It  is  no  more  possible  to  try 
Princess  Pat  Face  Powder  and  miss  its 
excellences  than  it  is  to  deny  the  spring 
its  flowers. 

Yet  patient  chemists  working  stead- 
fastly for  months  brought  into  being 
this  new  kind  of  face  powder — and  not 
some  inspired    being  from   fairyland. 

The  secret  of  inimitable  softness  in 
Princess  Pat  is  Almond — Almond  used 
as  a  base  instead  of  all  those  ingredients 
which  have  gone  before,  since  the  re- 


mote days  when  chemistry  was  but  the 
crude  hint  of  today's  knowledge. 

Princess  Pat — because  of  Almond — 
is  a  more  clinging  powder.  Its  affinity 
for  the  skin  is  productive  of  marvelous 
smoothness.  It  seems  to  blend  with 
and  become  part  of  the  skin  texture — 
not  so  much  something  put  on  as  some 
new  quality  of  fineness  added  to  the 
flesh.  And  Princess  Pat,  correctly  ap- 
plied, resists  moisture.  Face  and  neck 
and  arms  once  given  the  loveliness  of 
Princess  Pat  Powder  retain  their  beau- 
ty for  hours.  It  is  even  possible  to 
powder  with  Princess  Pat  so  that  it 
withstands  the  supreme  test  of  a  plunge 
in  salt  or  fresh  water. 

Then  there  is  the  exquisite  fragrance 
of  Princess  Pat.  It  is  not  an  aggressive 
perfume,  but  one  that  steals  forth 
modestly  and  captures  the  senses  with 
suggestion,  with  allurement  and  deli- 
cacy. It  speaks  the  language  of  re- 
finement. 

But  best  of  all  perhaps.  Princess  Pat  is  a  new 
kind  of  powder  in  that  it  is  good  for  tlie  skin. 
Almond  again  I  For  this  happy  choice  of  an 
exclusive  base  possesses  all  the  soothing  quali- 
ties that  women  well  know.  It  lends  pliancy 
to  the  skin  and  helps  keep  it  free  of  blemish. 
Hence  it  is  the  powder  for  those  whose  skin 
ordinary  powder  drys  and  roughens. 

In  short  Princess  Pat  Face  Powder  is  a  gen- 
uine achievement,  with  a  real  reason  for  being 
different.  It  is  the  only  powderwithanAlmond 
Base,  and  the  qualities  this  beneficent  in- 
gredient makes  possible. 

So  that  you  may  knowthisdistinctly  better 
powder — without  the  obligation  of  investment 
— you  will  be  sent  a  generous  supply  for  thor- 
ough trial.  It  comes  in  a  little  metalcontainer 
ideally  suited  for  the  purse.  The  makers  of 
Princess  Pat  will  esteem  it  a  favor  to  have  you 
use  the  coupon  right  speedily  aud  obtain  your 
complimentary  supply. 


princess  9Pat 

PRINCESS  PAT,  Ltd..  Chicago,  U.S.  A. 


Princess  Pat.  Ltd..  2701  SAVclls  St..  Dept.  410,  Chicago 

Entirely  FREE!  Send  sample  ol   1'  .  '"The 

Only  Powder  with  an  Almond  Base."  Check  shade  you 

FLESH— Light. blended  rose 

WHITE — Pure,  snowy  white 

OLDE  IVORY — Rich,  creamy  flesh 
BRUNETTE— Warm  Gypsy  OUve 

Name  (Print) 

City  and  State 


Keep  Your  EYES 
At  Their  Best 

Are  you  giving  your  EYES 
the  care  they  deserve  to  keep 
them  always  clear,  bright  and 
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Often  dust,  wind  and  undue  strain 
cause  the  EYES  to  appear  dull,  life- 
less and  unattractive.  To  make  the 
most  of  their  natural  charm  and 
sparkle,  they  should  be  cleansed  as 
regularly  as  the  skin  and  teeth. 
For  daily  use,  or  when  your  EYES 
feel  hot,  tired  and  heavy,  Murine 
is  most  refreshing  and  beneficial. 
Contains  no  harmful  ingredients. 

Our  illustrated  books  on  "Eye  Care" 
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eVes 


No  Hair  Offends 
Where  Neet  is  Used 


Science  has  finally  solved  the  prob- 
lem of  removing  hair  pleasantly 
without  discomfort  to  the  skin  or 
complexion.  This  with  NEET,  a  mild 
and  dainty  cream.  You  merely  spread  it 
on  and  then  rinse  off  with  clear  water.  That's  all;  the 
hair  will  be  gone  and  the  skin  left  refreshingly  cool, 
smooth  and  white!  Old  methods,  the  unwomanly  razor 
and  severe  chemical  preparations,  have  given  way  to 
this  remarkable  preparation  which  is  already  the  ac- 
cepted method  of  well-groomed  women  everywhere. 
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Delicate  perfume  of  flowers,  faint 
fragrance  of  Lablache— one  suggests 
the  other.  For  generations  fastidious 
women  have  found  the  dainty,  flower- 
like purity  and  enduring  smoothness 
of  Lablache  indispensable. 

Two  Sizes,  50c  and  $1.00 
Sold  everywhere,   or  by  mail.     Flesh,   White 
or    Cream.      Send    10   cents   for   a   sample 
box. 

Compact  Lablache 
Rouge 

with    puff,    in   handy 
size     box,     SOt. 
Orange   and    P  o  n  o  6 
(darker      shade). 

BEN  LEVY  CO. 

Dept.  C 
125  Kingston  Si. 
Paris  BOSTON 


K~The  Unknown 

{Continued  from  page  30) 

followed  we  may  be  spared.  The 
woman  was  beaten  and  the  man  was 
free.  It  is  always  this  way,  the  only 
pity  is  that  women  have  not  learned 
it.  Goaded  to  desperation  by  Car- 
lotta's  persistence,  Max  had  flung  out 
of  the  room  in  his  excitement,  say- 
ing, "I'm  thru  with  you,  thru,  under- 
stand," all  the  way  down  stairs. 

Poor,  frantic  Joe  waiting  at  the 
foot  of  the  stairs  overheard  the  angry 
threat  and  thought  naturally  that  it 
applied  to  Sidney.  The  boy's  mind 
snapped.  He  pulled  out  a  gun  and 
closed  his  eyes  and  fired  twice.  The 
doctor  dropped  untidily  to  the  floor 
and  slipped  in  a  ghastly  comic  sprawl 
down  the  stairs.  "You  dirty  cad!" 
screamed  Joe,  mad  with  excitement 
and  terror.  "You  dirty  cad — to  treat 
a  decent  girl  so  !" 

"Never  mind  that,  young  man," 
said  the  proprietor,  "just  come  along 
with  me." 

Doctor  Max  still  breathed  and  he 
was  carried  thru  the  excited  diners 
to  an  ambulance  from  St.  Luke's  that 
Carlotta  had  summoned.  She  fol- 
lowed him  to  the  hospital  to  await  the 
verdict  of  the  staff  who  discussed  the 
case  in  shocked  excited  whispers. 
One  by  one  they  came  away  from  the 
sick  room,  each  one  graver  than  the 
other.  "No  hope,"  was  the  verdict 
Carlotta  read  on  every  face,  but  Car- 
lotta knew  there  was  one  man  who 
could  save  him. 

Throwing  a  shawl  over  her  eve- 
ning gown,  she  ran  panting  thru  the 
dark  quiet  streets  of  sleeping  Char- 
lottetown  to  the  home  of  Sidney 
Page,  but  it  was  not  Sidney  she 
wanted,  Sidney  was  at  the  hospital.  It 
was  K.  Le  Moyne,  K.,  the  unknown. 

"I  cannot — I  cannot,"  groaned  the 
man  in  response  to  her  frantic  plead- 
ing. 

"You've  got  to,"  said  the  woman 
doggedly,  "you're  the  only  man  who 
can  save  him.  You're  in  my  power, 
'K.  Le  Moyne.'  Do  you  want  your 
past  to  kill  your  present?  Do  you 
want  those  dead ?" 

"Stop !"  cried  the  tortured  man. 

"The  price  of  my — my  silence 
then,"  went  on  the  woman,  "is  that 
you  operate  at  once  on  Max  Wilson." 

"All  right,"  agreed  the  man 
wearily  yet  with  a  note  of  hope  in  his 
voice. 

"There  is  everything  you  need  at 
the  hospital,"  said  Carlotta.  "I'll  ex- 
plain.   I  can  fix  it.    Come." 

"Gentlemen,"  she  said  a  few 
breathless  moments  later,  standing 
with  K.  before  an  astonished  group 
of  physicians,  "here  is  a  surgeon,  in- 
cognito for  the  moment,  who  can 
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will  stake  111%   life  on  tli.it      Ma: 
dearer  t<>  me  than  anything   in  the 
world        "  her  voice  broke,  but 
went  "ii,  "I   know  this  man  t  .in 

him  I  If  must  be  allowed  to  operate 
at  on 

l  tesperate   measures    <  equii 
te  remedies,  ami  it  was  not  l< 
before  patient  and  doctor  ami  a 
cinated  group  "i  nurses  ami  int<  i 
win-    assembled    in    the    ope  rati 
room.     Carlotta  was  nut  allowed  to 
enter  ami  after  pacing  the  eon  idor 
outside  in  a   frenz)   of  anxiety,  she 
wen!    down   to   thf   restroom    where 
Sidney  lay  asleep  on  a  couch  all  un- 
conscious of  thf  mail  excitemenl  on 
the  top  Boor.  She  woke  her  savagely. 

"Doctor  Max  i--  upstairs  being 
operated  on  by  K.  Le  Moyne,"  she 
in  cruelly.  "Me  was  shot  by 
Joe  Drummond  because  he  thought 
you  were  in  a  private  room  with  him 
at  Schwitters.  I  was  with  him.  lie 
loved  me  once.  We  lived  together 
lor  years  before  he  came  here.  Me 
was  0  marry  me  and  then  yon 

came  along.  I  got  you  suspended 
i'r  >m  the  hospital  and  while  yon  were 
gone  he  was  mine  again — my  lover, 
do  Mm  understand?" 

Sidney  went  white  and  red  by 
turns.  Xo  words  came  to  her 
trembling  lips.  She  could  only  stare 
at  the  agitated  woman  dumbly  while 
many  sharp  disjointed  phrases  tore 
thru  her  stunned  brain:  "Max  shol 
— dying — K. — Joe  Drummond — K. 
Le  Moyne — he  was  a  doctor — a 
■urge, hi  hut  what  terrible  thing  had 
done  that  the  law  wanted  him — 
-he  was  his  dear — he  had  said  it — 
Max,  Carlotta's  lover — oh,  misery — 
she  must  tell  K. — he  would  know 
what  to  do — but  he  was  operating  on 
Max — where " 

Two  men  entered  the  room  at  the 
same  moment.  "Me  lives?"  breathed 
Carlotta  to  one  of  them. 

"Yes,  he'll  be  all  right,"  answered 
K.  "Sidney,  dear,"  he  said,  turning 
t; i ward  her,  "will  you  let  me  tell  you 
a   story " 

"Oh,  K,"  wept  Sidney  in  his  arm-. 
"Carlotta  has  told  me  that  Max  i- 
her— her " 

"Not  so  fast,  young  woman,"  said 
tin'  second  man,  to  Carlotta  who  was 
trying  to  leave  the  room.  "We  want 
everybody  to  stay  right  here."  Sev- 
eral excited  doctors  and  nurses  had 
pushed  their  way  into  the  room  and 
the  group  was  rigid  with  expectation. 
"Which  one  of  you  calls  himself,  'K. 
Le  Moyne?'  "  he  asked  suddenly. 

K.  stepped  forward  and  Sidney 
with  him  clinging  to  his  hand. 

"You  are  wanted  for  manslaugh- 
ter, Dr.  Edwardes,"  said  the  detec- 
tive, showing  his  badge  with  the  flam- 
boyant gesture  such  persons  always 
employ. 

The     roomful     gasped     with    one 


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HT    ALWAYS  f<-lt  you  had  It  In  you  t 

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use  you  bad  never  trained  yourm-tf 
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your  natural  ability  all  your  life?  Or  are  you  going 
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Occupation 

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1  ROYALSSSSS? 

35 MaidenLane  NewUbrlc 


breath.  Dr.  Edwardes !  The  fam- 
ous, infamous  Dr.  Edwardes  !  The 
finest  surgeon  that  ever  lived  who 
had  suddenly  gone  off,  and  killed  one 
patient  after,  another  by  a  criminal 
carelessness  that  had  forced  him 
finally  to  flee  for  his  life,  a  harried 
fugitive.  But  no  wonder  he  had  been 
able  to  save  Max  Wilson's  life. 
There  had  never  been  anyone  to 
equal  him.  Carlotta  should  be  grate- 
ful. .    .    . 

Carlotta  was  grateful,  just  how 
grateful  she  was  soon  to  disclose. 

K.  gently  released  Sidney's  hand. 
"It  is  true,"  he  said,  "but  I  wanted 
to  tell  you  first.     There  were  things 

I  could  never  understand  and  I 

I  lost  my  nerve.  Good-bye,  little — 
friend " 

"Oh,  I  cant  believe  this,"  cried 
Sidney,  suddenly  seizing  his  hand 
again. 

"You  dont  have  to,"  said  a  voice. 
"I  alone  am  responsible  for  the  death 
of  Dr.  Edwardes'  patients.  I  did  it 
so  that  Max  Wilson  would  get  his 
place  on  the  staff  at  Flower  Hospital. 
I  loved  him  so — I  loved  him  so — ' 
he  said  he'd  marry  me  when  he  got 
on  the  staff — and  now — oh,  God!     I 

still  love  him "  Carlotta's  voice 

broke  in  rasping  sobs.  The  detective 
touched  her  gently  on  the  shoulder 
and  she  mercifully  lost  consciousness. 

The  first  thing  Dr.  Edwardes  did 
after  his  public  exoneration  was  to 
get  into  trouble  again — at  least  some 
folks  call  it  trouble.  What  he  did 
was  get  married.  And  Charlottetown 
forgot  that  he  had  held  himself  aloof 
from  them  and  they  from  him  and 
turned  out  to  the  last  man  to  see  the 
stranger  ride  away  in  the  biggest 
limousine  its  collective  eyes  had  ever 
witnessed,  appropriately  placarded 
and  properly  burdened  with  its  fav- 
orite daughter,  Sidney  Page — no — 
Sidney  Edwardes. 


The   Hollywood    Boulevardier 
Chats 

(Continued  from  page  70) 

productions.  The  Goldwyn  company, 
with  which  he  is  no  longer  connected, 
raised  strenuous  objections  to  two 
Goldwyn  names  in  the  field. 

*         *         * 

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he  has  already  won  four  pairs  of 
policeman's  red  .suspenders.  Doris 
May,  may  come  back  to  the  screen. 


(Eighty-two) 


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Toronto.  Canada 


Rex,  Kin-,  of  Wild  Horses 

(Continued  from  page  <•!  | 

thereafter  u  the  i  lie  in  working  the 

horse.     After  each  successful  scene, 

where  the  horse  performed  as  wa 

wanted,  Morri  on  gave  him  :i  i  arrol 
as  a  reward.    1 1  he  was  obstinate  and 

would  not  work  properl) .  he  was  de 
nied  this  reward,  instead  of  being 
beaten.  1 1  this  picture  is  the  b 
office  success  that  is  anticipated,  and 
that  present  returns  indicate  ii  will 
be,  I  l.il  Roach  is  deeply  in  debt,  first 
in  Morrison,  dun  to  the  lowly  carrol 
which  played  such  an  important  role 
in  this  production. 

Vfter  the  picture  "King  of  Wild 
Horses"  had  been  completed,  a  greal 
amount  of  trouble  seemed  to  brew  re 
garding  its  release  to  the  public. 
Several  persons  interested  in  the  pre 
Million  of  cruelty  to  animals  cm 
piratically  announced  that  they  would 
seek  an  injunction  against  its  show- 
ing. They  knew,  so  they  Mated,  that 
no  animal  could  do  the  work  that  Rex 
had  done,  unless  some  inhumane 
treatment  was  used.  They  would 
lake  no  one's  word  for  it  that  the 
horse  had  not  been  beaten,  yet  they 
refused  to  have  it  proved  to  them  that 
he  had  not.  After  much  persuasion 
they  at  last  consented  to  go  to  the 
Roach  ranch  and  see  Rex  work. 

At  the  ranch,  Morrison  had  Rex 
do  all  of  his  stunts.  The  man  was 
empty-handed,  save  for  a  few  carrots 
with  which  he  rewarded  the  animal. 
When  seeing  this,  the  men  remarked 
that  they  would  like  to  see  how  the 
animal  acted  when  a  club  or  a  whip 
was  used.  Morrison  told  them  that 
he  did  not  even  want  to  try  working 
the  horse  with  a  weapon  of  any  sort. 
They  became  suspicious  and  cast  in- 
sinuations that  the  horse  might  show 
his  mistreatment  by  acting  cowed 
when  a  whip  was  produced. 

"I  will  willingly  show  you  this," 
said  Morrison,  "but  I  would  prefer 
one  of  you  gentlemen  acting  as  both 
trainer  and  judge." 

The  men  refused  to  do  this  and 
told  Morrison  that  it  was  useless  for 
him  to  do  it  as  they  had  arrived  at 
their  conclusions  and  their  minds 
could  not  be  changed. 

After  having  sacrificed  and  strug- 
gled for  months  in  the  making  of  the 
picture,  to  say  nothing  of  the  huge 
expenditures,  Morrison  naturally  be- 
come somewhat  peeved. 

"I'll  show  you  gentlemen  that  it 
would  be  a  physical  impossibility  as 
well  as  near  suicide  for  a  man  to  try 
and  beat  this  horse." 

He  released  Rex  from  his  stall. 
The  horse  bounded  out  into  the  cor- 
ral and  trotted  down  to  the  end  oppo- 
site from  which  the  two  men  were 
standing.     Morrison  walked  over  to 


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an  old  motion-picture  set  and  picked 
up  a  piece  of  two-by-four.  Coming 
back  lie  walked  toward  Rex.  When 
within  a  few  feet  of  the  stallion,  he 
started  cursing  the  animal  and  raised 
the  club  over  his  head  as  if  to  strike. 
In  an  instant  Rex  turned  to  a  demon. 
Rising  on  his  hind  feet  he  rushed 
toward  Morrison,  pawing  the  air  as 
he  came.  His  ears  lay  straight  back- 
on  hjs  head.  His  eyes  burned  with 
the  hatred  that  he  had  always  har- 
bored for  man.  By  this  time  Morri- 
son had  jumped  out  of  his  path.  It 
was  not  Morrison  in  particular  that 
Rex  was  after.  He  had  again  been 
offended  and  he  hated  all  men.  He 
trudged  on  toward  the  two  visitors. 
Much  to  the  mirth  of  Hal  Roach  and 
Morrison,  who  stood  on  the  side 
lines,  the  two  men  who  claimed  that 
Rex  was  cowed,  tried  to  climb  into  a 
small  feed  box  about  large  enough 
for  a  good-sized  kitten.  With  a  well- 
placed  roping,  Morrison  rescued 
them  from  their  plight.  The  two 
men  left  and  have  not  been  heard 
from  since. 

Rex  is  still  wild.  His  new  en- 
vironment has  not  changed  him  with 
exception  of  his  love  for  Morrison. 

Note  to  Editor. — Since  the  writing 
of  this  article,  Morrison  was  killed  in 
a  tragic  accident,  while  riding  the 
horse  that  was  to  have  played  the  vil- 
lain in  Rex's  next  picture.  This  will 
upset  considerably  the  plans  for  the 
next  picture  and  it  is  rumored  that 
Hal  Roach  is  having  considerable 
trouble  finding  a  man  to  handle  the 
horse,  which  is  natural,  under  the  cir- 
cumstances. Morrison's  brother,  Carl, 
will  probably  be  selected  to  fill  the 
vacancy  left  by  Chick, — T.  R. 


AUTUMN 
By  Faith  Baldwin 


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I        ii  the  D'Urbervilles 

ontinued  front  page  76  i 

arm.  "Is  thai  \*nu  puling  par  on?" 
I  !i->  face  still  bore  a  polite  smile  for 
the  world's  gaze  bu1  lii--  ey< 
sudden  I)  red  ;in<l  bloodshot.  "Sit 
Mill!  Where  d'yoti  think  you're  lmi- 
ini^ ':  Back  to  the  ai  ms  of  a  fellow 
who  threw  you  away  like  a  broken 
l'.\  I  leaven,  I  wonl  be  made  a 
fool  of!  Vou're  coming  with  nic — 
wow — — " 

"I  told  you  that  some  day  maybe 
I'll  be  able  to  feel  sommal  again," 
said  Tess  in  a  -till  little  voice,  "and 
now  I  can !  I  hate  you-  it'  you 
knew  how  much  you  would  be 
afeared " 

It  was  two  hours  before  ^ngel 
Clare,  by  dinl  of  desperate  seeking, 
stood  outside  tin-  door  of  the  apart- 
ment which  Alec  D'Urberville  had 
taken  for  his  love  nest.  The  bell, 
under  his  trembling  fingers  rang 
with  a  resonant  sound  like  a  bell  in  a 
empty  house.  And  then  without  warn- 
ing, the  door  opened  slowly  and  Tess 
stood  framed  against  the  thick  dark- 
ness within.  She  looked  very  small 
and  tired  in  the  shabby  coat  that  she 
had  worn  down  to  London,  and  she 
answered  Angel  Clare's  haggard 
eyes  with  a  faint,  pitiful  smile.  "I — 
killed  him,"  she  pointed  into  the 
blackness  behind.  "I  suppose  they 
will  hang  me,  wont  they  ?"  Her  lips 
quivered  childishly,  "  'tis  proper 
queer  how  things  come — I  never 
wanted  to  be  wicked  and  now  I  must 
be  hung " 

"Oh  God!"  groaned  Angel  Clare. 
"Oh  my  poor  Tess !  I  am  to  blame ! 
It     was     my     sinful     pride     which 

brought   us  to  this "   with   that 

little  word  "us"  he  took  her  burden 
of  guilt  upon  his  shoulders.  Like 
terrified  children  they  clung  together 
while  he  whispered  his  fantastic 
plan.  There  was  an  empty  house  he 
knew  near  his  own  village.  They 
would  go  there  now,  taking  food  with 
them  and  have  their  honeymoon 
until  the  end  came — as  they  both 
knew  quite  clearly  the  end  must 
come. 

By  some  kind  miracle  of  a  pitiful 
God  they  were  able  to  forget — for 
hours  together — the  horror  that 
hung  over  them,  and  there  in  the 
deserted  house  on  the  edge  of  the 
wind-swept  downs  they  were  happy, 
as  other  lovers  who  find  the  world 
shut  out  in  each  other's  arms.  Tess 
bloomed  to  new  beauty  under 
Angel's  worshiping  eyes  like  a  rose- 
bud opening  to  the  sun,  and  day- 
lights and  darks  passed  them  by 
without  their  knowing.  But  pres- 
ently, by  the  waiting  look  of  her  eye-, 
he  knew  that  she  had   remembered 


EARLE  E.  LIEDERMAN 
The   Muscle  Builder 

How  Strong  Are  You? 

Can  You  Do  These  Things? 

Lift  200  lbs.  or  more  overhead  with  one  arm; 

Bend  and  break   a  horse-shoe;    Tear  two 

decks  of  playing  cards;   Bend  spikes; 

Chin  yourself  with  one  hand? 

Can  you  do  any  of  then?  I  can  and  many  of  my 
pupils  i  an.  It  is  remarkable  the  tilings  aman  cando 
if  he  will  make  up  Ins  mind  to  1*- 
for  the  human  body  to  be  strong;.  It  it 
be  weak.  I  have  taken  men  who  arens  ridiculed  lie- 
cause  of  their  frail  make-up  and  developed  them  into 
the  strongest  men  of  (heir  locality. 

I  Want  You  For  90  Days 

These  are  the  days  that  call  for  speed.      It  once  took 
four  weeks  to  cross  the  ocean — now  it  t 
one.     In  olden  days  it  took  years  to  develop  a 
healthy  body.     I  can  completely  transform  you  in  90 
days.     Yes,  make  a  complete  change  in  your  entire 
physical  make-up.      In    fO  days    I   guarantee  to  in- 
crease your  biceps  one  full  inch.      1 
to  Increase  your  dust  two  incnea.     But  I  don't  stop 
till  you're    a    finished    athlete     ■>     real    strong    man. 
I   will  broaden    your  shoulders,   deepen    your  chest. 
strengthen  your  neck.     I  will  give  sou  the  arms  and 
legs  of  a   Hercules.       I    will   put    an   armor  plate   of 
muscle  over  your  entire  body.     But  with  it  coi 
strong,  powerful  lungs  which  enrich  the  Mood,  i*u t ting 
new  life  into  your  entire  being.  You  will  be  bubbling 
over  with  strength,  pep  and  vitality. 

A  Doctor  Who  Takes  His  Own  Medicine 

Many  say  that  any  form  of  exercise  is  good,  but  this 
is  not   true.       I    have  Been    men    working   in   i 
literally  kill   themselves  with    ev  ruined 

their  hearts    or    other   vital    organs,   ruptured   them- 
selves or  killed  ort  what  little  vitality  they  possessed. 
I  waa  a  frail  weakling  mvseli  in  search  ol  health  and 
strength.     1  spent  years  in  stud} 
lyzing  my  own  detects  to  rind  what  1  needed.    After 
many  experiments  1  discovered  a  secret 
exercising.      I   increased   mv   anna  over  - 
inches,  my  neck  three  inches   and   other  parts  of  my 
body  in   proportion.      I   decided    to   become  a   public 
benefactor,  and    impart    this    knowledge   to   others. 
Physicians  and  authorities  on    physical  cult:  i 

tested  my  system   and    pronounced  it  t 
means  of  acquiring  perfect   manhood.      I 
a  strong,  well  proportioned  body  and  U 
of  health  that  goes  with  it3      If  m  spend  a  | 
half  hour  in  learning  how  to  attain  it.      The  knowl- 
edge is  yours  for  the  asking. 

Send  for  my  new  64-page  book 

'MUSCULAR     DEVELOPMENT" 

It  contains  forty-three  full-page  photographs  of  my- 
self and  my  many  prize  winning  pupils.    Some 
came  to  mc  as  pitiful  weaklings,  imploring  nit 
them.     Look  them  over  now.  and  you  will  marxelat 
their   present    physiuues.       This   book  will   i  I 

IS  and  an  inspiration   to  you.     All   1 
cents  to   cover   the   cost     of   wrapping    and   moiling. 
This  will  not  obligate  von  at  all.  but   I 
your  future  health  and    happiness,  do  not  put  it  off. 
Scud  today  —  right  now.  teior.-  you  turn  this  page. 

EARLE  E.  LIEDERMAN 

Dept^l^lO.      305_  Broadway  New  York  City 

EARLE   E.   LIEDERMAN. 

Dcpt.    1810.    305    Broadway.    New    York    City 
Dear  Sir:   I  em-lose  barnrllh    10  cc  •      I  - 
you  are  to  send  me  wi'hout  obligation  on  my  rsrt 
whatever,    a   copy    of   jour    latest    book.    "Muscular 
Development." 

Name 

Street 

City Stat* 

(I'K-ase  write  or  print  plainly) 


(Eighty-five) 


She  Needs 
Only  Look/ 


H' 


[OW  easy  it  is  for  the  girl 
with  beautiful  eyes  to  be 
charming!  "She  needs  only 
look,"  say  her  friends,  whose 
admiration  is  half  envy, 
"  and  men  are  attracted  im- 
mediately." 

A  witching  glance  is  irresist- 
ible if  it  is  darted  from  behind 
long  shadowy  lashes.  And  any 
girl  can  beautify  her  lashes  by 
darkening  them  with  WINX. 
It  is  a  liquid  dressing  which 
makes  thelashes  appearlonger 
and  heavier.   WINX  dries  the 
moment  it  is  applied,  clinging  so  smoothly  and  evenly 
that  it  cannot  be  detected.     Waterproof.     One  appli- 
cation lasts  several  days.     Unaffected  even  by  tears. 
WINX  (black  or  brown),  75c.    To  nourish  the  lashes 
and  make  them  grow  use  Colorless  Cream  Lashlux  at 
night.   Cream  Lashlux  (black,  brown  or  colorless),  50c. 
At  drug  or  department  stores. 

Send  a   dime   today  for   a   sample   of  WINX — 
Enough  to  keep  y'our  lashes  beautiful  for  a  week 


Anna  Q.  Nilsson.  famous  for  Iter  beautiful  eyes 


ROSS   COMPANY 


232  West  18th  Street 


New  York 


WINJC 


fe^^4. 


SAY    "BAYER   ASPIRIN"   and  INSIST! 

Unless  you  see  the  "Bayer  Cross"  on  tablets  you  are 
not  getting  the  genuine  Bayer  Aspirin  proved  safe 
by  millions  and  prescribed  by  physicians  24  years  for 


Colds 
Pain 


Headache 
Toothache 


Neuralgia 
Neuritis 


Lumbago 
Rheumatism 


S*fi 


,f\  ^^^-  Accept    only 

iZZr  which  contair 


Accept    only    "Bayer"    package 
which  contains  proven  directions. 

Handy    "Bayer"    boxes    of    12    tablets 
Also  bottles  of  24  and  100 — Druggists. 
Aspirin   Is   the   trade   mart  of   Bayer   Manufacture   of   Monoaoeticacidester  of   Salicylicacid 


and  all  his  passionate  kisses  could 
not  drive  the  shadow  away. 

And  then  one  night  she  woke 
trembling  and  told  him  of  her  old 
dream  of  tall  stones,  towering  above 
her,  threatening  to  crush  her.  Angel 
Clare  listened,  holding  her  close. 

"  You  are  describing  Stonehenge !" 
he  said,  ''the  old  Druid  temple  not 
three  miles  away  from  us!" 

Tess  sighed,  "Then — all  my  life 
I've  been  coming  here — I  didn't  tell 
'ee,  Angel,  but  yesterday  I  saw 
strange  men  about  the  downs.  \Ye 
will  wait  anion"  the  stones " 


In  the  grey  dawnlight  they  stood 
among  the  great  granite  columns 
whose  mystery  will  never  be  solved, 
hand  clasped  in  hand.  "I  was  always 
afeared  here  before,"  Tess  smiled, 
"but  not  now.  And  I  wont  be 
afeared  when  they  put  the  black  cap 
over  my  eyes  for  I'll  know  you'll  be 
there  outside  the  prison " 

"Oh,  God!"  cried  Angel  Clare. 
"Oh,  my  dearest,  I  cant  bear  it !" 

It  was  for  her  in  that  last  few 
moments  to  comfort  him.  "There, 
there,  my  deary !  I've  been  happy — 
so  happy  with  you.  Of  course,  I'm 
not  saying  it  wouldn't  have  been 
sweet  to  live,  and  maybe  had  another 
child  in  my  arms  some  day " 

He  sobbed  aloud,  kneeling  beside 
her,  head  on  her  breast ;  but  Tess' 
face  was  lifted  to  the  first  rays  of 
sunlight  slanting  thru  the  old  grey 
stones.       "It     all     seems     so     queer 

like "   Tess  said,  "but   'tis  as  if 

it's  meant !   That  makes  it  right- 


And  then  she  saw  the  men  coming 
toward  them  across  the  downs,  and 
pointed  them  out  to  Angel  Clare. 
And  with  her  hand  in  his  and  her 
head  high  like  the  daughter  of  a 
proud  race,  Tess  of  the  D'Urbervilles 
went  to  meet  them  as  calmly  as  in 
other  days  she  had  ever  walked  thru 
the  sparkle  of  morning  meadows 
with  her  milk-pail  on  her  arm. 

Behind  them  the  wind  from  across 
the  downs  tossed  a  handful  of 
autumn  leaves  into  a  crevice  among 
the  tall  grey  stones.  .    .    . 


The  New  Contest 

{Continued  from  page  51) 

expect,  we  shall  have  to  be  arbitrary 
about  throwing  out  those  manu- 
scripts that  do  not  comply  with  our 
rules.  No  coupon  is  necessary.  You 
do  not  have  to  be  a  subscriber  of 
Classic  to  submit  stories.  Every- 
thing pertaining  to  the  contest  will  be 
told  in  this  magazine.  Y\"e  will  save 
this  page  every  month  for  the  win- 
ning stories,  news,  and  announce- 
ments of  the  greatest  contest  of 
them  all 


The  Life-Storv   Scenario  Contest. 


(Eighty-six) 


The  Movie  Encyclopaedia 

have  you?    You  will  have  to  gel  in  touch 
with   tin-   vt.iis   direct    foi    theii    pictures. 

i.   Holt   is   playing    in   "Nortl 
ma    Shcai  have    th 

feminine  role  in  "The  Snob,"   foi    M 

.',  Ml. 

Dutches       I       \  lleen      Moore 

ed  in  "The  Ninetj   Nine."     Pola  N- 
is   twent]  sev«  n      So    is   (  01  inn     <  .1  iffith. 
Mildred  Da\  is  is  Mr:    !  [arold  1  I 

Catbkrini  I  No,  that  was  rm  error. 
Lucille  Ricksen  is  not  married.  Natacha 
Rambova  has  reddish  brown  hair.  T,  Roj 
Barnes  is  playing  in  "Reckless  Roman 
Earle  Foxe  has  been  cast  in  the  lead  in  the 
Richard  Harding  Davis  series,  which  arc 
.:  filmed  by  Fox  Florence  Gilbert  is 
the  leading  lady. 

At  uk  L— Mildred  lime  and  Bobby 
w  m  "Trouble-  of  .1  Bride."  laeque- 
Logan  has  been  engaged  to  play  oppo- 
Rjchard  Dix  in  •'Manhattan."  Conrad 
!  and  1  laire  Windsor  in  "So  This  Is 
Marriage." 

Glen.—  Kl  Dorado  is  given  as  a  name  to 
wealthy  country.  It  was  really  a 
lous  region  in  South  America,  which 
surpassed  other  countries  in  the  produc- 
tion ot  famous  gems  and  precious  metals. 
Beatrice  Joy  is  twenty-five  and  Dorothy 
Mackaill  is  twenty.  Blanche  Sweet  and 
Lew  Cody  in  "The  Sporting  Venus." 

Margie.— That  was  some  letter  of  yours 
Malcolm  MacGregor  is  married  and  a 
lather.    \\  rite  me  any  time. 

Bettie     and     John-.— How     charming. 
Richard  Dix   is  not   married.    Valen- 
tino IS  twenty -nine.     Barbara   La   Marr  is 
playing  in  "Sandra." 

Richard    T.— Douglas    Fairbanks'    last 

Picture  was  "The  Thief  of  Bagdad,"  which 

till    running    on    Broadwav.      Walter 

McGrail  is  playing  with  Rosemary  Theby 

in  "Souls  Adrift." 

JeaNne. — "The  Humming  Bird"  was  re- 
leased January,  1924.  Gloria  Swanson  has 
had  her  hair  bobbed  for  over  a  year  now. 
Charlotte  Merriam,  due  to  her  splendid 
work  in  "The  Code  of  the  Wilderness," 
has  signed  a  long  term  contract  with 
\  itagraph. 

Dorothy  W.— Sir  James  Barrie  has 
decided  upon  Lillian  Gish  to  play  in  "Peter 
Pan."  If  she  can  be  released  from  her 
Inspiration  Contract,  she  will  probably 
play  in  it  for  Famous  Players.  Mae  Marsh 
is  second  choice.  Address  Conrad  Nagel 
with   Metro-Goldwyn. 

Helen  J.— Colleen  Moore's  real  name  is 
Kathleen  Morrison,  so  she  is  no  relation 
to  the  Moore  boys.  Frank  Mayo,  Mabel 
Ballin,  Harry  Morey,  Wanda  Hawley  and 
Arline  Pretty  are  playing  in  "Barriers 
Burned  Away." 

Iris  L. — Men  may  as  well  expect  to 
grow  stronger  by  always  eating,  as  wiser 
by  always  reading.  Too  much  overcharges 
nature,  and  turns  more  into  disease  than 
nourishment.  Tis  thought  and  digestion 
which  makes  books  serviceable  and  gives 
health  and  vigor  to  the  mind.  So  take 
heed,  and  dont  read  too  much.  Monte  Blue 
is  not  married. 

M.  R.  F. — Well,  twenty  years  of  ro- 
mance make  a  woman  look  like  a  ruin ; 
but  twenty  years  of  marriage  make  her 
something  like  a  public  building.  Corinne 
Griffith  was  born  November  24,  1897,  and 
her  real  name  is  Corinne  Scott.  She  is 
playing  in  "Wilderness."  Mahlon  Ham- 
ilton and  May  Allison  are  playing  the  leads 
in  "The  River  Road."  Alma  Rubens  and 
Frank  Mayo  in  "The  Lawful   Cheater." 

Sum  Jim. — Hoot  Gibson  is  married  to 
Helen  Johnson.  Laura  LaPlante  is  not 
married.    Someone  once  said  that  the  man 


Sec  how  this  side  of  face  denotes 
the  woman's  age,  64  years. 


Now.  fold  this  side  or  picture  unccr .  along  dotted 
line,  and  see  how  facial  filming  restored  youth. 
Time  of  treatment  IS  minutes. 


Is  this  ai Miracle? 


Faces  restored  while  you  wait !  Facial 
tissues  revitalized  in  an  hour!  To  re- 
move all  traces  of  time  from  the  face  is 
now  a  matter  of  moments! 

A  miracle?  Yes.  The  modern  miracle  of  facial 
filming. 

To  realize  what  this  discovery  means,  study  the 
photograph.  If  you  think  it  cannot  cope  with  age 
— the  lady  in  the  picture  is  54  years  old!  If  you 
doubt  that  face  filming  always  works,  on  any 
human  skin— and  will  work  on  yours — read  of  the 
arrangements  for  letting  you  try  it. 

Facial  Film  was  born  in  France.  Because  of  the 
tremendous  cost,  its  use  has  been  restricted  until 
now.  Its  base  is  neoplasma,  worth  $5,000  a  pound! 
The  perfecting  of  thisfilm  in  solution  hasbrought 
it  to  America  in  affordable  form,  giving  beauty 
power  which  forever  solves  the  problem  of  perfect 
complexion.  A  face  with  telltale  lines  is  now  in- 
excusable. Even  deep  furrows  may  now  be  re- 
moved from  the  countenance:  wrinkles  succumb 
to  a  single  application  of  neoplasma  film;  every 
minor  blemish  in  skin  young  or  old  dissolve 
almost  with  the  first  touch. 

When  women  realize thefullsignificanceof  this 
discovery  there  will  be  no  "old"  young  faces — no 
"withered"  faces  at  any  age— no  old  eyes  in 
young  heads— or  "sacks"  beneath  the  eyes  in 
middle-age.  Lines  from  the  corners  of  the  mouth 
to  nose,  and  down  to  chin  are  dispelled  by  this 
regeneration  of  tissue.  So  are  the  fine  lines  that 
cause  necks  to  look  old  before  their  time.  It 
makes  no  difference  what  caused  these  wrinkles 
— whether  due  to  the  general  condition  of  age. 
organic  trouble,  undernourishment,  or  just  nerv- 
ous strain— the  filming  process  revitalizes  and 
makes  firm  the  whole  skin  structure  and  flesh 
beneath.  It  "takes  up  the  slack"  and  draws 
sagging  tissues  as  taut  and  smooth  as  in  early 
youth.  (Filming  naturally  has  the  same  effect  on 
hands,  and  on  any  part  of  the  body.) 

In  this  age  of  creams  and  clays,  and  endless 
other  "beautifiers,"  it  is  hoped  that  neoplasma 
film  will  not  be  regarded  as  a  cosmetic.  It  is 
gentle,  to  be  sure,  but  it  is  a  physical  reagent 
accomplishing  the  same  astonishing  changes  for 
which  women  have  undergone  plastic  surgery. 
The  results  are  the  same — without  the  risk,  dis- 
comfort, or  expense.  You  have  read  of  the  re- 
markable results  of  "face-lifting;"  neoplasming 

©  K.  G.  Co.     Q 
-I 

o 
Ik 


is  just  as  effective  and  being  Nature's  way  is  vastly 
safer  and  more  satisfactory.  Facial  filming  brings 
a  new  era  of  beauty  and  beauty  methods.  It 
dooms  the  superficial. surface  preparationswhich 
are  of  no  scientific  activity,  for  this  process  of  re- 
juvenating the  tissues  puts  a  swift — almost  in- 
stantaneous— end  to  skin  impurities  of  all  kinds. 
It  renders  pores  clear,  clean  and  pliant. 

And  now  for  the  proof:  neoplasma  sufficient  to 
supply  in  solution  to  as  many  as  respond  to  this 
first  public  announcement  will  be  distributed  by 
mail  from  the  Dr.  Egan  manufactory  in  Chicago. 
The  film  is  used  without  special  knowledge  or 
skill:  it  is  effective  in  the  hands  of  anybody  using 
the  simple  instructions  issued  with  each  supply. 
It  is  a  liquid  film  and  conns  in  a  vescule  which 
seals  the  contents  against  any  deterioration  even 
while  in  use.  Your  skin  may  require  one  adrenal- 
izinc,  or  several,  depending  on  its  condition, 
your  age.  etc.  But  your  first  filming  will  bring 
such  youth  to  your  skin  as  will  astound  you.  It  is 
a  fresh  wonder  of  Science  that  is  comparable  to 
radium.  It  is  the  true  neoplasma  which  in  other 
forms  has  been  found  in  the  practice  of  medicine 
to  restore  the  activity  of  a  heart  that  has  ceased 
beating.  All-powerful  but  harmless.  Skin  regen- 
eration is  a  discovery  so  far  reaching  that  prep- 
arations which  merely  pamper  the  complexion, 
even  rouge,  will  soon  be  abandoned. 

Druggists  have  not  been  supplied  yet  For  a 
full  vescule  of  neoplasma  film  write  to  Dr.  Ei;an 
laboratory.  You  need  not  enclose  the  fee  (two 
dollars)  unless  you  choose:  payment  may  be 
made  on  arrival.  You  don't  pay  anything  unless 
your  gratitude  for  benefits  knows  no  bounds. 
Women  have  voluntarily  tendered  twenty-five 
and  fifty  dollars  at  the  laboratory  for  the  same 
results  guaranteed  you.  Seeing  is  believing;  use 
coupon  printed  here: 

PHARMACEUTICAL  PRODUCTS.  LTD.  2C 

(Division  of  the  Dr.  Esan  Manufactory) 

310  So.  Michigan  Ave.,  Chicago. 
Please  send  full  vescule  of  Facial  Film  for  free  trial. 
I  will  pay  postman  $2  and  postage  subject  to  return 
unless  filming  brings  the  romarkahle  benefits  de- 
scribed. (If  handier,  enclose  two  dollars  and  save 
the  postage;  same  money-back  guarantee  applies). 


Name 


4  ddress . 
Ill 

K 
HI 

X 


(Eighty-seven) 


r  ^ 
yrat/Tfair 

Man/shed 


minutes 

Touristsreiurningfrom  Europe 
first  brought  to  this  country  the 
tint  which  in  1 5  minutes  ban- 
ishes gray  hair  permanently. 
Today    Inecto  Rapid  Notox, 
created  by  science  expressly  for  coloring 
the  sensitive  organism  of  human  hair,  is 
available  to  every  American  woman. 
Inecto  Rapid  Notox  is  specifically  guar- 
anteed to  reclaim  permanently  the  original 
color  of  gray,  streaked  or  faded  hair.    It 
may  be  had  in   1 8  shades,  from  radiant 
blonde  to  raven  black;   and  even  under 
the  closest  scrutiny  its  application  cannot 
be  detected.     It  will  neither  rub  off  nor 
be  affected   by  shampooing,   permanent 
waving,  curling,  salt  water,  perspiration, 
sunshine  or  Turkish   or  Russian   baths. 
The  highest  class  Hairdressers  from  coast  to 
coast  use  and  endorse  Inecto  Rapid  Notox 
as  do  the  many  thousands  of  American 
women  who  apply  it  with  invariable  suc- 
cess within  the  privacy  of  their  own  homes. 

SEND  NO  MONEY 
Merely  ask  us  to  send  you  full  particulars 
about     Inecto     Rapid    Notox   and    our 
Beauty  Analysis  Chart,  R-4. 

INECTO,  Inc. 

^■^X        Laboratories  and  Salons 
X  33-35  West  46th  Street 

New  York.  N.Y.    — 
Sold  by  best  Beauty  ^ 
N5T5>  Shops,  Drug  and 

Department  Stores. 


INECTO] 

RAPID 


"DONT  SHOUT 


'I  hear  you.     I  can  hear  now  as 

fwellasanybody.     'How?' 
With  THE  MORLEY 
PHONE.     I've  a  pair  in  my 
ears  now,  but  they  are  invisible. 
1  would  not  know  lhad  them  in 

myself,  only  that  I  hear  all  right."  ] 
The  Morley  Phone  f  otthe 


DEAF 

i  to  the  ears  what  glasses 
are  to  the  eyes.  Invisible 
comfortable,   weightless    an 
harmless.    Anyone  can  ad- 
*  just  it.    Over  one  hundred 
thousand  sold.     Write  for  booklet  and  testimonials. 
THE  MORLEY  CO.,  Dept.  792,  10  S.  18th  Street.  Phila. 

iWEETS 


^vfgPREDTOL^ 


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Ninety  -  five    out    ofj^v 
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that  blushes  is  not  quite  a  brute.  Warner 
Baxter  is  being  co-starred  with  Florence 
Vidor  in  "Christine  of  the  Hungry  Heart." 

Elinor. — C'est  une  autre  chose.  Yes, 
Conway  Tearle  is  married  to  Adele  Row- 
land. Milton  Sills  is  married  to  Gladys 
Wynn. 

Desdemona. — Antonio  Moreno  is  play- 
ing in  "The  Wildcat"  with  Estelle  Taylor. 
Lillian  Gish  is  twenty-eight.  Dorothy  is 
twenty-six.  After  completing  her  part  in 
"In  Hollywood  with  Potash  and  Perl- 
mutter,"  Vera  Gordon  signed  up  to  star 
in  "The  Golden  Spoon,"  a  legitimate  play. 

Red  Cheeks.- — No,  Theda  Bara  is  not 
playing  in  pictures  now,  tho  she  is  expected 
to  do  "Declassee."  '  Wallace  Beery  is  mar- 
ried to  Mary  Gillman.  Beverly  Bayne 
is  playing  in  "Her  Marriage  Vow."  Kath- 
ryn  Bennett,  the  attractive  sister  to  Enid 
Bennett,  made  her  screen  debut  in  Norma 
Talmadge's  "Sacrifice." 

Hector.— You  sure  are  a  promising 
young  artist.  The  likenesses  were  very 
good.  Gloria  Swanson's  next  picture  after 
"Her  Love  Story"  will  be  "The  Wages 
of  Virtue,"  from  the  novel  by  Percival 
Wren. 

Anna  S. — Corinne  Griffith  is  a  blonde, 
tho  she  wore  a  wig  in  "Black  Oxen." 
Dont  know  about  that  foreign  picture. 
Pauline  Garon  is  twenty-three,  and  she  is 
five  feet  one. 

Movie. — Earle  Foxe  was  Jimmie  in 
"Fashion  Row."  Robert  Leonard,  the  hus- 
band of  Mae  Murray,  is  directing  Corinne 
Griffith  in  "Wilderness,"  while  Eric  von 
Stroheim  is  handling  the  megaphone  on  the 
next  Mae  Murray  picture,  "The  Merry 
Widow." 

Bertha  S.  C. — So  you  dont  like  the 
plays  Mae  Murray  is  playing  in.  Wait 
until  you  see  "The  Merry  Widow."  Agnes 
Ayres  in  "The  Story  Without  a  Name." 
Antonio  Moreno  in  "The  Border  Legion." 

Norma  S. — You  say  you  dont  like  Val- 
entino but  you  do  like  Alec  B.  Francis. 
They  are  both  so  different.  I  like  them 
both.  Thomas  Meighan,  after  playing  in 
"The  Alaskan,"  will  play  in  "Tongues  of 
Flame."  Harold  Lloyd  in  "Hubby,"  which 
is  only  the  working  title,  however. 

Josephine. — Nita  Naldi  is  about  five 
feet  nine.  Pola  Negri  five  feet  four.  Con- 
way Tearle  five  feet  ten  and  a  half.  Polly 
Archer  of  the  Follies  has  been  signed  to 
play  opposite  Richard  Barthelmess  in 
"Classmates."  Henry  Walthall  in  "Single 
Wives." 

Cherry*  Blossom. — You  want  Lloyd 
Hughes  on  the  cover.  Address  Wesley 
Barry  at  Warner  Brothers.  Lloyd  Hughes 
is  playing  opposite  Virginia  Valli  in  "In 
Every  Woman's  Life." 

Lady  Paradise. — No,  Mary  Miles  Min- 
ter  is  not  playing  now.  Lucy  Fox  is  play- 
ing opposite  Tom  Mix  in  "Teeth."  Julanne 
Johnston  is  playing  the  lead  in  "Garragan," 
made  in  Berlin.  Mary  Astor,  one  of  our 
contest  winners,  is  playing  in  "The  Price 
of  a  Party."  Eleanor  Boardman,  Earle 
Metcalfe  and  Raymond  McKee  have  the 
leads  in  "The  Silent  Accuser,"  in  which 
Peter  the  Great,  a  German  police  dog,  is 
also  being  featured.  The  picture  is  being 
made  by  Metro-Goldwyn. 

Darling. — No,  child,  I  dont  mind  an- 
swering questions,  even  tho  it  is  104  de- 
grees in  the  shade.  Niles  Welch's  last  pic- 
ture was  "Wine  of  Youth."  He  is  mar- 
ried to  Dell  Boone.  Marguerite  Snow  is 
back  in  pictures  playing  in  "Chalk  Mark," 
which  stars  June  Elvidge  and  Helen  Fer- 
guson. House  Peters  is  playing  in  "The 
Tornado,"  which  King  Baggot  is  direct- 
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back  in  pictures  in  the  series  of  society 
stunt  melodramas  which  Independent  Pic- 
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mtinued  from  page  U  i  I 

complete!)  wrong,  even  in  the  com- 
pany of  rleywood  Broun,  makes  me 
bless  thi  if  the    Km 

fuerstendamm  in  whose  company  I 
dallli 

And   seeing  "Abie's   Irish   Ro 
for  the  first  time  on  it-  nine  hundred 
and   sixty-eighth   performance,  per- 
mits me  to  be  as  superior  as  Ludwig 
I  I  u  i-i  > I i 1 1    In   the   Opinions   of     \] 
ander  Woollcott.   The  dailies  roasted 
"Abie."    Now  I  can  roast  the  dailies 
by    discovering    the    extraordinary 
virtues   of    that    interracial    ma 
piec 

V  a  matter  of  fact,  I  feel  very 
much  like  doing  just  that.  The  play 
is  no  worse  than  mi  »st  of  our  faili 
and  decidedly  better  than  many  of 
our  successes.  In  May.  1022.  I  sup- 
e  I  would  have  been  hot  enough 
and  tired  enough,  after  a  season  of 
just  such  trash,  to  ignore  the  fact 
that  Miss  Nichols  knows  as  much 
about  playwriting  as  Aaron  1 1 
maim  and  a  greal  deal  more  than 
George  Middleton.  In  August,  1924, 
I  recognize  that  the  only  trouble 
with  "Abie's  Irish  Rose"  is  that  Sam 
I  larris  didn't  produce  it. 

The  secret  of  the  success  of 
"Abie's  Irish  Rose"  is  simple  enough 
— tho  that  doesn't  mean  that  any 
playwright  or  manager  can  achieve 
it.  To  begin  with,  it  has  a  topic  full 
of  natural  dramatic  effects — the  con- 
flict of  Irish  bigotry  with  Jewish 
bigotry.  Kither  race  can  ordinarily 
he  depended  upon  to  supply  plenty 
of  amusing  hokum.  Link  them  to- 
gether by  the  secret  marriage  of 
their  children  and  the  result  is  bound 
to  be  effective — so  long  as  the  play- 
wright is  a  good  critic.  If  he  can 
choose  between  the  less  and  the  more 
entertaining,  then  he  will  have  in- 
cidents just  a  little  more  theatrically 
amusing  than  those  of  "Welcome, 
Stranger!''  Aaron  Hoffmann's 
comedy  about  the  Jew  who  invaded 
a   small   Xew   England  town. 

It  is  hard  to  present  on  paper  any 
concrete  evidences  of  Miss  Nichols' 
virtue  as  a  playwright.  They  are 
clear  enough  on  the  stage.  But  her 
faults — or,  rather,  her  main  fault — 
is  another  matter.  It  cries  out  at 
you.  It  shrieks :  "I  ain't  got  no 
style!"  That  is  the  secret  of 
"'  Vbie's"  inferiority — and  some  of 
its  popularity.  It  is  common — in  a 
common  way.  It  ought  to  be  com- 
mon in  a  fashionable  way.  If  Sam 
Harris  had  produced  it,  it  might  be 
as  ordinary  in  its  emotions,  ideas, 
and  wit  as  it  pleased,  hut  it  would 
he  fashionable.  It  would  ride  along 
with  the  procession.  The'  hokum 
(Continued  on  page  92) 


TakesOff41Lbs 

In  Exactly  7  Weeks! 

The  lady  in  the  picture  is  rinse  to  an  : 
weight    Vet  two  months  ago  ! 

was    heavier   by    more    than    forty 
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"Easiest  Thing  I  Ever  Did" 

"Fifteen  minutes  each  evening  I  tnf.k  the  reduc- 
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Where  Was  the  Camera? 

(Continued  from  page  18) 


stage  play  the  better  to  enjoy  a  hero's 
sufferings,  you  will  appreciate  William 
de  Mille's  thought  fulness  in  bringing 
the  camera  close  to  his  characters' 
faces  when  they  are  registering  grief 
or  despair  or  love.  The  closeup  is 
the  screen  substitute  for  the  opera- 
glass  habit,  and  Mr.  de  Mille  has  a 
telescopic  camera  grinding  with  every 
scene  he  shoots  as  well  as  the  regular 
machine ;  then  when  he  wishes  to  use 
a  near  view  at  any  particular  point 
the  cutting  from  the  full  scene  to  the 
closeup  face  will  be  perfectly  smooth. 
His  brother  Cecil  recently  used  seven 
cameras  simultaneously  in  taking  a 
small  but  important  shot  centering 
about  a  blackboard,  thus  giving  an 
unbroken  sequence  of  the  action  from 
every  possible  angle.  When  the 
scene  is  flashed  on  the  screen,  the  girl 
will  not  have  a  lock  of  hair  loose  in 
the  long  view  and  be  wearing  a  hair 
net  in  the  closeup,  and  the  man  will 
not  be  smoking  a  fresh  cigaret  at  a 
distance  and  a  butt  in  the  nearer  shot, 
as  happens  so  often  when  the  two 
views  are  taken  at  different  times. 

James  Cruze,  however,  uses  but 
one,  or  at  the  most  two  cameras  in 
shooting  a  scene  and  leaves  the  matter 
of  its  position  to  his  cameraman, 
Carl  Brown,  giving  him  carte  blanche 
to  work  out  his  own  ideas.  Before 
taking  "The  Fighting  Coward,"  Mr. 
Brown  studied  the  art  form  of  the 
period,  steel  engravings,  and  dis- 
covered that  they  were  all  made  from 
a  low  angle  of  vision,  the  artist  sitting 
on  a  stool  below  the  scene  he  was 
depicting  and  looking  slightly  up  at 
it.  By  straddling  the  tripod  of  his 
camera  to  its  full  width,  he  was  able 
to  reproduce  the  engraver's  view- 
point, giving  a  quaintness  to  the  pic- 
ture which  the  audiences  will  not 
understand  but  will  feel. 

"Taking  motion  pictures  isn't  quite 
the  same  thing  as  turning  an  ice-cream 
freezer  or  cranking  a  Ford  engine, 
tho  the  motion  may  seem  similar !" 
says  he.  "Personally  I  believe  a 
cameraman  should  try  to  interpret  the 
spirit  of  the  action  by  his  photog- 
raphy. There  was  a  scene  in  'Stella 
Maris'  I  have  always  remembered, 
the  one  where  the  little  drudge  has 
killed  the  woman  who  tortured  her. 
The  lighting  was  flat  and  dead  and 
the  camera  angle  deliberately  dis- 
torted to  give  a  feeling  of  despair. 
Mechanically  it  was  bad  photography, 
but  artistically  it  was  great  work !" 

To  Cecil  De  Mille  a  motion  picture 
is  first  of  all  a  picture,  something  to 
look  at.  Detail,  finish,  beauty  of  set- 
ting, clearness  of  background  charac- 
terize his  work  and  he  has  a  director 
of    photography,    Bert    Glennon,    as 


well  as  a  cameraman.  Chummy 
camera  angles  have  no  place  in  a 
Cecil  De  Mille  picture ;  to  his  mind 
the  audience  belongs  in  its  seats,  not 
on  the  screen.  When  there  are  more 
than  two  or  three  people  on  a  set,  his 
camera  is  raised  above  their  heads. 

In  the  great  mob  scenes  in  "The 
Ten  Commandments,"  the  cameras 
were  hoisted  thirty  feet  from  the 
ground  on  scaffoldings,  in  order  to 
obtain  the  widest  possible  range  of 
vision.  A  telescopic  lens  caught  the 
closeups  of  Rod  La  Rocque's  face 
as  he  stood  in  the  tossing  motor-boat 
from  the  top  of  a  breakwater  half  a 
mile  away,  while  the  Ackley  camera, 
a  machine  arranged  on  ball  bearings 
so  that  it  can  lie  down,  roll  over  and 
over  and  stand  on  its  head,  was  used 
to  follow  Leatrice  Joy  to  the  roof  of 
the  cathedral  and  to  panorama  the 
pursuing  chariots  of  the  Egyptians. 

Most  screen  players  have  a  "bad 
angle."  Perhaps  one  side  view  is  not 
so  good  as  the  other,  perhaps  the  pro- 
file is  better  than  the  full  face.  It  is 
said  that  even  Mary  Pickford  has  one 
angle  which  is  never  shown  on  the 
screen.  The  camera  can  perform 
miracles  for  them,  flattering  their 
good  points,  concealing  their  not-so- 
good  ones  and  aiding  them  to  put 
their  best  faces  forward  as  it  were. 
A  low  camera  angle  combined  with  a 
high  background  has  often  made 
short  actors  like  Henry  Walthall  ap- 
pear supernaturally  tall,  while  the 
reverse  of  the  trick  is  called  upon  to 
conceal  the  sudden  alarming  tendency 
to   legginess   of    some   screen  •  child. 

Nowadays  the  crash  of  breaking 
traditions  is  heard  on  the  movie  lots. 
The  actors  turn  their  backs  upon  the 
lens,  or  look  straight  into  it.  The 
chalk  marks  which  kept  them  toeing 
the  line  are  gone  and  they  may  now 
emote  without  fear  that  when  they 
fling  themselves  in  despair  upon  the 
floor  perhaps  their  heads  will  be  miss- 
ing from  the  finished  pictures.  The 
migratory  camera  is  at  home  in  autos 
and  aeroplanes.  It  burrows  into  the 
ground  or  hides  in  a  concre'.e  dug- 
out thru  which  its  single  eye  may 
watch  a  stampede  of  buffalo  thunder 
by  overhead  and  it  climbs  nimbly 
above  the  heads  of  a  society  dinner. 

It  conspires  with  the  stunt  actor 
to  make  him  seem  to  do  that  which 
cannot  be  done.  It  makes  bricks  of 
straw,  silk  purses  of  sow's  ears, 
builds  Rome  in  a  day,  creates  a 
mighty  ocean  from  little  drops  of 
water,  and  a  sheiky  desert  from  little 
grains  of  sand  and — greatest  miracle 
of  all — it  makes  stars  out  of  ordinary  «' 
mortals  and  dreams  for  a  whole 
world  from  a  dingy  strip  of  celluloid. 


(Ninety) 


Into  the  attic 


FEW  youngsters  to-day  ever  saw  a  horsehair 
sofa.  They  wouldn't  know  what  to  do  with  a 
fire  taper,  carpet  stretcher,  or  coal-oil  lamp. 
They  couldn't  braid  rags  into  a  rug,  or  wind  yarn 
without  tangling.  But  they  know  the  how  and 
why  of  typewriters,  phonographs,  telephones, 
automobiles;  what  happens  when  a  push  of  the 
button  gives  light,  or  a  kodak's  flash  fixes  their 
image  on  paper. 

Their  education  is  as  modern  as  the  advertise- 
ments they  see.  They  have  no  more  use  for  the 
lamp  and  chimney  of  yesterday  than  you  for  the 
wick  and  tallow  of  the  day  before. 

Advertisements  induce  such  progress.  They 
urge  wide  use  that  means  improvement.  They 
help  you  lift  the  out-of-date  into  the  attic — rid 
you  of  the  water  buckets  and  soap  kettles  of 
slavedom.  They  bring  late  improvements 
within  your  reach. 

Read  the  advertisements  regularly.  Keep 
alert  to  the  new. 

Without  advertising,  you  would  never 

know  a  product's  worth  until 

you  had  bought'  it 


(Ninety-one) 


Have  You  Wondered  Why 
Some  Toilet  Goods  Clerks  So 
Persistently  Push  One  Line? 


A  REPRESENTATIVE  of  the  Federal  Trade 
Commission  made  an  address  at  the  last  con- 
vention of  the  National  Association  of  Toilet 
Goods  Manufacturers  calling  their  attention  to  a 
situation  which  threatens  the  good  faith  between 
department  stores  and  their  customers.  Now  that 
the  spotlight  has  been  turned  on  this  evil  practice 
which  has  grown  up  slowly,  it  must  inevitably 
disappear. 

Many  women  have,  no  doubt,  been  at  a  loss  to 
understand  the  persistent  and  often  adroit  methods 
by  which  clerks  at  toilet  goods  counters  in  depart- 
ment stores  attempt  to  make  them  take  some  brand 
other  than  the  one  they  had  intended.  They  are 
frequently  irritated  by  this,  but  how  completely 
they  would  resent  it  if  they  knew  the  real  facts. 
The  young  woman  who  is  trying  to  substitute  is 
not  an  unbiased  clerk  of  the  store,  but  in  truth,  the 
employe  of  a  manufacturer  masquerading  as  a 
clerk. 

In  a  great  many  department  stores  of  this 
country  the  salaries  of  all  the  clerks  at  the  toilet 
goods  counter  are  paid  by  individual  manu- 
facturers. The  advantage  to  the  manufacturer 
is  that  the  young  woman  so  employed  will  divert 
to  his  brand  all  wavering  or  undecided  customers, 
and  within  the  limits  laid  down  by  the  store  rules, 
switch  from  other  brands. 

There  can  be  no  objections  to  the  open  demon- 
strator. She  often  serves  to  perform  a  useful 
demonstrating  and  sampling  job.  But  the  hidden 
demonstrator — who  masquerades  as  an  unpre- 
judiced clerk  speaking  in  the  interests  of  the  store 
and  with  its  authority — tends  to  break  down  the 
good  will  that  is  the  greatest  fundamental  asset 
which  the  department  store  possesses. 

At  present  the  only  real  protection  the  customer 
has  is  to  know  what  she  wants  and  insist  upon 
getting  it. 


The  Play  of  the  Month 

(Continued  from  page  89) 

would  be  the  latest  thing.  It  would 
be  just  a  little  smarter,  just  a  little 
more  exclusive.  When  the  Jewish 
hero  had  to  invent  a  kosher  name 
for  his  bride,  Rosemary  Murphy,  it 
wouldn't  be  so  obviously  impossible 
as  "Murphysky."  The  verbal  humor 
would  run  above  the  following: 
"For  why  you  want  to  get  Abie 
married?     He's  heppy." 

The  final  fact  about  this  play  s 
success  is  that  it  appeals  to  the  non- 
theatergoing  populace.  The  theory 
has  been  that,  between  the  Irish  and 
the  Jews,  it  was  bound  to  make  a 
mint  of  money.  It  happens  that  out- 
side New  York  and  Boston  there 
aren't  so  very  many  of  these 
peoples.  It  happens,  also,  that  the 
audiences — if  mine  was  any  sample 
— are  shy  on  both  varieties.  The 
people  who  go  to  "Abie's  Irish  Rose" 
are  mainly  the  kind  of  people  who 
went  to  "Ben-Hur"  and  "Experi- 
ence." The  fact  that  the  gentlemen 
frequently  bring  a  two-pound  box 
of  candy  as  well  as  a  girl  defines 
their  familiarity  with  the  ways  of 
the  theater.  They  like  a  certain 
amount  of  religion  in  their  plays, 
and  a  certain  amount  of  good  old- 
fashioned  hokum.  But  above  all 
they  need  the  obvious.  And  they 
get  it  from  "Abie's  Irish  Rose." 


The  Picture  of  the  Month 

(Continued  from  page  47) 

down  to  earth.  He  puts  before  us 
human  characters  in  real  places. 

"Manhandled"  might  be  criticized 
on  the  ground  that  there  is  just  a 
little  too  much  space  given  its  star. 
Perhaps  such  is  the  case,  but  at  least 
Miss  Swanson  deserves  more  space 
here  than  ever  before.  She  is  a  real 
actress — and  demonstrates  here  that 
she  is  a  gifted  comedienne  as  well  as 
an  accomplished  mimic.  And  she 
offers  a  distinctly  new  touch  in  hair- 
dress.  She  wears  a  bob  like  no  other 
bob — with  the  front  ends  long  enough 
to  curl  forward  in  a  crescent  over  the 
cheek.  It  adds  more  color  to  her 
personality  and  makes  her  charac- 
terization sure.  Is  she  a  real  actress? 
We  offer  in  proof  of  this  the  fact 
that  she  wears  a  dingy  dress  thru 
half  of  the  picture  and  still  holds 
the  attention. 

There  are  others  who  give  good 
performances.  Tom  Moore  is  a  per- 
fect representation  of  what  he  pre- 
tends to  be — an  every-day  youth  of 
the  workshop,  and  Ian  Keith  (with 
profile),  Arthur  Housman,  Frank 
Morgan,  Lilyan  Tashman  and  Paul 
McAllister  act  with  authority. 


(Ninety-two) 


YOU  HAVE   A  BEAUTIFUL  I'M  I  . 

BUT  YOUR  NOSE! 


L 


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shaping  Specialist,  M.  Trilety,  Dept. 
2131,    Binghamton,    X.   Y. 


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III      111 
ntinutd  from  page  50) 

ix  miles.     Guava  puts  her 
fingers  to  her  lips  and  points  to  a 
miniature    \\  hich     Es  more    cai 
.11  "in nl  his  neck  on  a  little  ",<>!<  I  chain. 
It  is  .1  picture  of  her  mother ! 

i  To  be  continued) 

•b       'b       'b 

It     is    amazing     whal     publicity 

siunis  are  worked  to  exploit  tilm>. 
The  ingenuity  of  the  angles  and  tie- 
ups—  i"  -a\  nothing  of  the  turn- 
overs and  overheads,  is  sufficient  to 
arouse  one's  competitive  spirit  even 
if  the  Olympic  Championships  dont. 
Here's  what  this  department  sug- 
gests for  the  Fi  Jlovi  ing  : 

"The  Red  Lily."  ( live  the  patrons 
of  the  theater  in  which  it  is  playing 
a  pot  of  fresh  mint. 

"Neglected  Women."  Have  a  big 
register  in  the  lobby  and  make  all 
the  lady  patrons  put  down  their 
names  and  telephone  numbers. 

"Feet  of  Clay."  Arrange  with  the 
Mayor  of  Cincinnati  to  have  him 
jump  in  Lake  Michigan. 

"Excitement."  Set  the  house  on 
fire  on  alternate  evenings,  hut  dont 
give  out  the  dates  in  advance. 

"That  French  Lady."  Hire  a 
Chinese  Orchestra  to  go  thru  the 
streets  on  skis  playing  bagpipes  and 
zithers. 

"The  Warrens  of  Virginia."  Give 
out  pet  rabbits.  (This  will  be  a 
wow  in  Chicago.) 

•b       -b       "b 

American-made  movies  have  in- 
vaded England  to  the  extent  of  put- 
ting the  native  products  out  of 
business.  Which  proves  beyond  all 
question  that  the  English  can  cer- 
tainly take  a  joke. 

•b      -b      •b 

We  certainly  are  a  demon  for  up- 
lifting the  silent  drama  this  issue. 
And  here  goes  our  last  bit  of 
friendly  counsel.  To  Mr.  Hal 
Roach,  sponsor  of  the  "Our  Gang" 
comedies,  Sir — Dont  ever,  ever  let 
that  nasty  little  fat  boy  keep  losing 
his  pants  again. 


FIREFLIES 


By  Helene  Lkfaivre 

Star  dust  on  summer's  evening  cloak, 
Jeweled  caps  of  little  woodland  folk, 
Lovelight  shining  in  woman's  eyes, 
Glimmering  hopes  that  Fate  belies. 
Bright    sparks    struck    from    Love's    brief 

hour. 
Flung  in  a  gleaming  golden  shower. 
O'er  vale  and  field  and  brooding  park, 
Making  sweet  mystery  of  the  dark. 


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duct i ■  .nr  Marching  tl 
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Dept.   56-K,    Palmer   Hldg.  Hollywood,    Calif. 

Please  send  me,  without  cost  or  obligation,  a  copy 
of  your  96-page  book,   "The   New   Road   to  Author- 
ship,"   and    full   details   of    the    Palmer   Scholarship 
Foundation.      I   am   most   interested   in — 
D  Short  Story  Writing  □  Photoplay  Writing 

□  Dramatic  Criticism 


Name- 


Address.... 

Alt  correspondence  strictly  confidential 


(Ninety-three) 


Manufacturers,   Distributors  and   Studios    of 
Motion  Pictures 


NEW  YORK  CITY 

Advanced  Motion   Picture   Corp.,   1493 

Broadway 
American  Releasing  Corp.,  15  W.  44th 

Street 
Arrow  Film  Corp.,  220  W.  42nd  St. 
Associated  Exhibitors,  Inc.,  35  W.  45th 

Street 
Ballin,   Hugo,    Productions,   366    Fifth 

Ave. 
Community  Motion  Picture  Bureau,  46 

West  24th  St. 
Consolidated  Film  Corp.,  80  Fifth  Ave. 
Cosmopolitan  Productions,  2478  Second 

Ave. 
C.  C.  Burr  Prod.,  135  W.  44th  St. 

Distinctive    Prod.,    366    Madison    Ave. 

(Biograph  Studios,  807  E.  175th  St.) 
Educational  Film  Co.,  729  Seventh  Ave. 
Export  &  Import  Film  Co.,  729  Seventh 

Ave. 
Famous  Players-Lasky,  485  Fifth  Ave. 

(Studio,  6th  and  Pierce  Sts.,  Astoria, 

L.  I.) 
Film  Booking  Offices,  723  Seventh  Ave. 
Film  Guild,  8  W.  40th  St. 
Film  Market,  Inc.,  563  Fifth  Ave. 
First    National    Exhibitors,    Inc.,    383 

Madison  Ave. 
Fox  Studios,  Tenth  Ave.  and  55th  St. 

Gaumont  Co.,  Congress  Ave.,  Flushing, 

L.  I. 
Goldwyn  Pictures  Corp.,  469  Fifth  Ave. 
Graphic  Film  Corp.,  729  Seventh  Ave. 
Griffith,  D.  W.,  Films,  1476  Broadway. 

(Studio,   Oriental    Pt.,   Mamaroneck, 

N.  Y.) 
Hodkinson,   W.   W.,    Film    Corp.,   469 

Fifth  Ave. 

Inspiration  Pictures,  565  Fifth  Ave. 
International  Studios,  2478  Second  Ave. 
Jans  Pictures,  729  Seventh  Ave. 
Jester  Comedy  Co.,  220  W.  42nd  St. 

Kenna    Film   Corp.,    1639    Broadway 
Mastoden   Films,   135  W.  44th  St. 
Metro     Pictures,     Loew     Bldg.,     1540 

Broadway 
Moss,  B.  S.,  1564  Broadway 

Outiner  Chester  Pictures.  120  W.  41st 

Street 
Pathe  Exchange,  35  W.  45th  St. 
Preferred  Pictures,  1650  Broadway 
Prizma,  Inc.,  110  W.  40th  St. 
Pyramid  Picture  Corp.,  150  W.  34th  St. 
Ritz-Carlton  Prod.,  6  W.  48th  St. 
Selznick  Pictures,  729  Seventh  Ave. 
Sunshine  Films,  Inc.,  140  W.  44th  St. 
Talmadge  Film  Corp.,  1540  Broadway 
Topics    of    the    Day    Film    Co.,    1562 

Broadway 
Triangle      Distributing      Corp.,      1459 

Broadway 
Tully,    Richard    Walton,    Prod.,    1482 

Broadway 
United  Artists,  729  Seventh  Ave. 
Universal  Film  Corp.,  1600   Broadway 
Vitagraph    Films,    East    16th    St.    and 

Locust  Ave.,  Brooklyn 
Warner  Bros.,  1600  Broadway 
West,  Roland,  Prod.  Co.,  236  W.  55th 

Street 
Whitman,   Bennett,   Prod.,   537   River- 
dale  Ave. 


OUT  OF  TOWN 

American    Film    Co.,    6227    Broadway, 

Chicago,  111. 
Bear  State  Film  Co.,  Hollywood,  Calif. 
Leah  Baird  Prod.,  Culver  City,  Calif. 
Bennett,   Chester,   Prod.,   3800   Mission 

Rd.,  Los  Angeles,  Calif. 
Charles  Chaplin  Studios,  1420  La  Brea 

Ave.,  Los  Angeles,  Calif. 
Century   Comedies,  6100   Sunset  Blvd., 

Hollywood,  Calif. 
Christie  Film  Corp.,  6101  Sunset  Blvd., 

Hollywood,  Calif. 
Commonwealth  Pictures  Corp.,  220  So. 

State  St.,  Chicago,  111. 
Coogan,    Jackie,    Prod.,    5341    Melrose 

Ave.,  Los  Angeles,  Calif. 
Douglas  Fairbanks  Studios,  Hollywood, 

Calif. 
Famous    Players-Lasky    Studios,    1520 

Vine  St.,  Hollywood,  Calif. 
Fox  Studios,  1401  Western  Ave.,  Holly- 
wood, Calif. 
Garson    Studios,    Inc.,    1845    Glendale 

Blvd.,  Los  Angeles,  Calif. 
Goldwyn  Studios,  Culver  City,  Calif. 
Grand-Asher    Prod.,    1438    Gower    St., 

Hollywood,  Calif. 
Graf  Prod.,  Inc.,  315  Montgomery  St., 

San  Francisco,  Calif. 
Harold     Lloyd     Studios,    6642     Santa 

Monica  Blvd.,  Hollywood,  Calif. 
Ince  Studios,  Culver  City,  Calif. 
MacDonald,      Katherine,      Prod.,      945 

Girard  St.,  Los  Angeles,  Calif. 
Mary     Pickford     Studios,    Hollywood, 

Calif. 
Mayer,   Louis    B.,    Studios,   3800    Mis- 
sion Rd.,  Los  Angeles,  Calif. 
Metro  Studios,  1025  Lillian  Way,  Los 

Angeles,  Calif. 
Morosco,  Oliver,  Prod.,  756  So.  Broad- 
way, Los  Angeles,  Calif. 
Pacific  Studios,  San  Mateo,  Calif. 
Pathe   Freres,    1    Congress    St.,  Jersey 

City,  N.  J. 
Ray,    Charles,    Studios,    1425    Fleming 

St.,  Los  Angeles,  Calif. 
Robertson-Cole  Studios,  780  Gower  St., 

Los  Angeles,  Calif. 
Roach,   Hal   E.,   Studios,   Culver   City, 

Calif, 
Roland,  Ruth,  Prod.,  Culver  City,  Calif. 
Sawyer-Lubin    Prod.,   6912   Hollywood 

Blvd.,   Hollywood,  Calif. 
Sennett,  Mack,  Studios,   1712  Glendale 

Blvd.,  Los  Angeles,  Calif. 
Sol  Lesser   Prod.,  7250   Santa   Monica 

Blvd.,  Hollywood,  Calif. 
Stahl,   John    M.,    Prod.,    3800    Mission 

Rd.,  Los  Angeles,  Calif. 
Stewart,    Anita,    Prod.,    3800    Mission 

Rd.,  Los  Angeles,  Calif. 
Tourneur,    Maurice,    Prod.,   Ince   Stu- 
dios, Culver  City,  Calif. 
Talmadge    Prod.,    5341    Melrose    Ave., 

Los  Angeles,   Calif. 
United  Studios,  Inc.,  Los  Angeles,  Calif. 
Universal      Studios,     Universal      City, 

Calif. 
Vitagraph  Studios,  1708  Talmadge  St., 

Hollywood,  Calif. 
Warner  Bros.,  Bronson  Ave.  &  Sunset 

Blvd.,  Hollywood,  Calif. 
Weber,    Lois,    Prod.,    6411    Hollywood 

Blvd.,  Hollywood,  Calif. 
Wharton,  Inc.,  Ithaca,  New  York 


The  Celluloid  Critic 

(Continued  from  page  49) 

who  says  and  does  the  obvious  things. 
This  actor  who  flashed  such  talent  in 
"Beau  Brummel"  is  a  good  likeness, 
but  there  the  comparison  ends.  He 
seems  to  be  as  much  in  the  dark  as 
the  director  in  how  to  draw  the  char- 
acter vividly  and  compellingly  and 
sympathetically. 

The  picture  will  arouse  discussion 
— for  Lewis  is  either  liked  or  tossed 
aside.  It  may  be  that  some  readers, 
disappointed  in  the  novel,  will  admire 
the  film — and  those  who  like  the 
story  will  probably  be  disappointed 
in  the  screen  version.  More  light- 
ness and  humor  would  have  made  it 
more  human. 

HOW  to  Educate  a  Wife" 
(Warner  Brothers)  is  one 
of  those  satires  on  modern 
married  life  written  by  no  less  an  au- 
thority than  Elinor  Glyn.  She 
doesn't  tread  on  the  sob  pedal  this 
time — and  somehow  by  getting  away 
from  sermonizing  on  this  eternal  sub- 
ject she  comes  closer  to  the  truth 
than  what  is  usually  revealed  under 
her  signature.  It's  extremely  light 
fare,  but  pleasant  withal — and  the 
idea  points  out  the  impossibility  of 
educating  one's  spouse  when  she 
wants  to  become  contrary.  Most  any 
husband  will  agree  with  this. 

The  story  offers  a  lot  of  little  pre- 
tentions. There  is  a  scheme  afoot 
here  when  the  husband's  friend 
advises  him  to  use  his  wife  for  vamp- 
ing purposes.  He  cant  see  the  plot 
at  all.  But  she  steps  out  and  vamps 
one  of  the  customers.  And  there's 
an  end  to  the  love  nest.  The  rest  of 
the  fun  deals  with  hubby  trying  to 
run  his  house  single-handed — enjoy-( 
able  incident  interlaced  with  some 
delicate  make-believe  tactics  toward 
reconciliation. 

Marie  Prevost  and  Monte  Blue, 
who  are  much  together  in  pictures 
these  days,  make  an  excellent  pair  of 
battling  lovers.  And  Claude  Gilling- 
water  furnishes  some  of  that  fine 
character  talent  as  the  "fall  guy." 
The  piece  moves  at  a  lively  pace, 
keeps  its  sparks  lighted  thruout — and 
exudes  more  than  a  share  of  realities. 
Monta  Bell,  who  directed  "Broadway 
After  Dark,"  shows  that  he  hasn't 
worked  with  Chaplin  in  vain.  There 
is  subtlety  in  his  work. 


F 


OOLS  in  the  Dark"  (F.  B. 
O.)  is  as  near  an  approach  to 
clever  melodramatic  satire  as 
we've  caught  on  the  screen  in  some 
time.  We  who  have  grown  accus- 
tomed to  seeing  the  old  situations 
with  the  regulation  characters — all  of 
them  developed  in  the  same  old  way, 


(Ninety-four) 


KM Mil IIIIIIM Ill Illlllllll 


[^^^H|||)IMMM<IMII>Mi    MM I II  Mill Ill  I II  MM 
OPPORTUNI 
MARKET 
itmtiMii mil iiuiiiiimii 


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HELP  WANTED 


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PHOTOPLAYS 


Journalism — Photoplays — >hoi-t     Stories.     Plot 

I'liart  and  Details  free  to  those  wishing  to  enter 
■hove  professions  or  dispose  of  manuscripts  on 
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faudonal  Authors  and  Editors  of  high  standing.) 
Harvard  Company,  433  Montgomery,  San  Francisco. 

tfS    For    Photoplay    Ideas.     Plots    accepted    any 

form;    revised,    criticised,    copyrighted,    marketed. 

■   free.      Universal    S.-.nario  Corporation,    203 

ty    Bldg.,    Santa    Monica    and    Western    Ave., 

■  aikmI.    Cal. 

SHORT  STORIES 

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companies;  big  pay.  Details  free  to  beginners. 
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Morle«,  Poems,  Plays,  Etc.,  are  wanted  for  pub- 
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and   instructions.     M.    Keytag  Co.,   Oohoes,   N.    V. 

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Opportunity     to     start     Manufacturing     Metal 

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Boston   Hoad,   New   York. 


TYPEWRITERS 


Cnderwood      Typewriters — Only      $3.00      down. 

monthly  payments.  Low  prices  at  less  than 
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year  guarantee.  Write  for  big  free  catalog 
:<"s:  Shipman-Ward  Mfg.  Co.,  358T  Shipman 
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VAUDEVILLE 

»"ET  ON  THE  STAGE.  I  tell  you  how:  Per- 
sonality,   confidence,    skill    developed.      Experience 

unneeessary.  Send  6c  postage  for  instructive 
illustrated  Stage  Book  and  particulars.  n. 
LalVlle,  Box  657,   Los  Angeles,   Cal. 

(Ninety-five) 


re  when 

bo .  ime  i  ci  in  In  hed    o  thai  I 

lll.'.llllc 

lii  other  words,  the  director  1 
i  \l    Sentell,   take   your   l><>\\  i .   has 
kidded  the  life  out  oi    the  conven- 
tional stuff  and  furnishes  us  with  a 

rapid  lire    sain,-    on    such    tl  led    ami 

true  elements  as  romance,  myster) 
ami  suspense.  I  he  mj  stei  j 
dominant,  broughl  out  and  held  thru 
the  high  jinks  that  occur  in  a  house 
where  the  hero  and  his  companions 
arc  given  to  spook)  carryings-on. 
Behind  the  melodrama  runs  this 
comedy  vein,  which  is  heightened 
with  sparkling  scenes.  The  heroine 
is  kidnapped,  the  hero  is  assaulted 

and  the  rescue  comes  in  time  when 
the  marines  jump  in  at  the  finish. 

\\>  trick  i>  forgotten  in  poking  fun 
at  the  old  situations.  There  are  some 
thrills  to  balance  the  laughs.  And  it 
is  smartly  aeted  by  Matt  Moore 
whose  restraint  aids  in  building  the 
suspense.  He  gets  the  must  from 
every  scene — and  dues  it  by  touching 
the  soft  pedal — acting  not  easy  to 
accomplish.  The  girl  is  Patsy  Ruth 
Miller — and  her  plastic  expressions 
of  fright,  anger — and  other  emotions 
also  help  in  carrying  on  the  plot. 
She  is  a  charming  heroine.  Tom 
Wilson  who  has  won  his  laurels  in 
blackface  roles,  comes  forth  again  in 
burnt  cork,  and  furnishes  the  comedy. 

There  should  be  more  such  efforts. 
Melodramas  have  become  altogether 
too  standardized.  And  satirizing 
them  occasionally  one  may  respond 
to  something  different. 

JUST  what  the  Germans  in- 
tended to  convey  in  "Between 
Worlds"  (Weiss  Brothers)  is  a 
subject  for  argumentative  discussion. 
It  attempts  to  be  a  spectacle  without 
much  success — and  it  tries  to  trespass 
in  fantastic  fields  after  the  manner  of 
"Caligari."  And  the  comparison  is 
weak.  It  is  heavy  and  somber — and 
often  tiresome  because  it  appear 
incomprehensible.  The  German  mind 
theorizes  that  a  woman  cannot  find 
true  love  until  she  sacrifices  all  base 
motives.  A  pretty  heavy  subject  and 
not  worthy  of  argument  in  this  world 
of  erring  humans. 

The  picture  touches  upon  allegory, 
too.  It  also  becomes  fanciful  when 
the  heroine  (we  are  reasoning  from 
the  way  we  saw  it)  goes  into  a  sort 
of  dream  and  visualizes  herself  and 
her  lover  as  reincarnated  figures  of 
the  Venetian  Republic.  Byzantium 
and  Old  China — both  of  than  stalk- 
ing thru  tragic  scenes  suggesting 
something  of  the  Montague-Capulet 
scrap.  An  uncanny  figure  shadows 
the  girl — a  figure  similar  to  the  sleep- 
walker in  "Caligari."  He  has  lured 
her  lover  away — and  always  bobs  up 
to  pass  judgment  on  her.    In  the  end 


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the  tragic  youth  awakes.  The 
story  wanders  too  much  in  the 
clouds  and  doesn't  descend  to  the 
simple  emotions  until  vengeance  is 
meted  out  to  the  youth.  If  you  look 
beyond  this  incoherent  story  and  fol- 
low the  actors,  you'll  be  entertained 
with  some  fine  pantomime  (the  Ger- 
mans can  act)  executed  by  Bernard 
( loetzle,  the  uncanny  stranger.  And 
there  is  some  creditable  atmosphere. 
Its  plot  is  as  difficult  to  fathom  as  the 
fourth  dimension. 

THE  youngest  and  smallest  bru- 
nette on  the  screen,  Baby  Peggy, 
comes  bidding  for  favors  in 
"Captain  January"  (Principal) — a 
picture  not  much  bigger  than  herself 
in  regard  to  its  plot,  but  capable  of 
interesting  any  type  of  audience  thru 
the  tender  appeal  of  the  captivating 
Peg — and  the  sentiment  which  pro- 
jects her.  It's  an  old  story,  but  one 
that  never  grows  tiresome.  One  cant 
be  bored  over  watching  the  play  of 
affection  between  a  kindly  old  man 
and  a  little  tot — one  cant  be  bored  if 
the  heart  is  right.  So  the  old  light- 
house keeper  picks  up  his  little  piece 
of  human  flotsam  and  adopts  her. 

The  lighthouse  is  a  picturesque  set- 
ting— and  the  aged  keeper  is  a  lov- 
able character.  And  because  Direc- 
tor Eddie  Cline  has  painted  him  half- 
way human — with  Hobart  Bosworth 
portraying  him  to  command  sym- 
pathy, we  feel  mighty  sorry  when  the 
child  is  taken  away.  But  she  comes 
bounding  back  into  his  life — and  to- 
gether they  sail  the  seven  seas. 

Peggy  under  appreciative  direction 
acts  like  any  normal  active  six-year- 
old  kid.  We  take  off  our  faded  straw 
to  Cline — and  make  an  additional 
bow  to  Peg  herself.  She  is  natural — 
not  a  bit  precocious — and  acts  with  a 
sincerity  that  should  be  adopted  by 
many  of  her  adult  contemporaries. 

It  may  be  an  old  story — this  "Cap- 
tain January" — but  it  is  told  with  fine 
restraint,  there  being  no  stepping  on 
the  sob  pedal— and  Peggy  makes  the 
little  waif  so  lovable  that  we  take  her 
and  the  film  in  the  most  friendly 
manner.     The  children  will  love  it. 

WHEN  a  play  goes  thru  such  a 
metamorphosis  as  "Along 
Came  Ruth" — which  came 
from  France,  found  a  haven  in  a 
Broadway  theater — and  eventually 
joined  screen  circles  as  a  Metro  pro- 
duction, there  cant  be  much  left  of 
its  original  thought.  There  isn't 
much  to  it.  All  the  racy  atmosphere 
has  been  lifted — and  what  is  substi- 
tuted goes  under  the  name  of  rustic 
hokum — the  kind  of  hokum  which 
Dr.  Sennett  strings  thru  his  comedies 
— meaning,  of  course,  that  it  is  exag- 
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PERSONAL 
Appearance 


ti 

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1917-L,  Ackerman  Bldft.,   BINGHAMTON,  N.  Y. 


Rashes  from  the  Ea  I  rn 

1 1  ontinutd  from  (• 
"Peter  Pan,"  which  will  be  made 

in  the  East.  *  *  *  Gloria  Swanson 
has  practicall)  completed  "Wa 
ol  Virtue"  with  Norman  Trevor 
ami  Ben  Lyon.  Il  is  a  Stor)  of  the 
ign  |  .egion  in  Aigiei  b.  I  [er 
last  picture,  "Manhandled,"  has 
made  ;t  gTeat  liit.  She  will  sail  for 
Paris  in  Septembei  t<>  make 
"Madame  Sans-Gene."  Charles 
de  Roche  will   plaj  ite  her. 

*  *  *  It  is  Famous  Players  inten- 
tion to  send  American  players 
over  to  London  also  to  make  a 
picture    in    their    London    stud 

*  *  *  The  Japanese  Cha 
D'Affaires  at  Washington  has 
been  invited  to  .attend  a  gala  per- 
formance of  "Ka-Bu-Ki"  at  the 
Threshold  Playhouse  in  the  near 
future.  Clare  Tree  Major,  man- 
aging director  of  the  Playhouse, 
plans  to  arrange  a  Japanese  night, 
on  which  occasion  a  number  of 
both  Japanese  and  American  ce- 
lebrities  will  be  present.  *  *  * 
Among  the  important  foreign  pro- 
ductions for  which  the  Selwyns 
have  secured  the  American  rights 
is  the  three-act  comedy  by  Sacha 
Guitry  entitled  "L'Accroche 
Cceur,"  which  has  been  a  tremen- 
dous success  in  Paris  since  last 
December.  It  will  probably  be 
called  "The  Two  Adventurers," 
when  presented  in  New  York  next 
season.  The  English  adaptation 
has  been  made  by  Arthur  Wim- 
pers.  *  *  *  Joseph  Hergesheimer, 
many  of  whose  stories  have  proved 
good  screen  material  in  the  past, 
will  become  actively  engaged  in 
the  production  of  motion  pictures 
at  the  Paramount  Long  Island 
studio  when  one  of  his  first  suc- 
cessful stories,  "Three  Black  Pen- 
nies," is  put  in  production.  .Air. 
Hergesheimer  and  Margaret  Turn- 
bull  are  at  present  engaged  in  re- 
ducing the  novel  to  scenario  form 
and  Paul  Bern  will  direct  it.  *  *  * 
Doris  Eaton,  sister  of  Mary  Eaton, 
has  been  engaged  for  the  east  of 
"Good  for  Nothin'  Jones"  which 
is  now  in  rehearsal.  *  *  *  Hope 
Drown,  who  will  be  remembered 
for  her  excellent  work  in  the  film 
"Hollywood,"  has  deserted  the 
screen  for  the  time  being  and  has 
an  important  role  in  "The  Best 
People,"  a  comedy  by  David  Gray 
and  Avery  Hopwood.  *  *  *  George 
Broadhurst  announces  he  will  pro- 
duce a  comedy  based  on  stories  by 
the  late  George  Randolph  Chester 
and  Lillian  Chester,  and  called,  for 
the  present,  "Izzy."  This  has 
been  written  by  Mrs.  Trimble 
Bradley  and  Mr.  Chester. 


How  I  Ended 
Superfluous 
Hair 


At    Once 
AndFor  All 


BY    AN     ENTIRELY    NEW 
SYSTEM  OF  MY  OWN 

humiliation  ol 

know  w  bat  j">  and  happ 

«  hi  n  !  thai  ai  la  il  .ill  li 

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hal   1  li"l  ever  hi  ai 
Before  1  hil  upon  the  »impl< 
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.mil  last  in 
hair    alvt 

When  I  <  "iili'l'  dt" 

\    friends  how  I  had  ai 

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(Ninety-seven) 


It  s  difficult  to   weefi   when  your  very  name   is  BJythe 

Tke  Music-Man  Tells  It 


IT'S  a  crisis.    What's  to  be  done  when  a  screen  actress,  or  actor,   just  cannot   summon  a  tear,  or 
perhaps  a  spontaneous  laugh  ?     You  know  what  happens ;  the  director  summons  the  musicians 
to  work  on  the  feelings.     Then  quite  naturally  the  tears  respond  to  the  call  of  the  sobbing  violins, 
or  the  "ha-ha's"  ring  out  with  the  laughing  saxophone. 

These  musicians  see  a  totally  different,  tho  no  less  pleasant,  side  of  the  screen  personalities. 
Motion  Picture  has  the  inside  story  according  to  the  musicians,  and  with  amusing  comments  by 
the  Talmadges,  Mary  Pickford  and  Douglas  Fairbanks,  Pola  Negri,  Conway  Tearle,  Monte  Blue, 
and  all  the  other  favorites. 

There  is  so  much  to  tell,  and  so  many  new  pictures  of  stars,  and  directors,  orchestras  and  things 
that  this  story  will  have  to  appear  in  three  parts.     It  begins  in  the  November  number. 

Is  the  Silent  Drama  Silent?  is  part  of  your  motion  picture  education.  But  unlike  some  knowl- 
edge which  is  acquired  painfully,  this  is  "easy  and  pleasant  to  take." 


HOPE  BROWN  certainly  seemed  to  be  well  started  in  the  general  direction  of  being  "bad."  She 
had  rather  a  qualm,  despite  her  resolution,  when  she  was  escorted  by  the  owner,  very  early  in  the  morning, 
to  Stanton  Braithwaite's  bachelor  apartment.  And  Stanton  himself  was  a  bit  puzzled  to  know  what  to 
do  with  this  girl.     She  was  bold,  in  some  ways,  and  then  again,  she  was  so  bashful. 

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decided  that,  for  his  good  and  her  good  .  .  .  But  you'll  find  Stanton  Braithwaite  asleep  in  a  Morris 
chair  when  you  read  the 

Fifth   Instalment   of 

THE  GIRL  WHO  COULDNT  BE  BAD 

By   Henry   Albert   Pnillips 


■November- 


MOTION  PICTURE  MAGAZINE 


On  Newsstands  October  1 


EDWARD    LANGER    PRINTING    CO.,    INC., 
JAMAICA,  NEW  YORK  CITI. 


(Ninety-eight) 


What  makes  you 
really  beautiful? 


ITS  OFF 

because 
ITS  OUT 


To  actually  destroy 

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i— the  clear  alluring  tender  skin,  the 
unine  skin,  without  a  blemish,  without 
ingestion  of  masculinity. 

md  whether  you  look  at  one's  face,  arms, 
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A  SKIN   YOU    LOVE  TO  T0UC1 


BY   T.    K.   HANNA 


"Science  and  everyday  experience  teach  that  a  beautiful  skin  does  not  depend  on  youth" 

£How  long  can  a  woman  keep  the 
charm  of  cJiskln  ljou  love  tolouch? 


At  TWENTY— is  a  woman's  skin 
always  fresh  and  fair? 

At  thirty — must  it  begin  to 
fade? 

In  romance —  yes.  But  not  in 
actual  life. 

Science  and  the  woman  of  forty 

Science  and  everyday  experience 
teach  that  a  beautiful  skin  does 
not  depend  on  youth. 

A  woman  of  forty  may  have  a 
fresh,  clear,  dazzling  complexion. 
A  girl  of  twenty  may  have  a  skin 
that  is  dull  and  sallow,  disfigured 
by  blackheads  or  ugly  little  blem- 
ishes. 

Give  your  skin  daily  the  right 
treatment,  and  you  can  keep  it 

Copyrizhl,  1924,  by  The  Andrew  Jergtns  Co. 


smooth,  clear,  flawless,  long  after 
youth  is  passed.  For  your  skin 
never  loses  its  power  to  respond. 
Each  day  it  changes — old  skin 
dies  and  new  takes  its  place.  This 
new  skin  you  can  make  what 
you  will. 

Daily  care  is  essential 

Find  the  special  treatment  that 
your  skin  needs  in  the  booklet  of 
famous  skin  treatments  wrapped 
around  every  cake  of  Woodbury's 
Facial  Soap.  Make  this  treatment 
a  daily  habit! 

Before  long  you  will  notice  a 
wonderful  improvement  in  the 
whole  tone  of  your  complexion. 
A  25-cent  cake  of  Woodbury's 


Facial  Soap  lasts  a  month  or  six 
weeks.  Or  you  can  get  it  in  con- 
venient 3-cake  boxes.  Get  your 
Woodbury's  today! 

For  ten  cents — a  guest-size  set  of  three 
famous  Woodbury  skin  preparations! 


THE  ANDREW  JERGENS  CO. 
910  Spring  Grove  Ave.,  Cincinnati,  Ohio 

For  the  enclosed  10  cents  —  Please  send  me 
your  miniature  set  of  the  Woodbury  skin 
preparations,  containing: 

A  trial-size  cake  of  Woodbury's  Facial  Soap 
A  sample  tube  of  Woodbury's  Facial  Cream 
A  sample  box  of  Woodbury's  Facial_  Powder 
Together  with  the  treatment  booklet,  '  'A  Skin 
You  Love  To  Touch. " 

If  you  live  in  Canada,  address  The  Andrew 
Jergens  Co.,  Limited,  910  Sherbrooke  St., 
Perth,  Ontario.  English  Agents:  H.  C. 
Quelch  &  Co.,  4  Ludgate  Square,  London, 
E.  C.  4. 

Name 

Street 

City 


State 


Cut  out  the  coupon  and  send  it  to  us  today ! 


SMms.  WOOD  BU  KY'S      FACIAL     SOAP 


<L#C® 


9K,   - 


rXVJMVJIN   PlCIUWt 


Inside  Facts 
ibout  The  Extra 


S 


s 


i?1 


m 


■ 


ML 


Sir  Arthur  Conan  Doyle  -  Sir  Anthony  Hope  -Thomas  Burke 
Tell  What  They  Think  About  Motion  Pictures 


When  Beauty  is  at  Stake 

—take  care 

Use  a  soap  made  for  ONE  purpose  only: 
to  safeguard  good  complexions 


(TVSWS 


"C^OR  your  sake  and  for  ours,  we  publish  this  in  the  interest  of  all 
■*■  concerned  who  value  a  good  complexion.  Some  people,  we  learn, 
think  ordinary  toilet  soaps,  soaps  claiming  to  be  "for  the  complexion," 
have  Palmolive  effects  on  the  skin. 


That  is  wrong.   They  don't. 
Palmolive. 


Palmolive  complexions  come  only  from 


In  old  days,  women  were  told,  "Use  no  soaps 
on  the  face."  For  all  soaps  then  were  said  to 
be  too  harsh. 

Then  came  Palmolive.  It  was  made  with  cos- 
metic oils  famous  since  the  days  of  Cleopatra. 
It  was  made  to  be  used  freely,  lavishly  on  the 
skin.  Its  ONE  and  SOLE  purpose  was  to 
foster  good  complexions. 

That  soap  changed  previous  ideas  of  soaps. 
Largely  on  expert  advice,  women  tried  it.  And 
the  results  it  brought  in  new  beauty  and  new 
youth  attracted  millions  to  its  use. 

Palmolive  soon  became  the  leading  toilet 
soap  of  the  world.  In  France,  home  of  cos- 
metics, it  supplanted  French  soaps  by  the  score. 
It  is  one  of  the  two  largest  selling  soaps  in 
France  today.  French  women  find  Palmolive 
their  ideal  of  a  soap.  Its  cosmetic  qualities  hold 
a  supreme  place  in  French  beauty  culture. 

Now  you  may  be  tempted  by  rival  claims  to 
try  unproved  soaps  on  your  skin.  Think,  please, 
before  you  do. 

60  years  of  soap  study,  in  the  interest  of  skin 


beauty,  stand  behind  Palmolive.  It  is  made  to 
do  ONE  thing  well.  That  is  to  gently  protect 
your  complexion ;  to  guard  your  youth  and 
charm. 

No  other  claims  are  made  for  it.  Palmolive 
is  not  intended  for  other  than  toilet  purposes. 
It  is  too  neutral  to  be  effective  for  fabrics.  To 
make  it  good  for  other  than  complexion  use  its 
cosmetic  qualities  would  be  much  reduced. 
Good  complexions  are  too  priceless  to  be  en- 
dangered, and,  frankly,  we  don't  know  how  to 
make  a  beauty  soap  that  is  also  effective  for 
general  use. 

There  are  complexion  soaps  at  25c  and  more, 
we  admit,  that  approach  Palmolive  quality.  We 
know  of  some.  But  Palmolive  sells  at  10c — no 
more  than  ordinary  soaps.  Enormous  produc- 
tion brings  you  this  modest  cost. 

Carry  that  in  mind,  for  your  own  sake,  when 
asked  to  "try"  another  soap  that  claims 
Palmolive  results.  When  beauty  is  at  stake, 
use  Palmolive,  a  soap  you  know  is  safe  to  use. 
It  is  nature's  formula  to  "Keep  That  Schoolgirl 
Complexion." 


THE  PALMOLIVE  COMPANY  (Del.  Corp.),  Chicago.  111. 


French  soaps  have  largely  failed 
to  please  French  women 

Palmolive  is  one  of  the  two  largest  selling  toilet 
soaps  in  France  today  When  you  are  tempted  with 
French  claims  for  a  soap.  Madam,  please  remember 
that  in  France,  the  home  of  cosmetics.  French  toilet 
soaps  by  the  score  have  given  way  to  Palmolive. 

In  France,  Palmolive  Soap  is  the  "imported  "  soap. 
French  women  gladly  pay  more  for  it  than  you  pay. 
The  cosmetic  qualities  of  Palmolive  Soap  hold  su- 
preme today  in  French  beauty  culture. 

Don't  buy  soaps  with  "French"  claims  and  expect 
Palmolive  results. 


"Palmolive  Soap  is  untouched  by  human 

hand*  until  you  break  the  wrapper 

'  —  it  it  necer  sold  unwrapped 


Soap  from  Trees 

The  only  oils  in  Palmolive  Soap 
are  the  soothing  beauty  oils  from  the 
olive  tree,  tbe  African  palm  and  the 
coconut  palm  —  and  no  other  fats 
whatsoever. 

That  is  why  Palmolive  Soap  is  the 
natural  color  that  it  is— for  palm  and 
olive  oils,  nothing  else,  give  Palmolive 
its  green  color  I 

The  only  secret  to  Palmolive  is  its 
exctusive  blend  —  and  that  is  one  of 
the  world's  priceless  beauty  secrets . 


r 


Our  Big 
Bargain 
for  19261 

Here  it  isl  Our  latest  Fifth 
Avenue  style  silk  Charmeuse 
.cut  and  made  to  our 
special  design,  and  offered  at 
a  price  that  is  simply  baffling! 

We  have  ordered  just  about 
enough  of  these  ultra  fashion- 
able dresses  to  supply  by  mail 
ONEdress  for  each  town.  And 
since  we've  made  it  a  leader 
(just  look  at  the  price!)  a 
quality  leader,  we  must  tell 
you.  Madam,  "First  come.first 
served."  ( A  dollar  deposit  and 
not  one  cent  C.O.D.  buys  the 
dress  if  you  act  quick — your 
dollar  back  if  you  don't  want 
the  dress.) 

We  make  this  sensational 
price  and  offer  easy 
monthly  payments  in  order 
to  attract  to  our  monthly 
payment  plan  many  new 
customers  who  can  afford  to 
pay  cash  and  want  the  big- 
gest bargain  obtainable. 

6m 

Even  with  this  special  bargain  price  we  offer  you  6  month*  to  pay!  Try  our 
plan  of  buying  better  clothes  at  sensational  prices,  and  paying  for  them 
out  of  pin  money  you  have  heretofore  frittered  away.  From  Elmer  Richards 
Co.  you  get  value,  that  is  why  so  many  women  who  can  afford  to  pay  cash 
twice  over,  choose  our  easy  payment  method — then  they  can  dress  better  than 
before  out  of  nickels  and  dimes  so  easily  saved. 

To  prove  all  this,  we  offer  this  remarkable,  up-to-date,  newest  Spring  style,  silk  Charmeuse 
Dress  for  $1.00  deposit  and  $2.35  a  month— total  $14.95.  And  we'll  send  it  to  you  on  approval. 
Get  it,  try  it  on,  examine  for  yourself  the  material  and  workmanship — see  if  you  can  duplicate 
it  in  quality  or  style,  even  for  spot  cash,  anywhere  else.  If  not  absolutely  convinced  in  every  way, 
send  the  dress  right  back  and  your  $1.00  deposit  is  returned  at  once.  You've  risked  not  one 
cent  to  find  out  what  we  mean  by  our  big  bargain  of  1926.  If  perfectly  satisfied,  take  6 
months  to  pay.  Remember,  the  supply  of  these  dresses  is  limited.  You  must  act  quick.  Send 
only  $1.00  deposit  now! 

Elmer  Richards  C$« 

Dept.  1514   W.  35th  Street,  Chicago 


%  Silk 

Charmeuse 

Latest  Spring  Style 

This  charming  frock  of  lovely  silk 
Charmeuse  priced  at  only  $14.95,  is 
indeed  a  rare  bargain.  All  the  style  of 
real  expensive  garments  and  even 
more  serviceable. 

Attractive  convertible  collar  can  be 
worn  high  neck  as  illustrated  or  in  the 
open  neck  effect  if  desired.  Notice  the 
pretty  streamers  and  buttons,  the  smart 
flared  skirt  in  front,  and  the  stylish 
puffed  sleeves  of  contrasting  color  silk 
crepe  de  chine.  Your  choice  of  black, 
navy,  grey,  palmetto  green,  pencil  blue 
or  rosewood.  Sizes  34-44.  Misses  16-20. 


\s 


Order  by  No.  S-l.     Terms  $1.00  with 

coupon,  then  only  $2.35  a  month.  Total 

Bargain  price,  only  $14.95. 


I  enclose  $1  deposit.  Send  me  the  Silk  Charmeuse  Dress  No.  S-l.  If  I  am 
not  delighted  with  the  dress,  I  can  return  it  and  get  my  $1  back.  Otherwise, 
I  will  pay  $2.35  a  month  until  I  have  paid  $14.95  in  all. 


Black  □     Grey  □ 


Bust 


Navy  C      Green  Q 

(Check  Color  Wanted) 


Blue  □     Rosewood  □ 


No  Risk  ! 
Money  Back 

If  Not     A± 
Satisfied  0 


i 


Send  for 

Free 

Style  Book 


— _^_ 


c^lll  Work  and  DVo^lai^ 

doesn't  suit  fhe 
World  ^Today 

Paramount  provides 
more  and  better  en- 
tertainment for  the 
people  of  today  than 
any  human  beings 
ever  saw  before. 

Let  your  own  theatre 
show  you  Paramount  Pic- 
tures and  keep  your  dates    When  you  know  what  Paramount  has 

with  the  good  time  houses.  xr  i        i         -r*  i 

You  seek  what  Paramount  shows 

Anyone  who  enjoys  great  motion  pictures  and  checks  up  where  they 
come  from,  keeps  a  sharp  eye  on  Paramount's  production  program. 

Seeing  great  entertainment  is  merely  a  question  of  knowing  what  is 
being  released  and  "when  will  it  reach  my  theatre?  "  Here  are  six  current 
Paramount  Pictures  you  will  enjoy  to  the  last  fade-out: 


Harold  Lloyd  in 
"For  Heaven's  Sake" 

Directed  by  Sam  Taylor 

Here  is  the  prize  surprise  package  of  the 
season,  laughter,  laughter  all  the  way!  Go 
to  the  theatre  as  gloomy  as  a  mummy  and 
stay  that  way  if  you  can!  This  star's  pic- 
tures are  produced  by  the  Harold  Lloyd 
Corporation  and  released  by  Paramount. 


Behind  The  Front" 

With 
MARY  BRIAN 
WALLACE  BEERY  ♦  RAYMOND  HATTON 

An  Edward   Sutherland  Production 
from  a  story  by  Hugh  Wiley. 

Here  is  the  comic  side  of  Army  life 
in  wartime  picturized  in  a  way  that  is 
making  all  America  hold  its  sides. 

Somehow  these  two  scapegrace 
doughboys  win  the  audiences  more 
than  regular  heroes,  and  the  way  they 
make  love  and  war  is  the  last  word 
in  irresponsible  sincerity. 

Produced  by 
FAMOUS  PLAYERS-LASKY  CORP. 
Adolph  Zukor,  Pres.,  New  York  City 


Zane  Grey's 

"The  Vanishing 

American" 

with  RICHARD  DIX,  Lois 

Wilson,     Noah    Beery    and 

Malcolm  McGregor.  Directed  by  George  B. 

Seitz.    Zane  Grey's  epic  of  the  Indian  ranks 

with  The  Covered  Wagon  in  fateful  power 

and   excitement.     Don't   miss   the    mighty 

duel  of  Copperskin  and  White  Man  I 


"The  Qrand  Duchess 
and  the  Waiter" 

A  Malcolm  St.  Clair 
Production 

with  Adolphe  Menjou  and  Florence  Vidor. 
From  the  play  by  Alfred  Savoir.  An  aris- 
tocratic love-comedy  set  in  the  midst  of  the 
brilliant  carnival  of  Paris  night  life.  Here's 
a  trip  to  Paris  that  gives  you  more  of  the 
gay  city  than  many  a  traveller  gets. 


"The  Song  and 
Dance  Man" 

A  Herbert  Brenon 
Production 


with  Tom  Moore,  Bessie  Love  and  Harrison 
Ford.  From  George  M.  Cohan's  famouc 
comedy  success.  Real  romance  lives  and 
throbs  within  the  make-believe  of  stage  life, 
human  beings  loving  and  fighting  and 
hoping  behind  the  grease-paint. 


"DANCING  MOTHERS' 


A  Herbert  Brenon  Production.  Starring 
Conway  Tearle,  Alice  Joyce  and  Clara  Bow. 
This  is  the  Paramount  picturization  of 
the  famous  stage  play 
by  Edgar  Selwyn  and 
Edmund  Gould  in  g 
which  set  all  New 
York  talking  about  the 
neglected  wife  who 


dances  her  way  to  freedom  and  love.  Mere 
material  prosperity  divorced  from  happy, 
human  comradeship  will  never  chain  eny 
real  woman,  and 
"Dancing  Mothers" 
shows  you  why  in  a 
show  worthy  of  Para- 
mount's greatest  tra- 
ditions. 


Paramount  xrictur&s 


"If    it's    a    Paramount    Picture    it's    the    best    show    in    town/ 


iKg) 


& 





WINNERS  OF  THE    K'OMEO  AND  JULIET  CONTEST  ANNOUNCED  ON   PAG1 


MOTION  MCTWR 1 


Vol.  XXIII 


APRIL,    1926 


N« 


Percy  Knighton      16 
Don  Ryan      20 


Notable  Features  in   This  Issue: 

THE   INSIDE  FACTS  ABOUT  THE  EXTRA 

marltable  human  document  written  b)  .1  real  extra     Drawing  by  Bdward  Ryan 
HAMLET  AND  THE  FILMS 

j.iini  Barry  more  lii.es  motion  pictures  and  tells  why     Drawing!  1  >  >  k.  R,  1  bamberlain 
FOUR  FAMOUS  WRITERS  CONSIDER  THE  FILMS  Henry  Albert  Phillip*     22 

1  bomai  Burke!  Mr  Anthony  Hope,  Sii  Arthur  <  onan  I loyle  and  Ralph  Blumenfeld  on  American  picturei 
THE  FILM  STARS  TELL  ABOUT  THEIR  GARDENS  Alice  L.  Tildesley     24 

rheir  favorite  flowers    and  exactly  bow  they  grow  them 
PAGING  THE  FILM  FATHERS  Dorothy  Donnell     28 

An  attempt  t"  turn  the  spotlight  <<i  publicity  upon  dad 
SUPER-REALISM   IN  THE  MOVIES  Matthew  Josephson     43 

Tin-  Interesting  impression  <>t  a  young  and  radical  ■creeo  critic 
RANDOM  IMPRESSIONS  OF  HOLLYWOOD  Eugene  V.  Brewster     54 

1  t  in. 1  visits  the  coast  studios  and  1  «•! I s  about  them 


The  Classic  Gallery 11    15 

.1  Hale,  Dolores  Costello,  Ramon  .Novarro,  Tom  Mix,  Dorothy  Dw.m 

No  Book  Learnin' Alice  L.  Tildesley     18 

William  Boyd  worked  In  ■  rolling  mill  at  the  ane  ol  twelve 
If  They  Staged  Baseball  in  Motion  Picture  Fashion .  Ellison  Hoover     27 

A  cartoon  you  shouldn't  miss 
Famous  at  Fifty Milton  Howe     31 

Edward  Martindel  isn't  exactly  fifty.    He's  forty-eight 
Just  Legs ...  32 

-ups  ol  the  most  tamous  celluloid  pedal  extremities 

The  Candid  Kid  .  Verne  Kibbe     34 

Laura  I. a  Plante  is  110  bookworm  and  she  has  no  particular  ambition 

The  Master  Mind  of  the  Movies  Speaks H.  W.  Hanemann     36 

How  the  High  Lord  of  the  cinema  thinks — Drawings  by  Kliz 
Renee  Makes  Good Carol  White     38 

Anent  Miss  Adoree,  the  girl  of  THE  CLASSIC  cover 

Cella  Lloyd  Crashes  Hollywood ! John  Held,  Jr.     40 

The  further  adventures  of  Mr.  Held's  bathing  girl  heroine 

Richard  Barthelmess 42 

A  new  study  of  the  popular  young  star 

Masterpieces  of  the  Screen Eugene  V.  Brewster     49 

sideration  of  the  big  pictures  of  the  past 

Presenting  Dupont  of  Berlin Heinrich  Fraenkel     52 

The  first  interview  with  the  German  director,  Ewald  Dupont,  now  in  America 

That  Chaplin  Complex Harriette  Underhill     56 

The  famous  comedian  considered  from  a  new  angle 

Evolution  of  a  Laugh 57 

The  development  of  a  Harold  Lloyd  guffaw 

High  Hat 62 

The  silk  topper  is  becoming  steadily  more  popular  in  the  films 


The  CLASSIC'S  Famous  Departments 

Flash  Backs F.  J.  S.     44 

THE  CLASSIC   S  much  talked  about  department  is  now  enlarged 

Our  Own  News  Camera 46 

The  Incidents  of  the  film  world  told  in  pictures 

The  Celluloid  Critic Frederick  James  Smith     50 

The  new  BCreen  plays  in  review 

Letters  to  King  Dodo Don  Ryan  and  Frederick  James  Smith     58 

An  amusing  series  of  letters  upon  the  gossip  of  celluloiuia 

The  Answer  Man 63 

Cover  Portrait  of  Renee  Adoree  by  Leo  Kober  from  a  photograph  by  Ruth  Harriet  Louise 


FREDERICK  JAMES  SMITH,  Editor  and  Managing  Editor 

Harry  Carr,  Western  Editorial  Representative  Colin  Cruikshank,  Art  Director 

Classic  comes  out  on  the  12th  of  every  month,  Motion    Picture  Magazine  the  1st,  Movie   Monthly  the   15th 


iption   $.'.50   per   year,    in   advance,    including    postage,    in   the   United    States,   Cuba.    Mexico  and   Philippine   Islands.      In   Canada   $3.00;    Foreign 
Countries   $3.50   per   year.      Single  copies   25    cents    postage   prepaid.      United    States    Government    stamps    accepted.       Subscribers    must    notify    us    at 

once  of  any  change  in  address,  giving  both  old  and  new  address. 


Published  Monthly  by  Brewster  Publications.  Inc..  at  18410  Jamaica   \\i\.  Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.   Y..  as  second-class  matter,   under  the  act  of  March  3rd.    1S79.      Printed  in   U.  S.  A. 

Lu«ene    \.    Brewster,    President    and    Editor-in-Chief;    Duncan    A.   Dobie.    Jr..    I  ice-President   and    Business    Slanafr; 

I..    Ci.    ('onion.     Treasurer :     F.     M.     Heinemann.    Secretary. 

EXECUTIVE   nntl   EDITORIAL    OFFICES.    1"    DI'FFIF.I.D    ST..    BROOKLYN,   N.   Y. 

Copyright.   l°2h.  by  Brewster  Publications.   Inc..  in  the  I'nited  States  and  Great  Britain. 


Classics  Late  News  Page 


5AMUEL  GOLDWYN  producing  Harold  Bell 
Wright's  "The  Winning  of  Barbara  Worth," 
with  Henry  King  directing.  Vilma  Banky 
and  Ronald  Colman  have  the  leading  roles,  while 
the  scenario  is  the  work  of  Frances  Marion. 
First,  however,  Miss  Banky  will  play  opposite 
Rudolph   Valentino  in  "Sons  of  the  Sheik." 

Metro-Goldwyn  starts  story  of  marines  with 
co-operation  of  United  States  Marine  Corps. 
Due  to  this  arrangement,  the  Marine  Corps  has  re- 
fused to  co-operate  with  William  Fox  in  making 
"What  Price  Glory,"  claiming  Metro  -  Goldwyn 
has  exclusive  motion  picture  rights  to  Marine 
Corps.  Fox  officials  declare  they  may  go  to  court 
and,  if  necessary,  appeal  to  the  President.  Metro- 
Goldwyn  picture  to  be  called  "Tell  It  to  the 
Marines."    It   is   being   directed   by   George   Hill. 

Richard  Barthelmess  signs  two-year  First  Na- 
tional starring  contract,  which  makes  him  one 
of  the  dozen  leading  stars  in  earning  capacity. 
This  contract  will  follow  the  completion  of  his 
present  Inspiration  Pictures  contract,  expiring 
this  fall. 

Contract  between  Dorothy  Devore  and  Warner 
Brothers  terminated  by  mutual  consent.  Warners 
announce  they  will  star  Dolores  Costello. 

Dorothy  Gish  returning  to  England  to  make 
three  more  pictures  for  British  producer,  Herbert 
Wilcox.  "Nell  Gwyn"  to  be  released  by  Famous 
Players-Lasky. 

Cecil  De  Mille   signs  Donald   Crisp   to   direct. 

Title  of  Mary  Pickford's  "Scraps"  changed  to 
"Sparrows." 

Roscoe  Arbuckle  to  direct  for  Metro-Goldwyn 
under  another  name. 

Virginia    Valli  leaves   Universal   to   free-lance. 

Sessue  Haya- 
kawa  playing  on 
New  York  speak- 
ing stage  in  "The 
Love  City." 

Ramon  N  o  - 
varro's  next  to  be 
"Bellamy  the  Mag- 
nificent," adapted 
from  stage-play  by 
Roy  Horniman. 
Hobart  Henley  di- 
recting. 

William  Haines 
and  Mary  Brian 
have  the  leading 
roles  in  Metro- 
Goldwyn's  produc- 
tion of  "Brown  of 
Harvard."  This  is 
the  picture  for 
which  staid  old 
Harvard  refused 
to  co-operate  in 
permitting  scenes 
to  be  shot  at  Cam- 
bridge. 

Bessie  Love  has 
title-role  in  Metro- 
Goldwyn  produc- 
tion of  "Lovey 
Mar  y,"  Alice 
Hegan  Rice's  story. 


WATCH  FOR  THE  MAY 

Motion  Picture  Classic 


A  striking  cover,  in  the  spring  spirit,  of  Colleen 
Moore! 

A  sensational  article,  by  Tamar  Lane,  on  FAMOUS 
BLUNDERS;  revealing  some  of  the  mistakes  behind 
the  screens  of  our  motion  pictures. 

A  remarkable  article  on  MOTION  PICTURES  IN 
JAPAN  by  a  leading  Japanese  critic,  Kimpei  Sheba,  of 
The  Tokio  Times.  This  will  be  illustrated  with  some 
charming  pictures  of  popular  Japanese  film  idols. 


Clarence  Brown,  having  completed  the  direc- 
tion of  Norma  Talmadge  in  "Kiki,"  takes  his 
megaphone  over  to  the  Metro-Goldwyn  lot. 

Ernst  Lubitsch  to  have  Irene  Rich  in  a  leading 
role  of  his  next  picture,  "The  Door  Mat." 

Reported  that  Joseph  Kennedy,  a  Boston  finan- 
cier and  a  son-in-law  of  former  Mayor  Fitzgerald, 
and  associates  have  purchased  control  of  the 
Film  Booking  Offices,  R-C  Pictures  Corporation 
and  subsidiaries  from  Lloyd's  Bank  and  the 
Grahams  of  London.  Major  H.  C.  S.  Thomson, 
president  and  managing  director  of  the  com- 
panies, remains  in  active  charge. 

Metro-Goldwyn  obtains  screen  rights  to  writ- 
ings of  Queen  Marie  of  Roumania. 

Thomas  Meighan's  brother,  King  Meighan, 
enters  films  with  Columbia  Pictures. 

First  National  to  build  studios  at  Burbank, 
California,  close  to  Hollywood. 

Georgia  Hale,  now  under  long  term  Famous 
Player  contract,  to  have  leading  feminine  role 
in  "The  Rainmaker,"  a  Gerald  Beaumont .  story. 
Clarence  Badger  is  directing  and  William  Collier, 
Jr.,  plays  the  male  lead. 

Greta  Nissen  goes  from  Famous  Players  to 
Universal.  She  had  been  withdrawn  from  cast 
of  D.   W.  Griffith's  "Sorrows  of  Satan." 

William  de  Mille  finishing  his  last  Paramount 
release,  "The  Flight  to  the  Hills." 

Margaret  Morris  signed  to  play  opposite  Doug- 
las MacLean  in  "That's  My  Baby." 

Gregory  La  Cava  signed  under  long  term  Fa- 
mous director  contract  as  result  of  hits  scored 
by  his  recent  Richard  Dix  pictures. 

Metro-Goldwyn  to  make  elaborate  film  version 
of  Jules   Verne's  "The  Mysterious  Island,"   with 

Lon  Chaney  fea- 
tured. Underwater 
scenes  will  be 
made  in  Bahamas 
with  Williamson 
filming  appliances. 
Ricardo  Cortez 
and  Alma  Rubens 
remarry.  Original- 
ly married  on  Jan- 
uary 30  at  River- 
side, California, 
and  point  was 
alleged  that  this 
was  six  days  be- 
fore the  divorce 
granted  Miss  Ru- 
b  e  n  s  from  Dr. 
Daniel  Carson 
Goodman  became 
final. 

Wallace  Beery 
given  two  year 
contract      by      Fa- 


FREDERICK  JAMES  SMITH  writes  an  absorbing 
inside  story  of  the  making  of  "THE  BIG  PARADE." 
King  Vidor  evolved  a  brand-new  way  of  making  pic- 
tures in  screening  this  film  classic. 


Over  a  Dozen  OtherUnusual Features! 


mous. 

Rosemary  The- 
by  and  Harry 
Myers  reveal  that 
they  have  been 
secretly  married 
for  a  year  and  a 
half.  Married  in 
San  Francisco. 


& 


Romeo -Juliet  Contest  Winners 


THK  I  ircal  I  ov€i 
t Ik-    winners    oi 
w  li  i  c  li    «  e  i  e    a  n  - 
nounced    lasl    month,    at- 
I  much  attention,  but 
thi-N   was  as  nothing   com- 
tlie    widespread 
interest     aroused     bj     the 
Romeo  and  Juliet  Contest, 
nail)     announced    in 
.inu.ii}   issue  of  The 

I'icTURE    (   1   \SSIC. 

The  Romeo  and  Juliet 
Contest  brought  an 
tvalanche  of  Utters  and 
VOtes  to  tin.'  od  it  (i  rial 
offices  of  The  Classic. 
E  \  i  r  y    o  ne    o  t'    T  ti  e 

army      of 
readers  seemed  to  want  to  express  herself  or  himself  on 
tlif  subject  of  the  screen's  ideal  Romeo  and  Juliet. 

When  the  letters  and  votes  were  finally  tabulated, 
Ramon  Novarro  was  found  to  be  chosen  as  The 
-  Romeo,  altho  John  Gilbert  was  a  comparatively 
-  second.  Some  distance  hack.  Ronald  Colman  and 
Rudolph  Valentino  were  practically  tied  for  third  place. 
Then  came  John  Barrymore,  Ben  Lyon  and  Richard 
Barthelmess. 

The  Classic  readers  selected  Lillian  Gish  as  their  ideal 
Juliet,  altho.  as  in  the  case  of  the  Romeos,  there  was  a 
■  second.     This   was    Vilma    Hanky.      Mary    Philbin 
5  safely  entrenched  in  third  place,  while,  some  distance 
behind,  came    Betty    Bronson,    Norma   Talmadge,   Greta 
Mary    Astor  and    .Mary    Pickford  in   close   for- 
mat]"'hi. 

'hi:  Motion  Picture  Classic  presents  its  con- 
gratulations to  Miss  dish  and  Mr.  Xovarro.  Long  may 
they  reign  as  the  perfect  cinema  Juliet  and  Romeo. 

The  first  prize  letter,  which,  by  the  way.  was  a  tele- 
gram, is  published  on  this  page.  The  first  prize  was 
twenty-five  dollars.  The  second  prize,  of  fifteen  dollars, 
went  to  Karlene  A.  Armstrong  for  the  following  letter: 

Second   Prize   Letter 

The    qualification-    of     Romeo    are:    youth,    idealized 
fervor  of  youth,   romance, 
beauty,  chivalry  and  cour- 
age— thus  Ramon  Novarro. 

The  qualifications  for 
Juliet  are:  youth,  idealized 
fervor  of  youth,  romance, 
beauty,  innocence  and 
abandon  —  thus  Vilma 
Banky. 

Karlene   A.   Armstrong, 
8th  Street  and  64th  Ave.. 
<  >ak  Lane  Park.  Phila.,  Pa. 


First  Prize  Letter 

The  romance  of  Romeo  and  Juliet  carries 
a  lyric  quality  of  spiritual  passion.  Ramon 
Novarro  and  Mary  Astor  reflect  no  modernity, 
no  haphazard  tricks,  but  play  with  dignity  and 
glowing  beauty.  They  have  the  youth,  in- 
tensity, personal  thrill  and  imagination  to  por- 
tray the  old-world  charm  of  Romeo  and  Juliet. 

ELIZABETH    CARMICHAEL, 

Care  Mason  Theater,  Gorilla  Co., 
Los  Angeles,  California. 


ait  would  complement 
ih->  and  his  supplement 
hers ;  because  they  are  both 
intelligent,  sincere,  and 
blessed  with  <  ternal  youth 
Lillian  Gish  and  Ramon 

Novarro  would  make  an 
ideal  couple  to  play  Romeo 
and  Juliet. 

Marc \ri  i   1 1.  Jon  \ 

3518  Fulton  St., 
(  hicago, 


The     third     prize,  ten 

dollars,     was     awarded  to 

Margaret  H.  Johnson,  for 
the  following  letter: 

Third  Prize  Letter 

Because  she  is  ethereally 
beautiful  and  he  is  stal- 
wartly  handsome;   because 


The  Ideal  Romeos  and  Juliets 

The  letters  and  votes  in 

this  contest  resulted 

in 

the  following  selections,  presented  in  the 

order  of  final  tabulation: 

Romeos 

Juliets 

1 

Ramon   Novarro 

Lillian  Gish 

2 

John  Gilbert 

Vilma  Banky 

3 

Ronald  Colman 

Mary  Philbin 

4 

Rudolph    Valentino 

Betty  Bronson 

5 

John  Barrymore 

Norma   Talmadge 

6 

Ben  Lyon 

Greta  Nissen 

7 

Richard  Barthelmess 

Mary  Astor 

8 

Ricardo  Cortez 

Mary  Pickford 

9 

Douglas   Fairbanks 

Norma  Shearer 

10 

Richard  Dix 

Blanche  Sweet 

Honorable  Mention 

T  choose  Lillian  dish 
and  Ramon  Xovarro,  he- 
cause — 

1.     She     has     the     dcep- 

feeling,   everlasting    youth, 

and  the  keen  sense  of  romance  so  necessary  to  any  Juliet. 

2.  Me  has  romance,  spiritual  quality.  He  ha-  glow 
and  sweet  lire. 

3.  The  work  of  both  would  thus  bring  the  fine  spirit 
of  fire  and  youth  necessary  to  the  roles. 

Catherine  Luksii  , 

1505   Warner   Street. 
X.  S.  Pittsburgh,  Pa. 

Honorable  Mention 

Romeo  and  Juliet  were  young,  but  with  maturity  i'i 
feeling  of  the  Italian  race;  were  of  brilliant  and  strong 
character,  of  sweet,  generous  soul,  passionate,  but  not 
daring  or  devilish. 

Thus  my  selection  would  be:  Norma  Talmadge  and 
Rudolph  Valentino. 

Both  are  fine  artist-  with  depth  of  expression,  romantic 
appeal,  splendid  physical  appearance  and  illusion  of 
youth. 

Florence  Shannon. 

2428  Park  Avenue.  Apt.  3, 
Indianapolis,  Indiana. 

Honorable  Mention 

For  her  incomparable  youth  and  beauty  of  face  and 
youthful  figure— even  among  the  youngest  rivals — Lillian 

Gish's  superior  ability  to 
interpret  the  fourteen- 
year-old  S  h a  kespear e a n 
Juliet  should  be  an  inspira- 
tion for  the  romantic, 
(lashing,  fiery  Ramon 
Xovarro,  the  Adonis  of 
the  screen  —  thus  vying 
with  the  great  tragedienne. 
the  one  object  of  his  screen 
admiration  —  to  play  the 
role  of  Romeo  a  la  Shake- 
speare opposite  her  Juliet, 
so  increasing  the  already 
excellent  histrionic  powers 
of  the  two  greatest  artists. 
D.  [.Allen, 
2661  Valdez  Street. 
Oakland.  Cai 

Honorable  Mention 

Who  shall  be  the  screen 

(Continued    on    page    82) 


John  M-Cormick 

presents 


Write  stars 


Ireland  Must  Be  Heaven  If  Irene  Came  From  There! 


The  whole  O'Dare  family — Ma,  Pa  and  Tippity-wiich  Irene 


Irene — a  little  bit  of  salt  and  sweetness.     No  wonder 
a  millionaire  married  her! 


She's  Here!!  Scintillating, 
Captivating  in  her  Alice 
Blue  Gown! 

CHE'S    "Irene"    who    captured 
Broadway  hearts  for  two   years, 
screened  with  all  her  smiles,  all  her 
guiles. 

Millions  are  laughing  with  her, 
laughing  until  they  cry — and  gasping 
at  the  shimmering,  silken  thrill  of 
Irene's  fashion  pageant. 

See  "Irene"  the  moment  your 
theatre  an nounces  it.  Colleen  Moore 
has  made  it  even  sweeter  than 
"Sally." 


in  lirat  national  Picture* 


^There  are  thousands  like  her 


J.HESE  days— when  delightful  women 
familiar  to  Fame  are  endorsing  this 
cream  and  that  rouge  or  perfume — 
we  take  secret  joy  in  the  knowledge 
that  countless  beauties,  unknown  to 
greatness,  are  using  Tre-Jur  Compacts 
and  Tre-Jur  Face  Powder. . . 

And  finding  in  them,  the  final  touch 
to  Charm. 

For  the  name  Tre-Jur  has  become  the 
popular  Symbol  of  Loveliness — and  its 
use  by  beauties  famed  and  beauties 
unsung,  is  not  only  habit,  but  Fashion. 

Tre-Jur  Compacts  have  captured  the 
Feminine  World  for  three  quite  simple 

10 


Face  Powder  SO  CenU 


reasons  —  They  are  designed  for  su» 
preme  convenience.  They  are  exquisite 
intheirformand  contents.  They  repre- 
sent greater  value  than  any  compacts 
in  America.  Speaking  of  Value— do 
you  know  Tre-Jur  Face  Powder?  Ex- 
quisite in  quality,  silken  soft— in  a 
lovely  box  of  generous  size — at  50c. 

Sold  at  your  favorite  stote  or  sent  by  mail 

from  us.  Compact  refills  are  always  available. 

HOUSE  o/TRE-JUR.Inc.  19W.18thSt.,  N.Y. 

22  Rue  La  Lande — Paris 

TR.E-JUR. 

FACE  POWDERS  AND  COMPACTS 


I 


^B  ^r 

k 

^^H   1                       |^^ 

^m 

1     L. 

M 

Cannons 


GEORGIA   HALE 


MOTION    PICTURE 


APRIL,  1926 


DOLORES  COSTELLO 


^ — 


II 


Ruth  Harriet  Louise 


RAMON  NOVARRO 


waMMm 


M 


^v- 


■■■■■■■HHI 


TOM  MIX 


Max  Autrey 


■BBaBHaaoM 


e  Spurr 


DOROTHY    DWAN 


A 

Remarkable 
Real  Life 
Document 


The  Inside  FACTS 


By  Percy  Knighton 


WITH  the  exception  of  a  few  nationally  important 
topics  of  the  day,  "Have  you  a  chance  in  the 
movies?"  is  close  running  in  majority  to  the 
world's  greatest  problems. 

So  far  as  an  accurate  record  shows,  there  are  many 
examples  of  those  who  began  at  the  bottom  and  soared 
gradually  to  the  top,  a  portion  of  their  success  is,  of 
course,  due  to  the  rapid  growth  of  the  motion  picture 
industry  from  obscurity  to  fourth  or  fifth  place  in  the 
world's  gigantic  affairs. 

But  it  is  true  that  those  same  men  and  women  who 
achieved  fame  as  stars  came  by  it  honestly.  In  most 
cases  it  was  sweat  and  blood,  ability  and  the  spirit  of  the 
conqueror,  that  did  the  trick — not  pull  or  "stand  in." 
And  to  the  exception  of  this  rule  embracing  phenomenal 
rises,  such  as,  stars  being  made  overnight,  is  a  matter 
of  circumstances  and  luck. 


I  am  only  speaking  to  you  whose  future  is  bent  upon 
a  berth  in  the  movies,  and  maybe  a  grave,  too.  Other- 
wise, go  to  California,  lots  of  other  fine  men  and  women 
conduct  other  lines  of  legitimate  business.  For  instance, 
real  estate.  The  climate  is  unsurpassed,  the  cafeterias 
unlimited.  No !  I  am  not  advertising  California,  Florida 
might  get  jealous,  besides,  I  am  only  a  poor  "extra" 
character  in  a  land  where,  perhaps,  fifty  thousand  other 
folks  are  working — mostly  not  working.  In  the  movies, 
I  mean. 

I  happen  to  be  here.  I  am  among  those  present.  I  am 
one  of  those  queer  "odd"  creatures  better  known  as  "ex- 
tras." I  am  out  here  in  "Calif orny"  taking  pot-luck  and 
uneven  lunches  and  playing  roles  from  a  Bolshevik  to  a 
Roman  soldier,  also  doing  odd  jobs — odd  indeed !  But  I 
love  it  just  the  same. 


Five   Days'  Work  a   Month 

At  present,  however,  we  are  only  con- 
cerned  with  those  who  are  working 
from  five  to  ten  days  a  month  as  extra 
people — and  they  are  lucky  and  glad  to 
get  that  much.  But  especially  are  we 
concerned  with  you  whose  eyes  may  be 
turning  toward  the  great  Golden  Gate 
with  a  hopeful  gleam  of  their  future 
stardom ;  their  visionary  dream  turn- 
ing to  reality. 

Who  will  be  the  Douglas  Fairbanks 
and  Mary  Pickford  of  tomorrow?  The 
John  Barrymore  and  the  Gloria  Swan- 
son?  And  who  will  be  the  thousands 
of  other  stars?  Who  will  gradually 
slide  into  the  thousands  of  vacancies 
which  Time  makes  inevitable?  Who 
will  fill  the  mechanical,  technical  and 
business  places  in  the  annals  of  our 
great,  great  movies? 

You  may  guess  the  answer,  you  may 
solve  the  riddle,  you  may  be  right  or 
wrong  in  calculating  the  solution  to  the 
above  questions.  You  may  even  be  the 
very  one  who  will  make  the  grade 
from  the  ranks  of  the  thousands.  But 
whatever  the  answer,  whosoever  you 
may  be,  please  take  along  a  few  of  these 
facts  and  stamp  them  indelibly  in  a  re- 
mote corner  of  your  brain — that  is,  if 
you  are  movie-struck,  if  you  are  an 
"extra"  or  prospective  material  for  the 
mill — the  mill,  it  grinds  slowly  and  too 
often  with  deadly  accuracy. 

In  the  first  place,  tho,  if  you  happen 
to  be  "one  of  the  family"  with  a  chip 
on  your  shoulder,  you  may  hoot  and 
sneer  at  some  of  the  things  I  tell  you. 
But  if  you  are  considering  a  trip  to 
Fairyland — California,  where  a  large 
part  of  the  world's  movies  are  made, 
then  consider,  my  dear  little  innocent 
one,  some  true  situations  existing  here 
— before  you  take  the  leap. 


..  ^»  —  -~ 


How  men  and 
women  by  the 
thousands  can 
clamor  into  a 
stuffy  room  and 
receive  the  daily 
stab  of  rejection 
is  beyond  the 
power  of  reason- 
ing 


16 


About  the  EXTRA 


The  Story  of  a  Real  Extra 


The 
Heartaches 

Behind 
the   Screen 


So  here  goes  for  hotter  or  worse! 

Lure  Like  a  Drug 

as  a  warning,  let  me  tell  you  thai  it  once  you  ever  work 
**  in  a  picture,  it  is  worse  than  a  high-powered  drug,  it 

!  in  your  Mood,  it  is  a  very  contagious  habit     Im- 
mediately, an  uncanny,  unbelievable  sense  of  fascination 

it.  ^rips  you;  in  fact,  strikes  you  with  such  force 
that  your  endurance  to  run  the  race  is  surprising.  But 
too  often  it  is  the  other  way  round.  However,  you  find 
to  your  amazement  that  at  times  you  really  have  a  chance 
which  is  the  first  symptom  of  the  hobo's  disease.  I 
call  it  mental  inertia.  But  when  reaching  this  stage  you 
have  advanced  to  the  first  degree  in  the  Royal  Order  of 
Moviedom,  you  have  been  permanently  annexed,  and, 
you   are   prepared   to    make   any    sacrifice    for   your   art, 


sometimes  you  have  many  to  make,  too     Bui  the  struggle 

IS      Oil. 

\\  ltliout  the  slightesl  -hadow  of  douht,  this  husi: 
of  playing  the  movies  as  an  actor  extra  is  the  grCfl 
game  of  chance  ever  invented  by   man.     The  uncertainty 

of  it  is  heart-breaking,  sickening  at  times,  often  beyond 
endurance.  It  holds  first  place  in  the  baffling  element- 
of  a  minus  average.  It  is  the  most  hitter,  ironic  and 
cruel,  peculiar  and  unusual  topic  to  discuss.  And  yet. 
despite  this,  there  is  no  end  of  material  on  which  to 
base  true  and  helpful  illustrations. 

There  are  no  groups  of  people  working  in  any  other 
business  in  the  world,  any  other  trade,  who  would  tolerate 
the  fateful  result,  the  usual  failure,  the  treatment  received 
(sometimes  while  engaged  on  the  production  of  a  pic- 
ture). I  do  not  mean  that  you  are  ill-treated  or  horse- 
whipped, nothing  of  the  sort.  I  do 
mean,  tho,  in  a  mob  scene  that  the  dis- 
mal existence  gained,  the  action  one 
has  to  do,  the  delay  and  foolishness 
of  it  all  would  never  be  accepted  as  a 
road  to  success  by  many  men  and 
women  in  other  walks  of  life.  Your 
patience  is  put  to  the  supreme  test  by 
the  minute.  It  appears  a  losing 
game. 

Hard   to   Get   a   Job 

It  is  often  much  harder  work  getting 

a  job  than  working  after  you  get 
it.  And  the  discouragement  that  goes 
with  the  business  is  almost  beyond  the 
understanding  of  an  otherwise  intelli- 
gent person.  Really,  the  whole  scope 
is  far  too  technical  to  give  in  com- 
plete detail.  But  a  few  points  will 
serve  as  examples. 

How  in  the  name  of  Moses,  men 
and  women  by  the  thousands,  can 
clamor  into  a  stuffy,  musty  and  dirty- 
little  room  or  shed  and  receive  the 
daily  stab  of  rejection  is  beyond  the 
power  of  reasoning.  Especially,  after 
waiting  for  hours  to  get  a  peep  at  the 
assistant  casting  director,  possibly 
only  an  office  boy. 

How  day  in  and  out  those  starving 
souls  tread  wearily  from  Universal 
City  in  the  early  morning,  then  to 
Hollywood  by  noon,  thence  to  Culver 
City  by  the  waning  afternoon  with 
the  tiny  spark  of  Hope  burning  dimly 
in  their  heaving  bosoms  merely  to  ask 
the  fatal  words.  "Anything  doing  to- 
day," and  get  the  fatal  blow.  is.  so 
far  as  I  know,  too  problematical  in 
the  sphere  of  normalcy  for  one  so 
insignificant  as  I  to  render  a  correct 
reply. 

But  if  one-half  the  energy  expended 
in  trying  to  break  the  almost  impos- 
sible barrier  would  be  applied  to 
{Conti»ucd  ov  page  83) 


17 


William  Boyd  says  he  ac- 
quired    his     education     by 
listening    to    other    people 
talk 


IF    William    Boyd    ever 
decides    to    become 
president     of     these 
United     States,     they     had 
better   get   the  White   House 
ready,  for  he'll  be  there ! 

Bill — he's    the    kind    of    man 
one    cant    call    "William" — is    in 
the  great  American  tradition. 

He's  the  Satevepost  chap  who 
started  out  with  nothing,  worked 
before  he  was  in  his  teens,  did  any- 
thing and  everything — steel-mills, 
oil-fields,  orange  groves,  groceries, 
driving  trucks — and,  having  tried 
all  sorts  of  jobs,  finally  picked 
out  a   profession   and    followed   it 

No  Acting  Temperament 

"I    haven't  an  actor's  temperament  at  all,  so  I'm  afraid  I 
cant  talk  like  one,"  he  apologized,  as  we  strolled  along 
the  sunny  gallery  at  the  De  Mille  studios. 

"In  fact,  I'm  not  an  actor.  You  don't  have  to  act  on  the 
screen.  You  have  to  understand  the  technique,  know  about 
spacing,  timing,  camera  angles,  lights,  make-up  and  all  that, 
and  you  have  to  understand  the  character  you're  playing  and 
simply  live  him.  The  camera  will  show  you  up  if  you're  just 
acting.     You  have  to  be  terribly  sincere  and  natural.     You 

18 


No 
BOOK 


Learnin' 


By  Alice  L.  Tildesley 


must  have  the  whole  personality  and  history 
of  your  character  inside  your  head  and  then  just 
open  up  your  face  and  let  your  audience  see 
what's  going  on  in  there.  You're  not  acting  then. 
You  just  are! 

"When  I  was  .getting  ready  for  'The  Volga 
Boatman,'  I  was  worried  about  what  to  do  with 
him.  I  had  read  the  script  and  knew  he  was  a 
Russian  peasant,  and  I'd  read  Russian  stories — 
Tolstoy — and  Russian  history,  and  I  thought  I 
knew  what  was  back  of  this  fellow,  all  the  cen- 
turies of  oppression  and  injustice — the  revolt  he 
felt  inside. 

"Victor   Varconi  played  the  other  male  role, 

which  made  mine  more  difficult,  since  he  and  I 

are  about  the  same  height,  build  and  coloring. 

Varconi  was  an  officer  and  would,  of  course, 

play  it  straight,  I  must  be  'character.' 

"First,  I  decided  against  wearing  a  wig  and 

had   my    hair   curled.      I    had    misgivings 

about  that, — afraid  it  would  weaken  my 

face, — but  it  didn't. 


And  then,  the  very 
night    before    we 
began  to  shoot,  the 
thing  came  to  me. 
"I  was  walking  up 


William  Boyd  plays  a 
Russian  peasant  in  "The 
Volga  Boatman."  The 
circle  above  shows  him 
in  this  role.  At  the 
right,  in  "The  Road  to 
Yesterday" 


doggedly  to   success. 


Pearsall 


. 


Bill  Boyd 
worked  in 
a  rolling- 
mill    at 
twelve 


ami  down  in  my  room, 

like    t  h  i  s "     He 

paced  the  length  of  the 
dressing-room  we  had 
appropriated,  three 
Strides  taking  him  from 
one  wall  to  the  other, 
aiul  suddenly  stopped, 
standing  with  his  head 
lowered  a  trifle,  look- 
be  up  from  under 
sullen  lids,  a  figure 
tense  and  yet  quiet,  as 
of  terrific  power  held 
in  leash.  "There !  It 
came  like  that.  I  saw 
him  in  the  mirror  and 
recognized  him." 

Bill  Boyd  has  a 
splendid  body  under 
perfect  control.  He 
isn't  vain  of  it,  but  he 
takes  care  of  it  because 
it  is  part  of  his  stock 
in  trade. 

Worked  in  Oil-Fields 

'T^ot  my  strength 
swinging  a  sledge- 
hammer ten  hours  a 
day  in  the  oil-fields," 
he  explained,  "I  was 
sixteen.  I  began  to 
work  when  I  was 
twelve,  when  my  father 
died,  but  the  oil-field 
was  the  hardest  job  I 
ever  had.  I  used  to  get 
tear  me  down  because  I 
going  to  beat  me ! 

"I  think  any  boy  who  wants  to  grow  up  into  a  he-man 
ought  to  go  out  and  get  himself  kicked  around  all  over 
the  place  and  fight  and  struggle  and  endure — that  is,  if  he 
has  spirit.     If  he  hasn't,  he'll  go  under. 

"But  I've  never  done  anything  that  hasn't  been  of  use 
to  me  in  pictures  afterwards.  Strength  from  the  oil- 
fields. In  'Steel  Preferred'  I  was  at  ease  among  the 
ladles  of  molten  metal  because  I  had  worked  in  a  rolling- 
mill  when  I  was  thirteen.  I  knew  how  to  handle  myself 
so  that  I  would  never  be  in  danger.  .  .  .  Oh,  I  could  go 
on  indefinitely! 

"I've  always  worked.  I  didn't  care  what  kind  of  job 
it  was,  but  I  tried  to  get  one  that  would  take  me  among 
educated  people  so  that  I  could  learn  by  listening  to  them 
talk.  That's  the  way  I  got  all  the  education  I  have.  Asso- 
ciating with  people  who  knew  things  helped  a  lot.  I  wanted 
to  know  so  desperately  that  I  couldn't  help  remembering. 


so  tired.     But  I  wouldn't  let  it 
had  too  much  spirit.     It  wasn't 


At  sixteen  William  Boyd  swung  a  sledge-hammer 

in   the   oil-fields   for   ten   hours   a   day.      He   has 

driven  trucks  and  delivered  groceries.     Now   he 

is  a  film  favorite 


"Seven  years  ago,  I  ran  out  of  things  to  do.  I  had 
some  money  that  I'd  made  in  a  summer  resort  I  had  con- 
ducted in  Arizona  and  at  the  Post  Exchange  I  ran  in 
March  Fields,  and  I  bought  a  good  wardrobe.  I  was  in 
California  and  everybody  was  talking  pictures,  so  I  de- 
cided to  try  them.  I  asked  Frank  Miller  of  the  Mission 
Inn  how  you  got  in. 

A  Note  to  De  Mille 

'"r\H,  Bill,  you  wont  like  pictures!'  he  said,  but  he  gave 
me  a  letter  to  Cecil  B.  De  Mille.     I  didn't  know  who 
Mr.  De   Mille  was — he  might  have  been  the  janitor  at 
Lasky's — that  was  how  ignorant  I  was  then ! 

"Mr.  De  Mille  saw  me.     He  told  me  that  he  thought  I 
might  do  something  in  six  or  seven  years,  if  I  started 
{Continued  on  page  78) 


19 


HAMLET 


John    Barrymore    as    the    immortal    fourteenth-century 
libertine,   Don  Juan 


JOHN  BARRYMORE  says  he  is  crazy  about  the 
movies.  He  must  be — literally — otherwise  he  would 
not  immerse  himself  in  a  tank  of  cold  and  mucid 
water — suffering  tortures  that  would  make  a  starving 
stuntman  throw  up  his  job — in  order  to  inject  the  serum 
of  reality  into  the  final  scenes  of  "Don  Juan." 

.This  is  no  pabulum  of  praise  for  a  movie  star — none 
of  that  belly-wash  about  the  handsome  chappie  who  is  so 
keen  for  art  that  he  insists  on  crocheting  his  own  doily 
for  the  big  tea-room  scene.  I  saw  Barrymore  go  under 
this  stinking,  algid  flood,  with  a  wind-machine  playing 
against  his  soaking  back — saw'  him  go  under  and  remain 
two  minutes  by  the  watch.  Then  saw  a  hand  come  up — 
a  groping,  abysmal  hand — the  hand  of  a  drowning  man, 
clutching  at  the  rotted  straws  floating  on  the  surface. 

The   Aquatic    Barrymore 

After  the  hand  had  registered,  the  head  and  shoulders 
emerged  and  Barrymore — in  the  character  of  the 
great  fourteenth-century  libertine — struggled  thru  the 
torrent  to  safety.  I  am  still  sneezing  and  sniffling  from 
the  mere  sight  of  it.  For  the  scene  was  made  at  night 
and  the  nights  in  this  land  of  sunshine  and  roses  are 
frequently  the  chilliest,  clammiest,  most  dismal  monsters 
ever  loosed  from  Erebus. 

Attendant  figures — actors,  property-men,  electricians, 
wearing  oilskin  trousers  belted  about  their  waists — said, 

20 


By  Don  Ryan 


yes.  that  was  Barrymore's  way.  When  they  suggested 
a  double  in  some  of  the  scenes  of  "The  Sea  Beast," 
Barrymore  snorted,  "Double,  fudge!"  (Only  he 
didn't  say  fudge.)  "I'd  have  to  do  it  myself  anyway!" 
And  thereupon  plunged  into  the  sea  to  grapple  with  a 
whale  or  something  of  that  sort. 

Standing  in  dripping  tights  with  his  back  against  a 
salamander — a  small,  charcoal-burning  heater  thought- 
fully provided  by  the  Warner  Brothers— Barrymore 
had  the  nerve  to  tell  me  that  he  considered  the  movies 
a  fascinating  game — lots  of  fun — more  fun,  he  implied 
than  the  stage. 

Far  From  the  Greenroom 

O  e  was  a  long  stride  removed  from  the  subtleties  of 
"The  Jest."  A  far  cry  from  Barrymore  emerg- 
ing by  the  stage  door  after  a  comfortable  performance 
of  "Hamlet" — emerging  into  a  scented  crowd  of 
women  who  ogled  and  fluttered  like  a  barnyard  when 
the  ruler  of  the  roost  appears. 

Barrymore  had  yet  to  re-enter  the  tank.  Waiting 
for  the  next  set-up,  he  sipped  a  cup  of  coffee — he  is 
on  the  wagon — smoked  a  Tareyton,  and  gave  me  his 
opinion  of  pictures. 

The  modern  demiurge  who  manufactures  Rotarians 
wholesale  also  gave  us  John  Barrymore,  and  he  must 
have  been  a  bit  under  the  Greek  influence  when  he 
modeled  this  un-American-looking  young  American. 
It  is  a  compliment  to  the  designer  that,  in  spite  of  a 
bedraggled  figure,  in  spite  of  the  ugly  cut  with  pendant 
streams  of  dried  blood  which  had  been  painted  on  the 
forehead  of  the  actor,  Barrymore  was  superbly  hand- 
some. The  water-soaked  garments  clung  to  a  figure 
proudly  delicate  and  strong :  the  line  of  forehead  and 
nose  in  the  steamy  light  as  pure  and  radiant  as  anything 
in  classic  sculpture. 

I  attempted,  evilly,  to  trick  the  defendant  into  some 
sort  of  delation  against  the  movies.  But  he  loyally  and 
adroitly  defended  his  favorite  mistress.  This  scion  of 
the  oldest  and  most  celebrated  acting  family  in  America 
was  on  the  stage  at  nineteen.  A  few  years  later  he 
entered  pictures,  working  in  comedies  for  Famous  Play- 
ers. At  that  time  he  was  struck  by  the  possibilities  of 
this  brand-new  medium.  He  is  still  thinking  about  them 
—these  immeasurable  possibilities — as  yet  only  scratched 
by  a  few  of  the  more  daring  and  imaginative  producers. 

The  Amazing   Possibilities 

"It's  an  amazing  thing,"  he  said,  "these  possibilities  of 
the  pictures.  The  pictures  are  not  inferior  to  the 
stage — different.  Truly  I  have  been  more  moved  by 
good  pictures  than  by  anything  seen  on  the  stage.  'The 
Birth  of  a  Nation,'  'The  Four  Horsemen' — pictures  such 
as  these  are  as  fine  as  anything  ever  performed  on  the 
legitimate  stage. 

"You  hear  a  lot  of  talk  about  inferiority  of  the  screen 
— how  childish  the  stories,  how  happy  the  endings  must 
be.  But  they  dont  have  to  be.  It  is  true  that  many  pro- 
ducers have  not  realized  this  fact.  But  I  think  when  the 
story  is  authentic — when  the  audience  can  smell  it — they 
will   not   only   stand    for   an   unhappy   ending,   they    will 


_- 


and  the  FILMS 


John  Barrymore 
Likes    Pictures 


K. 


Drawings  by 
R.  Chamberlain 


illy  enjoy  it,  it  it  is  the  real  and 

al   ending    for    the    story.      The 

the  same  in  both  instances — 

the  moving  picture  public  is  just  as 

intelligent  a>  the  stage  public. 

"In  The  Sea  Beast' — a  classic 
story  by  a  great  author — we  retained 
the  integrity  of  it  absolutely.  This 
.1  difficult  thing  to  do,  because 
we  hail  to  impose  a  love-story  which 
wasn't  in  the  book,  'Moby  Dick,'  at 
all  1  think  we  performed  the  trick 
without  doing  violence  to  Melville." 

In  doing  "Don  Juan."  a  different 
problem  confronted  him :  how  to 
v  the  hero  as  the  "personifica- 
tion of  amorousness,"  as  Barrymore 
explained — and,  at  the  same  time 
polish  him  off  with  a  satisfactorily 
sympathetic  ending. 

The  way  we  did  it,"  elucidated  the  creator  of 
Don  Juan,  "was  to  make  him  funny  during  the  first 
part  of  the  picture.  After  he  is  disillusioned  he  be- 
comes a  sinister  character.  But  he  is  regenerated  in 
the  end. 

"Here  we  met  our  greatest  difficulty.  It  would  not  do 
to  make  Don  Juan  put  on  carpet  slippers  and  have  the 


BARRYMORE  ON  THE 

Making  pictures  is  a  fascinating  game   . 
the  stage   .    .    .   not  inferior — different. 


MOVIES 

.    .   fine  a  medium  as 


I'm  crazy  about  the  movies  .    .    .  always  something  new  .    . 
good  pictures  have  moved  me  more  than  good  stage  plays. 

The   audience   will    stand    for    unhappy    endings    if    these    are 
logical   .    .    .   movre  public  just  as  intelligent  as  stage  public. 

I'm  disgusted   with   these   sweet-scented   jackasses   I've   been 
playing   .    .    .   want  to  play  somebody  with  intestines ! 

"Dr.  Jekyll  and  Mr.  Hyde"  the  only  picture  of  mine  that  was 
any  good.  .  .  .  I'm  satisfied  with  "The  Sea  Beast"  and  "Don  Juan." 

The  movie  comedies  are  the  greatest  thing   in  drama    .    . 
nothing  in  "Hamlet"  any  better. 

We'll  have  finer  pictures  when  producers  cease  to  undervalue 
public  taste. 


picture  fade  out  in  a  clinch.     So  we  had  him  drop  out  of 
sight.    His  contemporaries  think  he  is  dead,  thus  preserv- 
ing the  tradition  of  the  great  philanderer." 
(Continued  on  page  66) 


Don  Juan  struggles  thru  the  torrent  to  safety.     The 

torrent    was    real — but    Barrymore    refused    to    let 

a  double  do  the  scene 


21 


Four  Famous  Writers 


Courtesy  George  H.  Doran 


Thomas  Burke 


Sir  Anthony  Hope 


Pacific  &  Atlantic 


By  Henry  Albert  Phillips 


Thomas  Burke 


Sir  Anthony  Hope 


TN  the  small  group  of  photodramas  that  stand  T  FOUND  Sir  Anthony  Hope  (Hawkins)  of 
•*■  out  in  my  mind  and  memory  under  the  **■  quite  a  different  mind  in  regard  to  American 
selective  title  of  "the  greatest"  I  always  include      films.   It  was  a  cold,  foggy  night  and  Sir  Anthony 


"Broken  Blossoms."  In  fact,  it  tops  the  list.  So, 
then,  it  was  but  natural  that  I  should  seek  out 
Thomas  Burke,  the  author  of  "The  Chink  and 
the  Child,"  which  furnished  D.  W.  Griffith  with 
the  story  of  such  unique  blend  of  character — 
brute  and  bully,  tender,  helpless  innocence 
and  inscrutable  Oriental  passion  —  that  made 
"Broken  Blossoms"  the  most  delicate  and  poign- 
ant study  of  character  that  the  screen  has  ever 
seen. 

"The  Chink  and  the  Child"  is  among  the 
stories  that  make  up  one  of  the  most  remarkable 
books    in    the    English    language — "Limehouse 


talked  standing  with  his  back  quite  close  to  the 
small  English  grate. 

"I  think  the  films  are  interesting,  very  inter- 
esting. I  go  to  see  them  often.  They  give  you 
so  many  things  the  stage  cant.  They  read  be- 
tween the  lines  of  stories  and  speak  undertones 
that  the  stage  actor  cannot  utter.  Too,  the  stage 
cant  bring  in  the  Perfect  sequence  the  way  they 
do  it,  nor  the  novel,  for  that  matter.  But  they 
never  move  me  so  deeply  as  the  stage  Perform- 
ance does.  They  are,  after  all,  'the  shadow  show, 
I  call  them!"  He  laughed  in  that  voice  which  is 
the  deepest  I  have  ever  heard.    "Yes,  one  misses 


Nights."     The  reason  of  the  popularity  and  ap-      the  Personality  of  the  actor,  which  is,   after  all, 
Pea!  of  both  the  book  and  photodrama  is  to  be      the  Personality  of  the  author 


found  in  the  fact  that  it  is  so  largely  the  life  story 
of  Thomas  Burke  himself. 

As  you  may  have  gathered  from  "Broken 
Blossoms,"  Limehouse  is  one  of  the  worst — // 
not  the  worst  —  districts  of  London.  Here  I 
found  the  dock  rats  and  dives,  dope  and  dissipa- 
tion just  as  he  had  described  it,  and  lived  it. 
For  Thomas  Burke  was  born  and  bred  in  this 
environment,  and  his  best  friend  thruout  years 


(Both  Continued  on  Page  64) 


I  was  particularly  interested  in  "The  Prisoner 
of  Zenda,"  the  most  Popular  of  all  the  Pseudo- 
romances  that  was  ever  written. 

"Rex  Ingram  directed  the  last  Production  made 
of  my  'Prisoner  of  Zenda'  —  this  is  the  third 
time,  by  the  way,  that  they  have  made  it  into 
films.  I  have  watched  Ingram's  work  in  other 
films  and  I  am  inclined  to  think  that  he  is  as  good 
as  any  they  have  Produced.    I  was  tremendously 


22 


Consider  the  Films 


"I    like    the    German    pictures    best — or    the 

Swedish.     In  them  you  will  always  find  skill, 

background,   finesse   of   story,    maturity,    mel- 

lowm 

— Thomas   Burke. 


"I  am  looking  forward  to  the  appearance 
of  moving  photographs  of  the  fairy  and  spirit 
world.     They  are   bound  to  come." 

— Sir  Arthur  Conan   Doyle. 


"I  think  the  films  are  interesting.  They 
give  you  so  many  things  the  stage  cant.  They 
read  between  the  lines  of  stories  and  speak 
undertones." 

— Sir  Anthony  Hope. 


Sir  Arthur  Conan  Doyle 


The  First  of  a  Series  of  Talks  About  Motion  Pictures 
With  Famous  English  and  Continental  Authors 


Ralph  D.  Blumenfeld 
J1ALPH  D.   BLUMENFELD,    editor-in-chief 

-*^  of  "The  London  Daily  Express,"  and  ac- 
counted one  of  the  greatest  journalists  in  the 
world,  is  an  American,  by  the  way.  It  was  none 
other  than  this  same  Blumenfeld  who,  with 
Stanford  White,  built  the  Herald  Building  in 
Herald  Square  under  the  financial  leadership  of 


Sir  Arthur  Conan  Doyle 

C/£  ARTHUR  CONAN  DOYLE  is  as  different 
*"^  from  Burke  as  day  is  from  night,  which  is' a 
fitting  simile.  He  is  a  great  big,  smiling,  spon- 
taneous fellow;  enthusiastic  about  everything, 
particularly  some  new  "finds"  he  had  made  in 
the  spirit  world,  of  which  he  showed  me  the  nega- 
tives.    Then  he  showed  me  some  alleged  photo- 


James   Gordon    Bennett.      .Mr.    Blumenfeld    has  graphs  of  fairies  that  had  recently  come  into  his 

been   an   editor  in   London   now   for   more    than  hands. 

thirty  years.  All  movie  fans  will  readily  recall  "The  Lost 
The  films,"  he  told  me,  "particularly  the  World,"  taken  from  a  book  of  the  same  name  by 
American  films,  have  done  much  to  lower  the  Doyle,  by  the  way.  It  is  no  more  the  story  of  a 
literary  and  artistic  tastes  of  the  whole  world,  group  of  scientists  who  went  out  and  stumbled 
There  is  usually  a  cowboy  story  or  a  thoroly  over  a  lost  world  of  still-exi sting  prehistoric  un- 
pad story  in  which  crime  more  often  than  not  civilization  than  it  is  a  spectacle  of  the  drama  in 
triumphs.  An  audience  is  tied  down  in  their  the  lives  of  those  mastodonic  animals  under  the 
seats — for  it  is  not  like  a  book  you  can  toss  aside  Pressure  of  a  great  catastrophe.  The  marvelous 
— and  cant  escape  the  bad  influence.  From  a  feature  of  the  Picture  lies  in  the  reproduction  of 
British  standpoint  they  are  intensely  annoying  all  the  antediluvian — "auruses  — dinosauruses, 
from   the  fact  that   they  all  have   an   American  tchthyosauruses,  etc. — in  the  life. 


background — /  sPeak  now  of  nine  out  of  ten — 
and  an  American  story — which  rs  no  credit,  by 
the  way,  to  anyone  concerned.  The  stories  are 
seldom  big  enough  for  universal  application, 
which  is  the  test  of  great  literature  or  drama." 


(Both  Continued  on  Page  64) 


"How  did  you  like  the  filming  of  The  Lost 
World'?"    I  asked  Sir  Arthur. 

"Oh,  the  films  did  it  very  well,  very  well,  he 
said   enthusiastically. 

"Do  you  go  to  the  cinema  much?' 


23 


The  Film  Stars  Tell 


Here  Are  Facts  that  Will 
Help  You  This  Summer 

By  Alice  L.Tildesley 


Spring  is  in  the  air! 

That  is,  for  most  of  America.  Californians  get 
more  than  their  sltare  of  sunshine,  but  they  miss 
the  lure  of  Springtime,  too. 

Right  now  everyone  is  thinking  of  his  or  her 
garden.  The  screen  folk  are  just  like  everyone 
else.  The  Classic  assigned  Miss  Tildesley  to 
ascertain  the  favorite  flowers  of  the  stellar  celebri- 
ties— and  how  they  groiv  them.  Here  are  her 
findings,  of  genuine  interest  to  every  garden  lover 
everywhere. — The  Editor. 


Some 


Colleen    Moore 

/^olleen  moore  is  a  tulip  fan. 

"I  plant  my  tulips  in  the  spring, 
people  put  their  bulbs  in  water  with  enough 
stones  to  hold  them  upright,  but  I  prefer  to 
plant  mine  in  rich  soil  in  the  garden.  I  think 
they  thrive  better.  They  should  be  covered 
with  about  four  inches  of  earth  and  watered 
daily.  Keep  the  soil  loose  around  them,  so  they 
can  breathe. 

"A  lovely  effect  is  achieved  by  planting  them 
in  beds  alongside  tuberoses,  iris  and  other 
flowers  of  the  same  family." 


Estelle   Taylor 

ELLE  TAYLOR-. 

like  trees  better  than  flowers  for  my 
garden.  One  of  my  favorites  is  the  English 
myrtle,  probably  because  we  had  a  hedge  of 
them  around   my   home  in  Delaware,  brought 


ESTEI 
"T 


Top,  Colleen  Moore  in  her 
tulip  garden.  Center: 
Adolphe  Menjou  trimming 
his  oleander  hedge.  Right, 
Noah  Beery  with  his  water 
hyacinths  in  his  rock  garden 


24 


J 


AboutTheir  Gardens 


The   Players   Explain 

About   Their   Favorite 

Flowers — and   How 

They  Grow  Them 


m  England  by  my  grandfather,  so  they 
always  seem  like  old  friends. 

i   can   keep   myrtle   trimmed    down   to 
a  hedge  two  feet  high;  but  give  it  plenty  of 

m,  sunlight  ami  water  and  it  will  grow 
10  ten  feet.  It  stands  intense  heat  well  and 
live  for  three  weeks  without  water, 
altho  I  advise  frequent  watering.  Black 
Kale  is  its  great  enemy.  The  tree  should  be 
protected  by  tanglefoot  to  prevent  the  ants 
from  carrying  this  plague,  and  I  use  a  spray 

whale-oil  soap  dissolved  in  hot  water 
with  kerosene  and  a  green  coloring  matter 
that  prevents  it  from  being  seen  on  the 
leaves.  After  forty-eight  hours,  I  wash  off 
the  spray." 

Willard  Louis 

YI71LLARD  Louis  is  known  at  all  California 
*  flower  shows  as  a  champion  dahlia 
grower.  He  has  created  several  new  vari- 
eties of  his  favorite  flower  and  has  taken 
many  prizes  for  his  choice  blooms. 

"After  your  dahlias  have  been  cut  for  the 


Top,  Of  all  her  garden  Estelle  Taylor  is  most  inter- 
ested in  her  English  myrtles.     Left,  Charlie  Chase, 
the  comedian,  specializes  in  silver  daisies 


season,  get  your  tubers  out  of  the  ground  and  let 
them  stand  thirty  days  before  you  separate  them 
from  the  root  and  'mother  bulb.'  Keep  in  a  cool, 
dark  place.  In  getting  tubers  ready  for  the  next 
planting,  saw  them — dont  break  them — from  the 
root.  Be  sure  each  one  has  an  eye  and  a  neck. 
This  is  most  important,  as  the  slip  must  have  an 
eye  in  order  to  bud,  and  planting  tubers  without  a 
neck  is  a  waste  of  time — you  will  not  have  plants. 

"I  plant  the  tubers  in  furrows  in  ground  that  has 
been  carefully  cultivated  and  enriched.  I  plant  in 
April  or  May — for  late  season  flowers,  as  late  as 
June.  You  need  a  careful  eye  in  the  selection  of 
tubers,  little  ones  are  likely  to  be  much  better  than 
big  ones,  but  this  does  not  always  follow. 

"Do  not  water  until  the  plants  are  up,  and  then 
water  the  ground,  not  the  top  of  the  plants. 

"Deep,  soft  loam  is  necessary.  Different  soils 
demand  different  treatment,  but  it  is  important  not 


25 


The  STARS  and  Their  GARDENS 


Gene  Kornman 


Mildred  Davis  Lloyd 
loves  her  poinsettias. 
Right,  Willard  Lewis 
has  won  many  prizes 
with  his  dahlias.  Be- 
low, Irene  Rich  and 
her  climbing  roses 


to  use  the  same 
ground  year  after 
year — virgin  soil 
gives  better  dahlias. 
It  takes  three  or 
four  years  to  pro- 
duce a  good  new 
variety.  Polleniza- 
tion  has  everything 
to  do  with  this,  but 
anyone  by  constant 
care  can  raise  very 
fine  flowers. 

"I  have  named  my  new  varieties  after  favorite 
parts — Babbitt,  Wales,  etc.,  and  one  for  my 
little  girl,  Dorothy." 

Marshall  Neilan 

Marshall  Neilan  is  so  fond  of  the  blooms 
that  his  studio  is  a  bower  of  roses. 
"Roses  require  three  things — good  soil,  sun 
and  water.  But  remember  to  water  around  the 
roots,  never  touching  the  leaves.  Watering  the 
leaves  will  cause  a  mildew  to  appear.  If  your 
roses  mildew,  however,  you  can  treat  them  by 
wetting  the  leaves  again  and  sprinkling  them  with 
sulphur." 

Irene  Rich 


the  roots,  water  only  after  the  sun  goes  down  and 
believe  in  careful  pruning.  A  broken  or  scarred  branch 
is  cut  off  cleanly  and  the  wound  covered  with  tree  salve." 

Seena  Owen 

"/~\ld-fashioned  stocks  are  my  delight. 

"Of  course,  in  California  we  plant  them  almost  any 
season,  and  aside  from  watering  them,  leave  them  to 
grow  as  they  will ;  but  in  cold  climates  they  should  be 
grown  from  seed  planted  in  a  hotbed  early  in  March. 
The  seedlings  should  be  transplanted  several  times,  each 
time  in  a  richer  soil,  and  when  they  are  about  ten  inches 
high,  they  may  be  set  out  in  the  garden. 

"The  biennial  variety  should  be  sown  the  season 
previous  to  that  in  which  the  flowers  are  desired,  the 
plants  wintered  in  a  cool  house  and  grown  the  following 
spring." 

Noah  Beery 

To  Noah  Beery,  the  pale-blue  water  hyacinth  has  a 
*■  fascination.     He  grows  them  in  a  pool  in  his  sunken 

garden. 

They  add  tre- 
mendously to  the 
striking  effect  of 
his  rock  garden. 

"They  grow 
best  in  from  nine 
to  twelve  inches 
of  still  water, 
thrusting  their 
roots  into  the  rich 
soil  under  the 
water.  A  minia- 
ture waterfall 
keeps  the  pool  full 
of  still  water, 
and  the  rest  I 
leave  to  Nature." 
(Continued  on 
page  68) 


Irene   rich, 
L  ~„«,      has 


is 
rose 


also   the 
climbing 


whose    favorite    flower 

rose,    nas    a    "Tausendschoen" 
over  the  pillars  of  her  home. 

"I  agree  with  Mr.  Neilan  about   the  essentials 
of  rose  culture,  but  I  keep  the  ground  loose  about 


26 


_l 


By 

ELLISON  HOOVER 


IF  THEY  STAGED  BASEBALL  IN 
MOTION  PICTURE  FASHION 


27 


PAGING  the  FILM 


By  Dorothy 
Donnell 


Clara     Bow     and     her 
father,  who  now  man- 
ages his  daughter 


FATHERS  are  the  unknown 
quantity  in  the  movies.  You  read 
all  about  the  stars'  motor-cars, 
their  bungalows,  their  Pomeranians, 
their  man  servants  and  their  maid 
servants.  You  wipe  a  sentimental 
tear  from  your  eyes  as  you  gaze  upon 
pictures  of  them  sitting  on  the  edge 
of  Mother's  armchair,  or  perched  on 
Mother's  knee,  their  cheeks  laid 
against  the  dear  silver  that  shines  in 
Mother's  permanent  wave.  But  you 
would  not  think  that  the  stars  ever 
had  any  fathers,  tho  that  seems 
biologically  probable. 

In  some  cases,  picture   players,   in 
their  swift  rise  to  fortune,  have  dis- 
carded their  male  parents  on  the  same 
general    principle   that    they    discard    four- 
cylinder  cars,  cotton  hosiery,  and  ready- 
made    clothing,    as    being    unsuitable   to 
their  new  way  of  living.     Many  of  these 
fathers  do  not  fit  into  the  splendor  of 
their  daughters'  careers. 

The  Unknown  Fathers 

AX/hen   motion  picture   fans  discov- 
ered a  brief  note  in  their  news- 
'/      papers  recently  announcing  the  sudden 
death  in  Los  Angeles  of  the  father  of 
Norma  and   Constance   Talmadge,   they 
were  surprised.    Mr.  Talmadge  never  had 
achieved  a  line  of  publicity,  altho  Ma  Tal- 
madge has  appeared  in  scores  of  newspaper 
and    magazine    interviews,    besides    being    the 
author  of  a  book  about  her  famous  daugh- 
ters.    Indeed,  Mr.  Talmadge  never  had  his 
picture  taken. 

Research  reveals  that  most  movie  fathers 
are  inconspicuous  by  their  own  wish.    Busi- 
ness and  professional  men,  they  have  their  own 
work  and  have  no  desire  to  borrow  any  of  their 
offsprings'  glory,  proud  as  they  are  of  it. 

There  are  movie  fathers  who  have  helped  their 
children  as  faithfully  as  any  mothers  could  have 
done.  There  is  J.  Darsie  Lloyd,  for  instance, 
who,  in  the  lean  days  of  Harold's  movie  career, 
used  to  cook  their  dinners  over  a  two-burner  gas- 
stove,  mend  his  son's  coat,  patch  his  trousers  and 
set  clumsy  darns  into  the  heels  of  stockings 
trodden  thin  with  the  search  for  work. 

Treasurer  of  Lloyd  Corporation 

ow  he  is  treasurer  of  the  Harold  Lloyd  Cor- 
poration and,  by  a  newly  discovered  talent  for 
real  estate,  he  has  increased  his  son's  fortune 
many  fold.  But  proud  as  he  is  of  his  famous 
son,  he  has  his  own  little  prides,  too.  "Joe," 
he  said  not  long  ago  to  the  Lloyd  publicity 
man,  Joe  Reddy,  showing  him  a  clipping  from 
a  newspaper  story,  "I  see  here  that  you  say 
that  I  used  to  be  a  sewing-machine  salesman. 


28 


FATHERS 


.    of  course,  it's  nol  especially  important  but, 
w  write,  you  mighl  ju->t  men- 
the  fact  that  before  1  got  thru  1  was  appointed 
;    for  <i  ivhole  territory!" 

s  papa  used  to  be  a  waiter  in  ■  res 

int    at    Cone)    Island.     Things    weren'l    verj 

us    with    the    Bow    household    just    then. 

The  mother  of   the  family  was  sick  in  bed,  and 

...   a    pigtailed    youngster    in    high    school,    bj 

should  have  worked  in  a  department  store  or 

ictory  to  help  increase  the  familj  budget 

But   Robert  Bow  dreamed  of  better  things  for 

little  girl.      Ever  since   she   was  a   child.   I  lara 

shown   unmistakable   dramatic   talent   and   he 

\ed    that    she    should    have    her    chance.      To 

her    from    the    drudgery    of    housework    he 

would  hurry  home  after  his  work  was  over,  wash 

dishes   and   scrub   doors.      His   wife   remonstrated. 

his  relatives  and  neighbors  scoffed  and  said  that 

lling  Clara's  head  with  nonsense,  but  Mr. 

How  went  on  encouraging  his  daughter  to  try  for 

a  foothold  in  the  pictures. 

The  winning  of  a  screen  contest  (conducted,  by 
the  way.  by  the  Brewster  Publications)  gave 
Clara  her  chance.  She  was  given  a  leading  role  in 
"Down  to  the  Sea  in  Ships,"  and  the  Bow  ship 
had  come  in  as  well.  Soon  after  the  completion  of 
the  picture  Clara's  mother  died.  When  she  went 
West,  her  father  went  too,  to  play  mother  and 
father  and  business  adviser  to  the  little  girl  who 
had  wanted  to  be  an  actress. 


An  Attempt  to  Turn  the 
Spotlight  Upon  Dad 


j°j 


June  Marlowe's  Dad 

;ne  Marlowe's  father  moved  to  Hollywood  because  of  his  own  busi- 
5S  as  a  banker,  and  not  because  he  had  the  faintest  idea  of  having 
his  daughter  become  a  picture  player.     When  she  begged  to  try  her 
luck  at  the  studios,  he  was  dubious  and  tried  to  discourage  her.     But 
he  told  her  to  decide  for  herself  and  if  she  showed  the  right  stuff 
for  a  movie  career  he  would  help  her  in  every  possible  way.     She 
did,  and  he  has. 

Patsy  Ruth   Miller's    father   was  a  manufacturer  back   in   the 
Middle  West.     He  brought  his  family  to  California  for  a  vaca- 
tion, with  a  round-trip  ticket.     But  while  he   was  attending  a 
convention  in  San  Francisco,  Patsy  Ruth  telegraphed  him  that 
she  had  a  moving  picture  job.     Now  if  Oscar  Miller  has  a 
weak  spot,  Patsy  Ruth  is  it.     In  his  secret  heart  he  hadn't  a 
doubt  that  his  little  girl  could  become  as  big  a  star  as  any 
of  them,  but  he  spoke  to  his  daughter  with  parental  stern- 
ness.   "Look  here,  young  lady,"  said  he,  "before  I  go  home 
and  sell  my  car  and  my  home  and  my  business,  I  want  to 
know  whether  you  are  serious  about  this  thing.     Are  you 
going  to  be  somebody  in  the  movies  or  is  this  just  for 
fun?     I'll  take  your  word  for  it,  but  I  must  know." 

And  when  Patsy  Ruth  opened  her  big  brown  eyes 
earnestly  and  assured  him  that  she  was  going  to  be 
a  star,  Mr.  Miller  believed  her  and  moved  his  family 
to  Hollywood.  He  has  made  his  daughter's  career 
his  business  and  put  into  managing  it  the  same  atten- 
tion to  details  that  he  once  put  into  the  manufacture 
of  brooms. 

Louise  Fazenda's  Father 

Iouise  Fazenda,  on  the  other  hand,  did  not  ask  Dad  when  she 
decided  to  abandon  the  future  of  school-teaching  he  had  de- 


Gene  Kornnian 

Mrs.    Mildred    Davis 

Lloyd    and   her    father, 

Howard  Davis,  who  is 

a  newspaper  man 


creed  for  her  in  favor  of  falling  down-stairs  with  trays  of  dishes 
and  being  sideswiped  with  custard  pies.  Tho  Mr.  Fazenda  is  in 
the  brokerage  business,  his  interests  are  distinctly  scholarly.  He 
speaks  a  dozen  languages,  including  Japanese,  "delves  into  phi- 


V 


y 


Mary     Philbin's     father     was     a 

Chicago    street-railroad    worker 

when  his  daughter  won  a  screen 

contest 


29 


CLASSIC 


losophy  and  reads  science  in  prefer- 
ence   to    the    daily    paper.      Louise 
sneaked  her  comedy  costumes  out  of 
the  house  in  a  suitcase  for  weeks  to 
avoid  the  discovery  of  her  low-brow 
occupation  by  her  high-brow  father. 
It  wasn't  until  she  began  to  make 
a  real  success  that  she  confessed 
one  evening  that  the  awkward 
girl     in     tow-colored     pigtails 
and      spectacles     who     had 
made  him  laugh  so  heartily 
at    the    picture    show    that 
evening    was    his    own 
daughter. 

''And  even  now," 
laughs  Louise,  "I  some- 
times think  that  he  is 
secretly  sorry  that  I'm  not 
a  school-teacher  on  a  salary 
of  two  thousand  a  year." 

Perhaps   the  oldest   father 
in    Hollywood    is    Myrtle 
Steadman's,   an    eighty-year-old 
Grand  Army  man.     Twenty-five 
years    ago    he    sold   his    wholesale 
grocery  in  Chicago 
and     came     to 
Southern     Califor- 
nia to  end  his  days. 
Now     he     raises 
choice    roses    in 
Myrtle's   garden 
and   entertains  her 
friends  with  remi- 
niscences     of 
Antioch    and    Get- 
tysburg. 

In  spite  of  the 
"Junior"  after  his 
name,  William  Col- 
lier, Jr.,  is  only  the 
stepson  of  the 
famous  Broadway 
star,  but  he  re- 
ceived all  his  stage 
training  from  him. 

Among   the   pic- 
ture    people     who 
have     followed    in 
their  father's  footsteps,  are  the  Cos 
tello    sisters,    daughters    of    the 
former     screen    idol,    Maurice. 
Then,  too,  there  is- Lillian  Rich, 
whose  father,  J.  C.  Rich,  has 
spent  the  greater  part  of  his 
seventy    years    behind    the 
footlights    as    an    English 
variety  actor.   In  her  child- 
hood, Lillian's  father  kept 
her   carefully    away    from 
the    theater,    and    she   was 
never    permitted    to    see    a 
play,  but  she  had  inherited 
a  gift  for  comedy  from  her 
father.     Now,  living  in  re- 
tirement in  a  suburb  of  Lon- 
don, the  old  actor  goes  to  see 
all  his  daughter's  pictures. 

Joseph    Schildkraut    is    another 
who  adopted  his  father's  profession. 
The  two  Schildkrauts  are  working  in 
the  pictures  now,  and  Rudolph,  tho  he  has 


Top  circle:  Patsy  Ruth  Miller  and 
her  father.  Center:  Buster  Keaton, 
with  his  mother  and  father.  Lower 
circle,  Jobyna  Ralston  and  her  dad 


Gene  Kornraan 


been  a  prominent  figure  in  the  theat- 
rical world  all  his  life,  is  willing  to 
hear  himself  referred  to  as  "the 
father  of  Joseph  Schildkraut." 

Keaton,  Senior 

It  was  my  father  who  is  respon- 
sible   for    my    wooden    face," 
says    Buster   Keaton,    "when    I 
was  a  tiny  kid  working  with 
him  on  the  vaudeville  circuit. 
I  used  to  burst  out  laughing 
on  the  stage  whenever  we 
did  something   funny ;  but 
he  cured  me — by  the  lay- 
ing   on    of    hands    where 
they  would  do  most  good. 
'Never  laugh  at  your  own 
comedy,'  he  tqld  me,  'keep 
a    solemn    face,    no    matter 
what  happens.' " 
The    elder    Keaton    occa- 
sionally takes  a  part  in  one  of 
his  son's  pictures — but  now  it's 
Buster  who  gives  the  orders. 
Conrad  Nagel's  father  was,  for 
many     years,     the 
director    of    a 

B  school  of  music  in 
Des  Moines.  Now 
he  has  a  studio  in 
Los  Angeles.  He 
is  a  composer  and 
a   musician. 

Small     Bennie 
Alexander    is 
jealously      anxious 
that  his  own  fame 
shall    not    outstrip 
his    adored 
father's.      Now 
managing     a     de- 
partment   store    as 
Daddy     Alexander 
does  is  a  fine  busi- 
ness,    but     Bennie 
felt  that  it  needed 
a  little  dressing  up 
to  sound  sufficient- 
ly    important. 
When  one  of  his  boy  friends  was 
coming    to    dinner,    Bennie    ap- 
proached   his    father    in    some 
embarrassment.        "If      Tony 
should  speak  about  the  store. 
Daddy,"  he  hesitated,  "dont 
seem     surprised     whatever 
he  says.     I  maybe  let  him 
think  the  store  was  a  little 
bigger     than     it    is,     and 
when  he  got  the  idea  that 
you  were  the  owner  of  it 
instead   of    the   manager   I 
I       didn't  just  exactly  deny  it." 
Joseph  Ralston  wanted  a 
son    who    would    be    called 
"Junior,"  but  when  a  daugh- 
ter came  to  his  little  Tennes- 
see farm  she  was  named  after 
her    father,    so    far    as    possible, 
Jobyna."       He     didn't     take     much 
stock   in    "Joby's"    stage   yearnings 
(Continued  on  page  73) 


30 


Famous 

at 

FIFTY 

By 

Milton  Howe 


MAKING  fun  of  Hollywood's 
greatest  director  is  a  precarious 
mine  to  do,  as  a  chorus  of  ten 
thousand  Hollywood  "yes"  men  will 
tell  you.  Edward  Martindel  took  a 
chance  on  being  bounced  completely 
from  the  good  graces  of  those  who 
worship  at  the  shrine  of  Lubitsch  when 
he  took  the  job  of  Lord  Augustus  in 
"Lady  Windermere's  Fan."  He  dared 
to  make  fun  of  the  little  German  genius 
of  the  films. 

"When  I  read  the  script  which  Lu- 
bitsch had  written,  it  seemed  that  all  the 
actors  turned  to  stone."  said  Martindel. 
"I  would  read  a  scene  in  which  'Lord 
Darlington  turned  to  stone.'  Another 
excerpt  from  another  scene  would  read, 
"And  then  Lady  Windermere  turned  to 
stone,'  and  finally  I  came  to  a  scene  in 
which  I  turned  to  stone !  When  I  saw 
Lubitsch  I  told  him  that  we  didn't  seem 
to  do  anything  but  turn  to  stone.  He 
laughed  and  said  he  would  use  salt  next 
time.  It  was  his  way  of  telling  the 
actor  to  assume  an  air  of  severe  silence. 

How  Lubitsch  Directs 

J  could  ape  Lubitsch  and  make  fun 
of  him,  and  that  may  be  the  rea- 
son we  got  along  so  well.    He  has 
a    marvelous    sense    of    humor. 
He   would    say,    'Eddie,    you 
walk  so  funny.     Do  it  like 
this   .    .    .    you  know    .    .    . 
just   walk  right  in.'     And 
he     would     illustrate     by 
walking    into     the     scene 
himself.      When    he    re- 
hearsed  the   scene   again, 
I  aped  his  peculiar  walk. 
'Is  that  the  way   I  walk!' 
he  exclaimed  when  he  saw 
me  waddling  into  the  room. 
'My,    my,   my!      Well,    walk 
your  own  way,   Eddie.' 

"The    cameras    were    grinding 
on  another  scene  when  suddenly   I 
heard  his  voice  from  the  direc- 
torial   chair.  '    'Pick    up    that         M 
cigar,    Eddie.'      I    couldn't    see         JJSred 
any    cigar    and    finally    termi- 


Witzel,  L.  A. 
Edward    Martindel    isn't    really    fifty.      He    is    forty-eight.      He    was 
prominent    on    the    stage    in    light    opera    before    he    tried    pictures 


nated  the  scene  by  looking  under  the  carpet.     He  meant 
cigaret,  but  to  Lubitsch  they're  all  cigars. 

"During   the   taking    of    another    sequence 

he    shouted,    'Look    dumb,    Eddie,    my 

God,    look    dumb !'      I    told    him    I 

looked   naturally   that   way  and    I 

couldn't      possibly      look      any 

dumber.'    T    know,'    he   said. 

'but   you  can   look  a   whole 

lot  dumber.' 

"I    pray    nightly    that    I 
may  be  given  another  role 
under     his     direction. 
Lubitsch  has  a  thoro  un- 
derstanding  of    the    actor 
and  a  thoro  understanding 
of  story  value.     He  allows 
a  player  plenty  of  freedom 
with   a  part.      Every   morn- 
ing    after      witnessing      the 
previous     day's     work    in    the 
projection-room,    he    would    put 
his  arm  around  me  and  say,  'That 
was   fine,  Eddie.'     He   seemed 

to  be  tellinar  all  the  plavers  how 

el  was  in  pictures  for  six  years  before  he  ,  .,  . *".  '. „ 

as    Lord    Augustus    in    "Lady    Winder-        good  they  were,  yet  at  the  same 
mere's  Fan"  {Continued  on  page  5/) 


31 


If  there  are  legs  more  famous  than  those  of  Gilda  Gray  (above), 
we  would  like  to  know  the  name  of  their  owner.  Gilda's  are 
international.  Right  circle,  Betty  Compson  about  to  dive  into 
the  Cruze  family  bathing-pool.  Betty  has  always  been  known 
for  her — er — pedal  extremities 


E.  R.  Richee 


What  gathering  of  legs  would  be  complete 
without  those  of  our  own  Mary  Pickford. 
Here  you  have  comedy  and  personality 
rampant.  Right,  Carol  Dempster.  Carol's 
legs,  be  it  noted,  come  nearest  to  the  Parisian's 
ideal.  For  further  particulars,  see  Carol  in 
"That  Royle  Girl" 


32 


LEGS 


Top  right,  Mme.  Diamond, 
the  famous  Parisienne  who 
has  been  declared,  by  a  judg- 
ing committee  of  famous 
artists,  to  possess  the  most 
perfect    limbs    in    all    Europe 


Top  circle,  the  famous  legs  of 
little  Ann  Pennington,  long  a 
feature  of  the  Ziegfeld  revues. 
Yes,  yes,  poems  have  been 
written  about  Ann's  knees,  but 
we   wont   quote   'em   here 


Right,  Gloria  Swanson  caught 

in  an  unguarded  moment.  Here 

you    have    the    real    Swanson 

supports 


And,  left,  Fay  Lanphere,  who 
was  awarded  first  prize  in  the 
national  Atlantic  City  bathing- 
girl  contest  of  last  year.  Here 
you  can  see  why  the  Los 
Angeles  girl  was  given  the 
title  of  "Miss  America" 


33 


Candid 


By  Verne  Kibbe 


WHEN  one  lays 
a  lamp  on 
Laura  La 
Plante,  emotions  akin 
to  those   evoked  by   a 

South  Seas  sunset  twist  and  turn  under  the 
second  waistcoat  button — to  wit: 
"Gawd !     Ain't  nature  grand !" 
One  feels  like  a  discoverer;  like  dashing 
off  to  the  nearest  land  office  to  file  a  claim  or 
at  least  look  up  the  title. 

Optically  Pleasant 

It  is  such  a  relief,  for  interviewing,  as  it  is 

called,   a  lady  of  the  lenses   is   not  always 
what  it  is  cracked  up  to  be.   In  fact,  it  is  some- 
thing of  an  uncertainty,  similar  to  opening  a  can 
of  oysters  in  July,  an  adventure  calling  for  more 
than  a  modicum  of  courage,  if  not  genuine  intestinal 
fortitude. 

One  usually  heaves  a  sigh  and  phones  the  lens  lady's 
terrapin  or  press-agent  for  an  encounter  with  the  desired 
dazzler.     Press-agents  are  now  called  terrapins  because  of 
their  impenetrable  shell  or  crust  and  also  because  they  are  never 


I've  No  Particular 
Ambitions,  says 
Laura  La   Plante 


Question:   Do  you   genuinely   love 

\our  work  ': 

.|i:,;,vr;  It  thrills  nic  beyond  words. 

\sp  the  hands  ecstatically:  roll  the 
5  upward  and  squeeze  the  last  drop 
fervor  out  of  this  conversational 
ipons 

Question:   Who  do  you  believe  is 

the  greatest  director  since  M< 
Answer:  O-o-o-o-o-oh !     (Cross  be- 
n  a    sigh   and  a  gargle).     Why. 

Mister  (here  insert  the  name  of 

your  present  director — if  any — or  the 
name  oi  the  one  tor  whom  you  want 
to  work  ) .    He  thrills  me  beyond  words  ! 


Who 


QutsHon: 

critic  ? 

Answer:  (Be  your- 
self and  answer  sim- 
pl\  ).  Mv  wife,  mother, 
brother,  sweetheart, 
butter-and-egg  man,  or 
what  have  you.  (Be 
sure  and  cross  out  un- 
desirable words,  re- 
membering what 
your  press-agent 
has  said  about 
the  policy 
o  f  y  our 
studio. 


is    your    severest 


Freulich 


Laura  La  Plante  has  no  desire  to  be  a  great  actress.     She 

says  she's  simply  going  on  playing  until  death  or  matrimony 

intervenes 


So  you  can  see  why  I  approached  the  La  Plante  maison 
(house)  with  more  or  less  sang-froid  (cold  feet),  and  the 
two  goat-skins. 

The  languishing  Laura,  herself,  in  person,  answered  my 
furtive  poke  at  the  door-bell. 

Laura  Answers  the   Bell 
t 

Che  was  as  free  from  gush  as  a  deaf  and  dumb  debutante. 
With  one  hand  she  despoiled  me  of  Tamar  Lane's  tome  and 
whisked  my  goat-skin  of  guff  from  under  my  arm  with  the 
other.  And  this  in  a  moment, .a  single  age-long  second,  leaving 
me  standing  alone  in  the  center  of  the  La  Plante  living-room 
in  the  full  glare  of  her  past,  present  and  probably  future  b.  f. 
(boy  friend  and  also  big  fellow,  hence  my  secrecy  I. 

After  an  introduction  and  a  single  sniff  of  disdain,  said  b.  f. 
stalked  heavily  from  the  room,  leaving  me  alone  with  Laura. 

The  following  inventory  made  at  the  time  is  submitted  for 
your  approval : 

Hair:  Yes! 

Face:  Yes!  Yes! 

Eyes:  Yes!  Yes!  Yes! 

Figure:    A  thousand  times  Yes! 

Then  without  further  ado  we  plunged  into  our  work. 
(Continued  on  page  80) 


35 


The  Master  Mind  of  the 


By  H.  W.  Hanemann 


HIS  face  displayed  the  serenity  of  a  Buddha 
along  with  the  eagle  eyes  of  a  traffic  policeman, 
the  pinched  nostrils  of  an  artist,  the  firm 
mouth  of  a  bank  manager  and  that  schoolgirl  com- 
plexion. He  was  attired  in  Oxford  bags  and  a  Rus- 
sian blouse.  He  reclined  on  a  divan  and  toyed  inter- 
mittently with  a  hookah.  On  his  head  he  had  placed 
a  silk  hat  and  his  toes  were  hennaed. 

The  All-in-All  Speaks 

LJe  had  been  indicated  to  me  as  the  Man  at  the  Top, 
whose  scratchings  on  the  surface  of  the  motion 
picture  industry  were  historical.  It  was  whispered 
about  that  he  was  the  Power,  the  All  in  All,  the 
Fountain  Head  from  which  gushed  the  millions  of 
celluloid  feet  of  the  past  and  present  and  from  whom 
the  billions  of  celluloid  feet  of  the  future  were  trust- 
fully expected.  He  was,  to  make  myself  plain,  the 
projected  personality  of  all  the  people  that  make  the 
movies  what  they  are. 

"You  have  come,"  he  said. 

"Yes,  Master,"  I  replied.     "Yes,"  is  an  extremely 
handy  word  about  the  industry. 

"You  have  come  because  I  have  summoned  you.  My 
Eyes  watched  your  progress,  my  Hands  made  smooth 
your  way.  There  was  a  door  that  was  not  a  door  and 
yet  .  .  .  There  was  a  ceiling,  which,  if  one  understood, 
was  not  so  much  a  ceiling  as  a  path.  ..." 

"And  so's  your  old  Michael  Aden's  recent  visit  to 
Hollywood,"  I  put  in.  I  knew  whence  had  come  that 
"door-not-a-door"   speech. 

"Dont  interrupt,"  he  said  severely.    "You  are  a  worm." 

"Yes,  Master,"  I  said. 

"And  stop  saying  'yes'  all  the  time.     You  are  not  on 
my     pay-roll."       He     paused,     and 
tossed  a  lump  of  lakoum  to  a 
spotted     ocelot    that    lay 
drowsing  on  the  rug. 

The  Interview 
Background 

"Dretty  nice 
place  you 
have  here,"  I  re- 
marked, feeling 
that  we  didn't 
seem  to  be  get- 
ting anywhere. 

"Hah!"  he  re- 
plied, "I  know  of 
what  you  are 
thinking.  This 
milieu  is  not 


Here  is  an  interview  with  the  Arch-Master  of  the 
movies. 

Here  is  the  man  whose  scratchings  have  done  so 
much  to  the  surface  of  the  industry. 

Here  speaks  the  director  who  first  used  the 
United  States  cavalry  in  a  picture,  who  held  apart 
the  Red  Sea  in  "The  Ten  Commandments,"  and  who 
created  the  floating  bed  in  the  middle  of  a  lily-pond 
boudoir. 

He  wrote  that  immortal  subtitle :  "Came  the  dawn 
to  gild  with  its  rosy  fingers  the  snow-clad  peaks 
of  the  Sierras." 

You  will  want  to  know  the  Master's  real  thoughts. 


what  you  had  expected.  You  would  have  me  in  a 
bare  walled  cell,  pierced  with  high,  narrow,  heavily 
barred  windows " 

"That's  not  a  bad  idea,"  I  agreed  politely. 

"You  would  dress  me  in  the  habit  of  a  monk  and  shave 
my  pate.  You  would  surround  me  with  sterilized  asceti- 
cism— me,  the  first  man  who  ever  used  the  United  States 
cavalry  in  a  picture,  who  held  apart  the  Red  Sea  in  'The 
Ten  Commandments,'  and  who  dreamed  'Broken  Blos- 
soms' and  wrote  it  down  ten  minutes  after  I  woke  up ! 

"You  did  all  that?"  I  asked. 

"My  child,"  he  replied,  "that  is  nothing.  I  have  as 
many  facets  as  a  diamond,  as  many  moods  as  April.  The 
colors  of  the  rainbow  are  mine,  and  my  overtones — ah ! 
my  overtones !"  he  shuddered  and  clasped  his  hands 
about  his  head.  "Shall  I,  then,  breathe  in  an  empty  cask, 
or  shall  I  permit  my  surroundings" — he  indicated  the 
room — "to  vibrate  with  my  soul?" 

"Yes,"  I  replied,  risking  another  reprimand. 

"Tomorrow,"  he  continued,  "my  mood  will  have 
changed.  Accordingly,  this  divan  will  become  a  swing- 
ing hammock,  this  water-pipe  a  long  black  cigar.  I  shall 
change  my  Russian  blouse  for  the  coat  of  a  Japanese 
fisherman  and  my  Oxford  bags  for  a  kilt.  I  shall  wear 
ballet  slippers.  The  day  after — who  knows?  Girt  cap- 
a-pie  in  a  full  suit  of  armor,  I  may  ride  about  on  a  small 
velocipede.    And  why?" 

"Why?"  I  echoed. 

The  Master  Mind  at  Work 

"T'hat  I  may  create.      Do  you  remember 
a  picture  in  which  the  bed  of  the  disso- 
lute beauty  was  a  boat  floating  in  a  lily 
pond  in  the  middle  of  her  boudoir?" 


"If  there  are  cabaret  scenes,  swimming 
pools,  orgies,  romping  flappers  and  faces 
that  appear  in  the  heart  of  a  rose,"  says 
the  Master  Mind,  "it  is  because  I  wish 
to  have  cabaret  scenes,  swimming  pools, 
orgies,  romping  flappers  and  faces  that 
appear  in  the  heart  of  a  rose" 


36 


Movies  Speaks 


Drawings  by  Kliz 


"Can  I  ever  forget  it ?"  1  assured  him. 

"/  thought  of  that .    Like'  Jonah,  1  wu  inside  the  whale  in  'Down  to  the 

Sea  in  Ships.'     It  was   1   who  sent   Martin  JohnSOfl  into  the  heart  of    I'.orneo 

rod  who  sent  the  gunboat  to  his  timely  rescue.    I  timed  the  gunboat    1  in- 
troduced Flaherty  to  Nanook  of  the  North  and  told  them  they  ought  to  get 

to  know  each  Other  better.     I   told  von  Stroheim  he  was   a  -nan    1   loved   to 

1  taught  each  one  of  the  Four  Horsemen  to  ride.  ..." 

"I  am  beginning  to  understand,"  1  murmured.     "And  the  scenery  in  the 
'Cabinet  oi  Dr.  Caligari'?" 

'  \   joke  of   mine.     One  must  have  one's  relaxations.     That   was  the 
day  my  house  was  being  done  over.     Fools!     They  took  it  seriously.     I 
huilt  the  castle  in  'Robin  Hood.'     I  created  the  cathedral  in  'The  Hunch- 
hack  .'    Do  you  know  why  'The  Last  I-augh'  had  no  subtitles?" 

"N'o,"  I  said. 

"Because  1  couldn't  bother  to  write  them." 

"Oh,"  I  said,  "you  do  those,  too?" 

"Who  else?  'Came  the  dawn  to  gild  with  its  rosy  fingers  the  snow- 
clad  peaks  of  the  Sierras — only  a  mother's  love  can  save  that  tiny 
atom  of  humanity  from  Eternity's  brink.'     Those  are  mine — mine — 


mine 


"That   accounts 
wondered.  .   . 


"Movies  Are  Thus  and  So" 

for    it,"    I    said. .    "A    good    many    people   have 


"The  entire   world  has  wondered.     They  say,  'the  movies  are 
thus  and  thus — and   why  ?'     I   answer,   'because  of   me.'     Quinn 
Martin.  Harriette  Underbill,  Robert   Sherwood,   what  do  they 
understand  ?" 

"Not  much,"  I  replied.    Merely  to  be  agreeable,  I  assure  you. 

"In  'The  Gold  Rush,'  I  held  on  to  the  end  of  the  rope  that 
kept  the  cabin  from  falling  over  the  cliff.     I  held  on  by  my 
will-power.     I  taught  Lon  Chaney  to  make  faces  and  Gloria 
Swanson  to  speak  French.     I  breathed  passion  down   Pola 
N'egri's  neck  in  her  cradle.     I  curled  Mary  Pickford's  hair." 

"Did  you "  I  began. 

"I  did,"  he  replied.  "I  dont  know  to 
what  you  are  referring,  but  I  did  it. 
Other  producers,  director,  actors  may 
have  assumed  the  credit,  but  it  is  be- 
cause I  have  chosen  to  have  them  do 
so.  'Thrice  Caesar  refused  a  crown ; 
Charles  the  First  had  his  Cromwell ;  re- 
member the  Maine !' " 

(Continued  on  page  81) 


37 


Ruth  Harriet  Louise 


Renee  Adoree's  performance  in 
"The  Big  Parade"  took  her  from 
the  ranks  of  the  second-raters  and 
put  her  in  the  ranks  of  those  who 
belong.  Right,  as  Musette  in  "La 
Boheme" 


SIX  years  ago,  William  Fox 
produced  a  motion  picture 
from  a  story  written  by 
Georges  Clemenceau,  then  pre- 
mier of  France.     It  was  called  . 

"Les  Plus  Forts,"  which,  translated  in  English  for  the  billboards, 
meant  "The  Strongest."  There  was  a  great  fuss  over  the  picture  and 
the  Tiger  himself  was  delighted  because,  being  only  human,  he 
aspired  to  scenario  writing. 

But  the  picture  now  is  important  in  movie  annals  not  because 
it  was  written  by  Clemenceau  but  because  it  marked  the  debut  of 
Renee  Adoree.  At  the  time  "The  Strongest"  was  produced,  Miss 
Adoree  was  completely  unknown  and  obscure.  She  fell  into  the 
leading  role  of  an  important  picture  quite  by  accident.  The  Fox 
company  wanted  a  French  actress  in  the  cast,  probably  out  of 
deference  to  Clemenceau.  And  Miss  Adoree,  having  been  a  circus 
performer,  a  dancer,  a  vaudeville  artist,  a  cabaret  singer  and  a  small- 
time actress,  saw  no  reason  why  she  shouldn't  take  a  fling  at  the  movies. 


Renee 
Makes 
GOOD 


By 
CAROL  WHITE 


Miss  Adoree  was  not 
particularly  wonderful  in 
the  picture,  but  she 
wasn't  so  bad.  She  was 
good  enough  to  be  signed 
up  for  leading  roles  at  a 
satisfactory  salary.  She 
was  engaged  to  play 
leads  in  a  series  of 
comedies  that  Tom 
Moore  was  then  making 
for  the  Goldwyn  com- 
pany. 

Instead  of  heading 
back  to  Paris,  Miss 
Adoree  went  to  Cali- 
fornia and  became  so  de- 
lighted with  the  movies, 
the  climate  and  her  new 
opportunities,  that  she 
promptly  married  Tom 
Moore,  just  by  way  of 
sealing    herself    definitely 


Ruth  Harriet  Louise 


The  Girl 
Who 
Became 
the  Talk 
of  Holly- 
wood 
with  one 
Role 


to     her     new 

career.     H  er 

marriage  to 
Mr.  Moore 
didn't  last  but 
her  union  to 
her  career  did. 
I  n  d  Mis  s 
Adoree  is  just 
as  happy  any- 
way. 

In  spite  of 
the  fact  that 
she  was  un- 
usually for- 
tunate in  be- 
ing thrust  im- 
mediately into 
»i  t '  d    on 

page  $$) 


Both  photos 
Ruth  Harriet  I.misc 


39 


CELLA  LLOYD  Crashes 


WHAT'S  GONE  ON  BEFORE 

Only  a  few  months  ago  Cella  Lloyd  stood  behind  a  counter  in  Blatz's 
Emporium.  She  dreamed  of  Screen  Stardom,  but,  alas,  Fame  seemed  far 
away.  Then  Cella  won  first  prize  in  a  Big  Bathing  Girl  Contest — and  the 
peaceful  existence  of  the  Blatz  Maison  was  tossed  Topsy-Turvy.  Cella 
told  Siegmund  Blatz  what  she  thought  of  him  and  departed  for  Hollywood. 
There  the  inventor  of  the  Babylonian  Flashback,  the  great  director,  Horace 
De  Grind,  took  over  her  artistic  career.  The  eminent  De  Grind  encoun- 
tered difficulties  until  it  occurred  to  him  to  put  Cella  in  her  one-piece  bath- 
ing suit.     So  the  great  super-special,  "Passions  of  the  Younger  Set,"  got 

under  way.     Now  read  on ! 


Scene  I 
The  Sap,  Cella's  home-town  sweet- 
heart, accompanied  by  Mr.  and  Mrs. 
Lloyd,  comes  to  visit  the  young  star 
in  her  Hollywood  bungalow.  The 
Sap,  in  a  rented  tuxedo,  wonders 
where  all  the  money  comes  from. 
Also  he  figures  his  chances  at  winning 
Cella  to  be  nil 


Scene  II 
In  honor  of  her  father  and  mother,  Cella 
throws  a  regular  Hollywood  bathing  party. 
The  great  De  Grind  comes — and  so,  too, 
does  Roily  Quixote,  the  screen  colony's 
newest  sheik.  The  Sap  •  dopes  out  his 
chances  to  be  less  than  nil 


40 


HOLLYWOOD/ 


Scene  III 
Pa  Lloyd  is  a  problem  in  Holly- 
wood He  hi//  revert  to  type. 
Indeed,  ever  since  the  first  star 
discovered  Hollywood,  fathers 
have  been  a  problem.  Cella  solves 
the  difficulty  by  keeping  Pa  com- 
fortable   in    the    bungalow    kitchen 


Scene  IV 
Mother  is  quite  different,  how- 
ever. She  takes  to  silk  and 
lorgnettes  like  a  duck  to  water. 
So  Cella  gives  a  reception  for 
Mater — who  makes  a  hit  and 
becomes  the  talk  of  Hollywood. 
Continued    next   month 


By 

John  Helix  ]r 


> 


>j 


41 


Frank  Bangs 


RICHARD    BARTHELMESS 


Dick  hankers  for  a  Western  picture  of  the  great  open 

spaces    where    stars    are    cowboys.      Here's    how    he'll 

look  when  he  gets  it 


42 


Super- Realism  in  the  Movies 


By  Matthew  Josephson 


Mr  Josefhson  is  a  well-known  young  radical  n 

n   taking  a  profound   interest   in   motion   fic~ 
i !r  has  ■  vrckm  i  e,  The   I  >oi 

I'm    \'iu    Republic,  The   Nation  <'m/  other 
He   was   an   editoi    of    I'm    Broom    and 

N 

ONE  returns  as  from  a  Robinson  sojourn  of 

several  years'  absence  from  the  cinema  temples  to 
find  that  the  movies  have  unconsciously,  and  by 
imperceptible  stages,  grown  up.     Curious,  quiet,  blood 
revolutions  have  come  and  gone  under  the  surface. 

The  last  winter  season  offered  such  spectacles  as 
-Stella  Dallas."  -The  Big  Parade,"  "The  Merry  Widow," 
"Lad)  Windermere's  Ivan."  Names  that  are  already 
conjured  with  as  landmarks  in  the  history  of  this  new 
art.  And  it  is  astonishing  also  how  clearly  the  directors, 
Henry  King,  King  Yidor,  von  Stroheim,  Lubitsch,  emerge 
the  dominating  spirits  of  these  dramas  in  black  and 
white.  It  is  as  if  you  had  been  listening  to  the  same  or- 
chestra play  the  same  music  for  a  long  time,  and  then  sud- 
denly became  aware  of  a  more  competent  and  inspiring 
leadership,  of  an  unflagging  spirit  knitting  it  all  together. 
intensifying  the  shadows  and  the  lights.  .  .  . 

And  quite  as  gradually  it  dawns  upon  your  Robinson 
Crusoe  of  the  brief  nap  away  from  the  movies  that  the 
technique  of  them  is  now  cleaner  and  firmer  than  that  of 
the  older  pictures.  Both  directors  and  actors  seem  to  know 
more  about  what  they  want  to  do,  and  to  have  profited 
silently  by  their  own  experiences  or  errors.  The  camera 
itself  has  undoubtedly  become  a  more  devilishly  accurate 
instrument.  And  there  are  so  few  waste  motions:  every 
piece  of  furniture,  every  bit  of  foliage  is  properly  placed 
or  composed  within  a  de- 
sign ;  the  directors  seem  to 
realize  that  even  their  stars 
are  only  tools,  things  that 
reflect  so  much  moving 
light  and  shade  back  to  the 
camera-lens,  so  that  if  a 
book  or  a  hat  is  more  im- 
portant to  the  whole  effect 
than  the  expensive  and 
temperamental  actress,  the 
book  or  hat  has  its  own 
bright  holiday. 


Says  Mr.  Josephson 

"It  is  astonishing  how  clearly  Henry  King, 
King  Vidor,  von  Stroheim  and  Lubitsch 
emerge  as  the  dominant  spirits  of  these  dramas 
in  black  and  white. 

"American  pictures  outbid  all  others  abroad 
because  of  their  vivid  movement  and  energy. 


"Lubitsch  I  regard  frankly  as  a  dangerous 
influence. 


Cf.veral  years  ago,  in  the 
°  winter  of  1922-1923,  I 
chanced  to  visit,  in  Rerlin, 
the  sumptuous  studios  of 
UFA.  where  I  saw  that 
brilliant  fermentation  out 
of    which    came    so    many 

famous  German  pictures.  Talking  to  the  German  direc- 
tors, I  became  aware  of  the  rapid  developments  that  were 
taking  place.  They  were  proud  of  their  historical 
romances.  "Henry  VIII,"  "Peter  the  Great,"  "Othello." 
all  lavish  with  perfected  detail,  scientific  atmosphere, 
and  artfully  composed  studio  sets.  Also  of  that  weird 
and  imaginative  "Cabinet  of  Dr.  Caligari,"  black  flower 
of  post-war  Expressionism,  which  I  had  already  seen  in 
Paris  in  the  guise  of  a  Swedish  masterpiece.  And  yet, 
much  as  I  respect  and  hope  for  from  the  Germans'  gift 


"Henry  King's  'Stella  Dallas'  was  undoubt- 
edly the  outstanding  achievement  of  .the 
winter." 


for  the  theater,  the  drama,  1  come  to  America  for  certain 
qualities  and  achievements  in  the  film  thai  are  inimitable 
and  unrivaled.  .  .  . 

♦      *      * 

Cok  my  own  part.  I   never  forget  that  the  motion  picture 
means    JUS1    that:    it    involves    motion.      It    has    seemed 

necessary  to  me  thai  the  forms  in  the  screen  be  afo 
in  an  eternal  movement.    The  moment  they  stopped,  or 

had  the  effed  of  Stopping,  1  lost  interest.  Now  e\en  in 
the  best  German  films  at  times,  the  directors  had  a   way 

of  getting  lost  in  the  "literary"  content  of  some  clever  or 
ironical  hook  or  play.  The  picture  suddenly  became  si 
{i.e.  motionless),  and  I  found  myself  watching  a  dull. 
reasonable-looking  sel  that  rarely  changed  or  assumed 
any  fresh  meanings  for  me.  while  the  wise  or  witty  prob- 
lems of  life  were  being  worked  out  between  conscientious 
actors  and  overworked  subtitles. 

Now  our  restless  and  animated  Americans,  with  their 
Spectacular  American  scene,  make  the  most  admirable 
subjects  for  the  film.  American  pictures  still  hugely  out- 
bid all  others  abroad  because  of  the  magnetic  attraction 
of  their  vivid  movement  and  energy.  Always  the  Amer- 
ican films  seemed  to  "follow  the  ball,"  even  in  those 
innocent  pictures  of  Western  life  as  it  never  was.  there 
were  things  that  escaped  them,  moments  of  a  tremendous 
reality  that  the  eye  as  it  watched  knew  was  deeper  and 
more  revealing  than  any  reality  it  had  ever  seen ! 


Cixce  the  motion  picture  is  purely  a  visual  art,  the  eye 
^  strains  to  see  things  untampered  with,  unaltered,  just 
as   they   are,   in   the  penetrating   flashes   of   the   camera. 

Motion  we  have  never 
actually  seen  before.  The 
mass  of  a  face  spread  over 
twenty  feet  of  screen  in 
mobile  lights  and  shadows 
we  have  never  been  able  to 
study  with  so  much  com- 
posure. The  spinning  of  a 
wheel,  the  gallop  of  a 
horse  —  all  these  common- 
place things  have  for  us  a 
super-reality  that  no  other 
art  ever  presented ;  and 
since  we  know  so  little 
about  the  world  we  live  in, 
and  are  assured  now  that 
all  is  relative  (!)  we  hunger 
incessantly  to  see  more  of 
this  world  we  never  really 
see.  In  every  direction  and 
every  corner  of  our  daily 
lives  the  screen  brings  such 


illumination  that  unconscious  habits  or  gestures  or  ex- 
pressions of  the  mouth  and  hand  become  tremendously 
important  things.  To  me  this  has  always  been  the  genius 
of  the  films. 

Ts  it  not  time  to  take  stock,  then,  of  the  present-day  films"' 
*■  Do  the  directors  on  whom  the  whole  business  depends 
realize  these  qualities?  Delighting  in  the  competence, 
orderliness  and  intelligence  of  these  men.  Cruze,  Lubitsch. 
(Continued  on  page  70) 


43 


E 


AST  month  we  picked  some  flaws 
in  the  skill  displayed  by  the 
Pacific    coast    organization    of 


FLASH 


By  F.  J.  S. 


press-agents,  the  Wampas,  in  select- 
ing baby  stars.  If  we  remember 
correctly,  their  selecting  average, 
running  over  a  period  of  five  years, 
ran  to  exactly   .138. 

Modesty  prevents  us  from  making 
a    comparison    with    the    discerning 

ability  of  the  Wampas.    However   (business   of  The     magazine     is     called     NICKELODEON 

blushing),  in  the  August  issue  of  THE  CLASSIC  MASTERPIECES   and   it  is   given   over  to   the 

we  mentioned  the   fact  that  during  the   coming  best  thought  in  the  industry. 

year  950  motion  picture  dramas  would  be  pro-  For  instance,  we  would  publish  contributions 

duced  but  that  just  twenty  of  them  would  be  of  from   all   the   leading  New   York   screen   critics, 

consequence.  We    would    have    F.    Mordaunt    Hall,    of    The 

Yes,  we  named  the  twenty.  And  all  but  Times,  contribute  one  of  his  characteristic  re- 
one  of  the  box-office  hits  of  the  subsequent  views,  except  that  we  would  insist  that  he  tell 
months  were  in  that  twenty.  For  our  chosen  the  plot  in  detail  of  the  film  in  question.  And 
twenty  included :  "The  Big  Parade,"  "The  Merry  we  would  have  Quinn  Martin,  of  The  World, 
Widow,"  "Ben-Hur,"  "The  Gold  Rush,"  "The  tell  exactly  how  he  discovered  Harold  Lloyd 
Freshman,"    "Don    Q,"    "The    Pony    Express,"  some  years  ago. 

"Sally     of     the     Sawdust,"     and     "The     Unholy  We  would  get  an   article  from   Fannie  Hurst 

Three."      Our  list  included  too,   "La  Boheme,"  telling  the  literary  throes  of  creating  such  a  great 

"Mare    Nostrum,"    and    "Moana    of    the    South  story   as  "Mannequin."      This   would  be   a  fine 

Seas,"   the   fates   of  which   remain   to   be    seen,  help  to  people  planning  to  enter  future  scenario 

We    missed    guessing   just   one   big   hit,    "Stella  contests. 

Dallas."  We  would  answer  everyone  who  attacked  the 

Pretty  soon  we  are  going  to  select  our  chosen  screen  by  declaring,  with  as  much  heat  as   we 

list  of  next  year's  hits.     Producers  and  exhibitors  could  generate  offhand,  that  the  aforementioned 

are   welcome   to  look   over   the   list  —  and   reap  attacker    was    just    a    disappointed    person    who 


their  respective  fortunes. 
Yes,  come  to  think  of 
it,  with  nine  hits  out  of 
twenty  selections  to  date, 
our  guessing  average  is 
.450. 


Naturally,  it  is  the 
easiest  thing  in  the  world 
to  make  lists  and  predic- 
tions. We  ■plead  guilty 
again  in  selecting  the  sex 
best  sellers  of  the  screen 
at  the  present  moment 
of  palpitating  to  press: 

Vilma  Banky 
Norma  Shearer 
Dolores  Costello 
Renee  Adoree 
Greta  Nissen 
Esther  Ralston 


Everybody  loves  to  im- 
agine things.  We  have 
an  imaginary  film  maga- 
zine in  which  we  publish 
(mentally)  all  the  things 
that  we  (personally)  like. 

44 


ALICE  JOYCE 
An  impression  by  Wynn,  Paris 


had  tried  to  sell  sce- 
narios. 

We  would  run  a  lot  of 
pictures  oi  Hollywood 
stars'  backyards,  showing 
the  complete  extent  of 
the  bathing-pool  vogue. 
And  we  would  have 
Marie  Prevost  pose  on 
the  edge  of  everyone  of 
the  pools. 

We  would  run  a  lot  of 
pictures  of  the  young 
ladies  mentioned  in  the 
preceding  item  on  this 
page.  And  we  would 
throw  all  pictures  of 
Ernest  Torrence  et  ah 
into  the  wastepaper 
basket. 

We  would  run  only 
such  interviews  as  the 
one  in  this  CLASSIC 
with  Laura  La  Plante ; 
i.e.,  chats  with  frank 
cuties  who  did  not  try  to 
palm  off  the  idea  that 
they  loved  Strindberg. 

We  would  only  review 
productions     by     King 


BACKS 


About  Pictures  and  People 


Probably     the     moil      interacting 

CVCMlt      <>t      tile-      ilUtllMIM       - 

a  ill  be  the  launching  <>t  I  I 
son  as  a  star  in  special   pi  ms. 

As   Miss   Swanson    herself    point 
out  in  a  recant  CLASSIC,  she  i 

been      starring      in      moder.i  *i  i-pri 
program    pictures,    altho   critics    have 
frequently  commented  upon  these  as 
it  they  were  specials. 
Vidor,    Ernst    Lubitsch,    Eric    von    Stroheim    and  Gloria    lifted    these    to    prominence    hy    sheer 

John  Robertson,  or,  upon  favorable  report,  those  personality.  We  doubt  if  there  is  a  more  vivid 
of  certain  German  directors.  Rex  Ingram  and  feminine  figure  in  all  picturedom  than  Miss 
Henry  King.  Swanson.      She   has   gone   through    a    number   of 

We     would     review     more     pictures     starring      eras  in  the  development  of  her  career,  be  it  noted 
Richard  Barthelmess  and  Richard  Dix  because,  She  was  under  the   De   Mille    influence  for   a 

in  NICKELODEON  MASTERPIECES,  we  time  and  then  after  that  she  was  a  devotee  of 
wouldn't  care  how  much  our  personal  liking  for  Elinor  Glyn,  the  lady  who  discovered  the 
these  chaps  brought  superlatives  rushing  to  our  asterisk.  She  threw  off  these  influences,  began 
typewriters.  to   develop    rapidly    and    hit    her    stride    in     "The 

We   may  go  on   baring  our   editorial   soul    (or      Humming  Bird.'' 
lack  of  it)  next  month.     We  11  see.  Up  to  that  time  she  had  been  looked  upon  as 

a  wearer  of  picturesque  attire.    In  brief,  she  was 

a  clothes  horse.     But  she  has  used  her  brain  in 
Last  month  we  handed  out  a  lot  of  medals  to      developing    herself   and   she    has   forced   her    ac- 
the  unsung  heroes  of  the  screen,  the   men   who      ceptance  by  the  public  as  a  big  star. 
do  the  real  work  and  never  get  the  credit.     Some-  Miss  Swanson's  first  vehicle,  we  understand, 

how  we  overlooked  the  unhappy  fellow  who  did      is  to  be  an  ornate  adaptation  of  'The  Miracle, 
the  cutting  of  " Ben-Hur.  the    Max    Reinhardt    spectacle    which    was    1m- 

Imagme    trimming    the    thousands    of   feet    of      ported    a   year   or    so    ago    witk    a    great    deal    of 
original  negative  down  to  the  mere  twelve  reels      theatrical    hokus-pocus    by    Morris    Gest.       This 
of   the    "Ben-Hur      as    it 
is  being  shown  now!   The 
by     the 


cutter  s  name, 
way,  is  Lloyd  Nosier, 
and  something  ought  to 
be  done  about  getting 
folks  to  rush  some  fan 
mail  his  way. 

My  spies  report  to  me 
that  1,600.000  feet  of 
negative  were  shot  in 
making  "Ben-Hur,"  from 
which  800,000  feet  of 
positive  were  printed. 
Nosier  cut  this  800,000 
down  to  12,000. 

The  Jof>pa  Gate  se- 
quence, shot  in  Italy,  was 
trimmed  from  100,000  to 
1,000  feet,  while  the 
Roman  galley  sequence 
was  lof>f>ed  from  about 
132,000  feet  to  1,500. 
The  chariot  race  occupied 
originally  200,000  feet  of 
negative.  The  race  now 
runs  1.000  feet. 

Nosier  must  have  cut 
his  film  like  a  dyspeptic 
city  editor. 


ROD  LA  ROCQUE 
An  impression  by  Wynn,  Paris 


is  a  version  of  the  old 
medieval  legend  which 
also  served  as  the  basis 
of  Maeterlinck's  ''Sister 
Beatrice. 

This  old  Dutch  legend 
is  a  delicate  subject  for 
the  screen.  It  relates  of 
a  nun  who  is  seduced 
away  from  her  convent 
by  a  brash  crusader. 
When  she  returns,  she 
finds  that  her  place  has 
been  assumed  by  the 
Virgin,  so  that  her  ab- 
sence has  passed  without 
notice.  The  legend  points 
the  moral  that  love  ex- 
tenuates all. 

We  suspect  that  Miss 
Swanson  will  play  the 
runaway  and  the  image 
of  the  Virgin  which  comes 
to  life  and  assumes  the 
role  of  the  nun.  In  the 
Reinhardt  production 
these  parts  were  played 
by  two  actresses.  Lady 
Diana  Manners  being  the 
(Continued   on    page   86) 

45 


Out^ 
OWN 

NEWS 

CAMERA 


Harry  Cooper,  winner  of  the  $10,000  Los 
Angeles  national  golf  championship,  visited 
the  Lasky  studio  right  after  the  tournament. 
Naturally,  he  talked  to  Bebe  Daniels,  who 
loves  golf.  And  naturally,  the  press-agent 
snapped  'em  both.  Cooper  hails  from  Dallas, 
Texas 


No,  Virginia  Bedford  isn't 
doing  a  seven-league-boot 
stunt.  No,  indeed!  She  is 
merely  jumping  over  a  mo- 
tion picture  miniature,  a 
tiny  farmhouse  built  in  the 
studio 


46 


., 


Ladies  and  gentlemen,  we  present  the 
King  and  the  Queen  of  "The  1'iest.i 
of  the  Tropics."  held  in  Miami. 
Florida.  The  City  of  Realtors  had  a 
gay  celebration.  You  will  note  that 
Ben  Lyon  was  the  king  and  Eugenie 
Selma  the  Queen.  The  hobo  whiskers 
had  to  be  grown  by  Ben  for  his  next 
screen  role.  Hence  the  comedy  king 
appearance 


Joan  Crawford  breaks  into  The 
Classic  so  frequently  that  we  hardly 
know  what  to  do  about  it.  Just  when 
we  had  made  a  resolution  not  to  use 
her  picture  for  awhile,  she  went  and 
was  snapped  demonstrating  a  high 
kick.  Do  you  blame  us  for  breaking 
our  resolution? 


Thomas    Meighan    went    to    Florida    to    film    scenes    of    "The    New 

Klondike,"    in    which    he   plays   a    baseball    pitcher.      Here   you    may 

observe  Gene  Tunney,  the  fighter  (at  left),  and  Gene  Sarazen,  former 

open  golf  champion,  looking  him  over  at  Miami 


47 


The  CLASSIC'S  Own  News  Camera 


Hollywood  Honeymooners:   Roy  D'Arcy  and  his  bride,  the 

former  Laura  Rhinock  Duffy,  daughter  of  the  vice-president 

of  Metro-Goldwyn-Mayer   Pictures:     Remember  Roy  as  the 

crown  prince  in  "The   Merry  Widow"? 


Stellar  disclosures  continue!  Here  is 
Norma  Talmadge  as  the  piquant  French 
gamine,  Kiki,  played  on  the  stage  by 
Lenore  Ulric.  Herewith  is  the  Talmadge 
Kiki  in  the  theater  scene  of  the  screen 
version 


*-w-^WR- 


Being  a  stellar  favorite  has 
its  tribulations,  as  we  have 
intimated  before.  The  item 
of  avoirdupois  is  a  vital 
problem,  for  instance.  Here 
you  have  Bebe  Daniels  keep- 
ing in  training  with  her 
friend,  Marie  Mosquini.  They 
do  this — and  twenty  other 
convolutions  every  morning. 
All  these  are  designed  to 
keep  the.  hips  at  the  right 
i  weight 


48 


Masterpieces  of  the  Screen 


By  Eugene  V.  Brewster 


IF  anybody  were  to  ask  who  was  the 
greatesl    general    thai    ever    lived, 
who  was   the  greatest    phil 
pher.  or  the  greatest  prize-fighter, 
or  what  was  the  greatest  paint- 

or  novel,  or  poem,  how 
could  one  answer"-  How  can 
one  compare  a  race-horse  with 
indeer,  both  being  per- 
animals  of  their  kind? 
And  so.  how  are  we  to 
compare  "The  Birtli  of  a 
Nation"  with  "The  Last 
Laugh"'  We  have  no  yard- 
stick with  which  to  measure 
the  qualities  of  a  picture 
and,  therefore,  we  cannot 
compare  pictures  with  scien- 
tific accuracy.  Again,  a  picture 
may  not  please  us  and  yet  be  a 
masterpiece.  Likewise,  a  picture 
may  be  very  bad  technically  and  yet 
please  us  immensely.  Let  us  see  if  we 
cannot  formulate  some  sort  of  diagram, 
chart  or  schedule  of  qualities  that  a  one 
hundred  per  cent,  picture  should  have. 
First,  it  must  have  story  interest.  While 
pictures  of  a  mere  rose, and  a  simple  "scenic"  might  be 
masterpieces  of  their  kind,  they  could  not  be  rated  as 
one  hundred  per  cent,  pictures  because  they  do  not  include 
many  of  the  qualities  that  a  one  hundred  per  cent,  picture 
must  contain.  Strictly  speaking,  a  one  hundred  per  cent, 
picture  must  have  all  the  elements  and  qualities  that  a 
picture  could  possibly  contain.  Let  me  try  to  name  some 
of  those  qualities : 


EUGENE    V. 


©  Lumiere 

BREWSTER 


Drusilla  with  a  Million 
Foolish  Wives 


perhaps,  that  has  ever  been  conceived; 
therefore,  it  other  things  were  equal 
the  lattt  far  tin-  greater  pic- 

ture.     I  he   former  mighl  bi 
hundred   per  cent    ol   its  kind, 
just    a-    a    picture   of    a 

might    he,    hut    the    "kind"    i^ 

not  the  greatesl  possible  and 
therefore,  these  cannot  he 
classed  as  one  hundred 

cent,     pictures.       The 
movie      drama      ever      pro- 
duced,   "The     Great     Train 
Robbery,"     was    a    ma 
piece  of  its  kind  and  for  it^ 
time,  and  so  was  "The  Birtli 
of  a  Nation."  which  came  a 
dozen   or   so   years   later ;   hut 
neither    of    these    would    be    a 
Y  masterpiece    today.       Here    is    a 

group  of  dramas  that  were  master- 
pieces   of    their    kind    and    for    their 
time : 


Driven 

The  Jack-Knife   Man 
The  Lady 
Tol'able  David 
Broken   Blossoms 

Revelation 

A  Tale  of  Two  Cities 


B 


Story  interest 

Direction 

Theme 

Acting 

Heart  interest 

Beauty 

Instructive  value 

Characterization 

Dramatics 

Titles 


Climax 


Construction 

Universal  interest 

Suspense 

Spectacle 

Box-office  value 

Photography 

Cast 

Morals 

Historic  Value 

Finesse 


Eugene   V.    Brewster    selects    the    six   masterpieces    of 
the  screen: 


The  One  Hundred  Per  Cent.  Picture 

There  are  other 
qualities,  but  these 
will  suffice.  Some 
of  these  may  not  be 
necessary  to  a  one 
hundred  per  cent, 
picture,  you  may  say, 
such  as  "morals" — 
a  picture  need  not 
preach  or  point  a 
moral  to  be  one  hun- 
dred per  cent.    Yes, 

but  if  it  does  contain  this  quality,  is  it  not  so  much  the 
better  ?  A  one  hundred  per  cent,  picture,  you  may  say.  need 
not  be  a  spectacle  and  have  gorgeous  sets  and  stupendous 
mobs;  but.  if  it  does,  is  it  not  a  greater  picture  with  than 
without?  The  theme  of  "The  I^ast  Laugh"  was  very 
simple,  while  the  theme  of  "Ben-Hur"  was  the  greatest, 


"Ben-Hur" 

"The  Wanderer" 

"The  Ten  Commandments" 


Masterpieces  of  Their  Kind 

ut  the  same  class  of  picture  has  since  been  equaled 
and  surpassed ;  therefore,  they  are  not  one  hundred 
per  cent,  pictures.  "The  Lost  World"  was  a  masterpiece 
of  its  kind  and  unique,  but  it  did  not  contain  all  of  the 
elements  of  a  one  hundred  per  cent,  picture.  "Shoulder 
Arms,"  "The  Kid."  "Safety  Last,"  "Introduce  Me," 
"Seven  Chances"  and  other  comedies  were  masterpieces 
of  their  kind,  but  they  were  not  of  the  one  hundred  per 
cent,  kind  and  could  not  possibly  contain  all  of  the  ele- 
ments of  a  one  hundred  per  cent,  masterpiece.  "The 
Miracle  Man"  and  "The  Four  Horsemen"  were  also 
great,  but  they  were  not  of  the  one  hundred  per  cent. 
kind.  Several  of  the  pictures  of  Mr.  Fairbanks  were 
masterpieces  of  their  kind,  notably  "Robin  Hood,"  and  so 
were  some  of  the  "histories"  like  "The  Thundering  Herd" 

and  "The  Pony  Ex- 
press," but  none  of 
them  contained  all 
of  the  elements  of 
a  one  hundred  per 
cent,  picture,  even 
tho  they  were  per- 
fect so  far  as  they 
went  and  even  if 
it  were  impossible 
to  have  added  any 
of  these  elements 
without  marring  the  picture.  There  is  still  another  group 
of  great  pictures : 

The  Hunchback  of  Notre  Dame  The  Sea  Hawk 

The  Phantom  of  the  Opera  He  Who  Gets  Slapped 

The  Merry  Widow  The  Unholy  Three 

The  Vanishing  American  Kiss  Mc  Again 

{Continued  on  page  79) 


"Stella  Dallas" 

"The  Big  Parade" 

"Lady    Windermere's    Fan" 


49 


The  Celluloid  Critic 

By  Frederick  James  Smith 


I 


A  WEEKLY  magazine  re- 
cently conducted  a  contest 
in  conjunction  with  the 
Famous  Players,  offering  a  prize 
of  $50,000  for  the  best  story 
adaptable  to  motion  pictures. 

The  fifty  thousand  smackers 
were  awarded  to  Fannie  Hurst 
for  a  story  called  "Mannequin." 
The  story,  in  brief,  is  the  old 
hokum  of  the  baby  stolen  from 
her  crib  and  later  reunited  to  her 
real  parents.  Even  the  old  situa- 
tion, of  the  girl  being  tried  in  a 
court,  of  which  her  own  real 
father  is  the  judge,  is  trotted  out 
for  inspection. 

That  Winning  Story 

f   this   ancient   dramatic   wheeze 

was  the  best  story  turned  in  by 
the  magazine  contestants,  then 
motion  picture  companies  prob- 
ably are  right  in  refusing  to  read 
unsolicited  scripts.  Miss  Hurst 
must  have  chortled  in  her  Paquin 
sleeve  upon  receiving  the  $50,000  for  this  venerable  junk. 

"Mannequin"  was  a  darn  sight  better  produced  than  it 
deserved  to  be.  Doubtless,  the  eminent  Famous  Players 
realized  the  weakness  of  their  prize  and  decided  to  dress 
it  up  as  best  they  could.  Director  James  Cruze  gives  the 
creaky  tale  a  whole  lot  of  human  atmosphere.  And  he 
gets  superb  assistance  from  Dolores  Costello  as  the  girl 
and  Alice  Joyce  as  the  mother  of  the  kidnaped  kiddie. 

I  am  not  going  to  go  further  in  exposing  the  bones 
of   this   ancient   plot    for   your   ribald   laughter.      I    will 
explain  that  the  stolen  child  is  raised  in  the  tenements, 
becomes  a  clothes  model  and  is  unjustly  accused 
of  murder,  everything  being  explained  by  a 
deathbed  confession.     Personally,  I  think 
Miss  Hurst  ought  to  donate  at  least  a 


James     Kirkwood     and     Carol 
Dempster  in  "That  Royle  Girl" 


< 

Ball 


Frederick  James   Smith 


part  of  her  $50,000  to  the  great- 
great-great-grandchildren  of  the 
original  author  of  this  plot,  pro- 
vided he  can  be  traced. 

As  I  have  intimated,  Miss  Cos- 
tello gives  a  striking  performance 
of  the  girl,  Joan.  This  Miss  Cos- 
tello is  going  to  be  a  big  star  of 
the  screen,  or  I  shall  miss  my 
guess.  She  looks  a  bit  like  Elsie 
Ferguson  when  she  first  dawned 
upon  the  theatrical  horizon  and 
she  possesses  a  singular  sympa- 
thetic charm.  With  any  sort  of 
break,  Miss  Costello  is  going  to 
do  big  things. 

Miss  Joyce  gives  one  of  those 
understanding  performances  au- 
diences have  come  to  expect  of 
her.  And  Director  Cruze  has  in- 
jected a  human  note  here  and 
there.  For  all  its  antique  machin- 
ery, "Mannequin"  will  touch  you 
now  and  then,  thanks  to  Miss 
Costello  and  Miss  Joyce. 

Watch  Miss  Costello! 

A  New  Dorothy   Gish 

T  viewed  "Nell  Gwyn,"  an  English  product,  at  a  special 
showing.      It    may    not    reach    the    general    public    of 
America,   which   will   be    regrettable,   since    it   reveals   a 
Dorothy  Gish  you  have  never  suspected  heretofore. 

"Nell  Gwyn"  tells,  in  leisurely  English  film  fashion, 
the  story  of  the  orange  girl  who  became  an  actress  and 
who  won  a  portion  of  the  flitting  affections  of  the  gay 
Charles  II.  It  is  practically  a  film  monolog,  barely 
sketching  the  gay  court  of  those  dissolute  roistering  days. 
"Nell  Gwyn"  is  singularly  lacking  in  drama,  altho 
the  period  was  vibrant  with  color,  as  any 
reader  of  Samuel  Pepys'  diary  will  testify. 
I      suppose     the     producer-director, 

Esther    Ralston    and    Laurence 
Grey  in  "The  American  Venus" 


The  New  Photoplays 
in  Review 


Herbert  Wilcox,  would  explain  that  he  did 

wish  to  distort  histoi  \    with  the  inj< 
turn  of  romance  01   dramatic  climax.     But 
^t<«r\   has  plent)    of  distortion,  as,   for 

ance,  the  metamorphosis  of  the  Duke  <>t 
York  into  .1  doui  faced  Puritan.     \nd  there 
i  uracies  galore 

I  have  said  that  "Nell  Gwyn"  reveals  a 
new  Dorothy  Gish.  1  use  the  word  liter- 
ally. Nell's  attire  leaves  little  to  the 
imagination.  However,  Miss  Gish  stands 
the  revelation  admirably.     Hei  playing  lias 

to,  buoyancy  and  humor.  The  roister- 
-pirit  of  the  real  Nell,  as  she  must  have 
existed  in  those  rough  and  merry  days, 
i>n't  there.  But  the  characterization  has 
more  breadth  and  verve  than  anything  Miss 
Gish  has  given  the  screen.  If  her  work 
is  repetitious,  it  is  because  the  direction  is 
decidedly   amateurish.     The  work  of  Randle 

rton  as  Charles  11  is  good,  but,  outside 
of  Miss  dish,  the  real  honors  go  to  Roy 
t  Iverbaugh,  an  American  cameraman,  for 
his  photography. 

Those    Dempster    Limbs 

HAVE     noted     Miss-    Gish's     revelations. 

Then  there  are  those  of  Carol  Dempster 
in  "That  Royle  Girl"  to  be  considered.  If 
I  may  say  so,  Miss  Dempster's  legs  are  the 
real  features  of  this  decidedly  mediocre 
effort  by  D.  W.  Griffith. 

"That  Royle  Ciirl"  is  adapted  from  a 
magazine  serial  by  Edwin  Balmer.  It  con- 
cerns the  tribulations  of  a  cutie  whose 
father  is  a  lazy  student  of  prohibition  and 
whose  sweetheart  is  unjustly  accused  of 
murder.  It  moves  thru  the  underworld  of 
Chicago  and  terminates  with  a  cyclone 
somewhere  in  the  outskirts  of  that  metropolis.  The 
cyclone  is  mildly  interesting,  wrecking  the  roadhouse 
where  Daisy  Royle  is  held  prisoner.  There  is  a  certain 
unsavory  element  running  thru  "That  Royle  Girl,"  prin- 
cipally centering  about  the  chief  villain  who  carries  a 
little  whip  and  is  palpably  a  subject  for  Dr.  Krafft- 
Ebing.  Miss  Dempster's  histrionic  contribution  to  "That 
Royle  Girl"  isn't  much,  altho  that  is  the  fault  of  a  rush- 
ing and  false  melodramatic  story,  but  she  does  lead 
piquant  support  to  the  tottering  tale.  No  one  can  ever 
say  that  this  Griffith  picture  hasn't  a  leg  to  stand  on. 
V\  .  C.  Fields  is  in  the  story,  playing  the  father,  but  he  is 
only  allowed  to  catch  the  camera  once  or  twice.  Even 
in  those  flashes,  he  reveals  his  fine  comic  spirit.  Fields  is 
going  to  be  as  great  as  Chaplin  in  three  years.  Wait 
and  see. 

To  continue  the  revelations  of  the  month,  let  me  next 
consider  "The  American  Venus,"  an  original  story  built 
around  the  late  lamented  national  bathing-girl  contest  at 
Atlantic  City.  I  resent  "The  American  Venus"  because 
it  is  essentially  cheap  and  tawdry,  being  built  obviously 
upon  the  idea,  already  a  success  at  Atlantic  City,  of 
exploiting  gals  in  brief  bathing  attire.  Like  everyone 
else,  I  like  pulchritude,  but  I  hate  to  see  it  retailed  in 
circus  and  Chautauqua  fashion. 


Dorothy  Gish  in'"Ncll  Gwyn" 


C   K   O.  Hoppc 


The  plot  of  "The  American  Venus"  almost  makes 
"Mannequin"  look  like  a  literary  masterpiece.  This 
tremendous  mental  effort  of  Mr.  Townsend  Martin  dis- 
closes how  the  daughter  of  the  owner  of  a  small  town 
beauty-cream  factory  enters  the  beauty  contest.  The  pro- 
prietor of  a  rival  cream  works  holds  a  mortgage  on  the 
plant  and  is  going  to  foreclose  unless  the  gal  will  marry 
his  son.     Honest,  that  is  the  story. 

Another    Literary    Gem 

Vol'  will  have  to  go  to  see  "The  American  Venus"  if 
you  wish  to  know  the  denouement.  I  left,  but  not  un- 
til the  camera  had  proved  to  my  satisfaction  that  Esther 
Ralston,  in  a  one-piece  suit,  completely  eclipses  Fay 
Lanphere,  the  real  winner  of  the  1925  contest,  who  also 
appears  in  this  big  literary  gem.  Ford  Sterling  was 
showing  signs  of  stealing  the  picture  when  I  left  the 
theater.  The  much-exploited  Broadway  chorus  beauty, 
Louise  Brooks,  is  in  the  piece.  She  has  a  provocative 
face,  but  she  hasn't  learned  yet  how  to  make  her  knees 
behave. 

"Womanhandled,"      Richard      Dix's      newest      starring 
effort,  amused  me  a  lot.     A  great  deal  of  the  credit   for 
the    diverting    qualities    of    this    comedy     goes     to    one 
{Continued  on  page  89) 


51 


Ewald  Dupont,  the  director,  and  Emil  Jannings  between 
scenes   of   "Vaudeville,"   which   features   Mr.   Jannings 


CERTAINLY  Ewald  Andre  Dupont  can  be  called 
one  of  th'e  most  interesting  personalities  in  motion 
pictures.  In  Germany  he  is  the  most  popular  of 
all  film  directors  and  in  Berlin  they  are  predicting  that  it 
wont  be  long  until  his  name  will  be  just  as  popular  in  the 
United  States.  He  has  had  a  contract  with  Universal  for 
many  months  and  he  is  now  in  California  about  to  start 
his  first  American  picture. 

Dupont  was  born  in  1891.  He  comes  from  one  of 
those  old  Huguenot  families  which  emigrated  from  France 
in  the  eighteenth  century  and  became  the  special  pets  of 
Frederic  the  Great,  who  strongly  favored  their  immigra- 
tion into  Prussia.  The  Duponts,  during  two  centuries, 
have  yielded  quite  a  number  of  strong  personalities  in  all 
walks  of  life.  Since  the  second  half  of  the  last  century 
they  have  gone  in  mostly  for  newspaper  work  and 
many  of  them  have  played  important  parts  in  German 
journalism. 


Born  Into  Journalism 

UPONt's  father  was  editor-in-chief  of  the  then  most 
popular  Berlin  daily.    He  died,  however,  when  young 
Andre,  or  Ewald  as  he  is  generally  called  by  his  friends, 


D 


Presenting 

DUPONT 
of   Berlin 


was  barely  six  years  of  age.  And.  strange  to  say, 
the  fact  of  his  being  the  famous  journalist's  son 
did  more  to  impede  than  to  help  the  boy's  own 
rnalistic  career.  In  the  big  publishing  house,  where 
ago  his  father  had  played  such  an  important  part, 
it  was  not  at  all  easy  for  that  young  and  highly  ambitious 
journalist  to  be  recognized  on  his  own  merits.  He  had 
literally  to  force  himself  on  these  people  by  writing  under 
an  assumed  name  before  they  at  last  accepted  "Old 
Dupont's  son"  as  an  editor  who  had  won  his  way  thru 
sheer  efficiency. 

Very  soon  (this  was  about  fifteen  years  ago,  at  the 
time  when  film  production  was  at  its  very  infancy  in 
Germany)  the  young  editor  began  to  revolutionize  his 
columns  by  starting  a  thing  unheard  of  at  that  time.  He 
began  to  take  the  movie  seriously.  He  was  the  first  man 
who  ever  wrote  a  film  review  in  Germany. 

First   German   Film   Critic 

A  NY  amount  of  ridicule  was  showered  upon  the  young 
editor  for  giving  serious  thought  and  valuable  space 
to  so  silly  and  unimportant  a  thing.  But  Dupont  was  not 
to  be  discouraged.  Once  he  had  recognized  the  impor- 
tance of  the  new  silent  art,  he  considered  it  his  duty  to  do 
all  he  could  towards  improving  it. 

Much  as  the  trade  and  the  film  producers  were 
delighted  to  see  their  work  taken  seriously  in  an  impor- 
tant newspaper  and  by  a  recognized  journalist,  they  very 
soon  began  to  be  rather  scared  by  that  young  man's 
frankly  outspoken  criticism. 

It  was  mostly  the  story  and  still  more  the  continuity 
of  those  pioneer  films  which  elicited  those  severe  and 
highly  dreaded  criticisms  from  the  young  reviewer.  And 
it  certainly  was  not  a  bad  idea  when  one  of  the  producers 
approached  the  young  editor  with  the  request  that  he  try 
to  write  a  continuity  himself  instead  of  condemning  every 
story  he  saw  on  the  screen. 

Writes   His   First   Script 

P\upont  jumped  at  this  opportunity.  Within  the  next 
year  or  so  he  wrote  more  than  thirty  scenarios.  For 
the  first  one  he  received  a  salary  of  $10.  Very  soon, 
however,  he  was  considered  by  the  steadily  growing 
trade  to  be  a  crack  scenario  writer  or,  as  a  matter  of  fact, 
almost  the  only  one  of  his  time  and  he  was  paid  the  then 
enormous  weekly  salary  of  $250  for  continuity.  Indeed, 
this  was  a  great  deal,  considering  the  fact  that  at  that  time 
the  cost  of  production  hardly  ever  reached  the  $2,000 
mark.     The   leading   stars,   mostly    famous    Berlin    stage 

actors,  were  quite  contented  with 

a    salary    of    $25    a    day,    plus 

Ewald  Dupont  direct-        second-class  railway  expenses  in 

ing  nigln  stuff  on  the        case  of  exteriors. 

Ufa  •   •    •    o  jt  was  not  jong  before  ]3Upont; 


52 


Another  German 

Directory  Graduate 

Journalist,  Comes  to 

America 

By  HEINKICH  FRAENKEL 
of  Berlin 


who  was  just  twenty  two  at  that  tunc 
in  for  the  production  of  a  film 

and    not    merely    continuity    writing. 

He    was    successful    from    the    verj 

start.  .Altho  he  lias  already  produced 
than     thirty     films,     there     has 

hardly  been  one  failure  among  them. 

Most  of  them  have  been  artistic  suc- 

cesses  and  have  scored  high  in  box- 
receipts  in  Germany  and  other 

European  countries. 

A  Successful   Director 

[  shall  not  mention  the  titles  of  all 
*  those  pictures,  but  it  is  interesting 
that  in  one  of  them  the  producer  in- 
tentionally did  not  use  a  single  star. 
preferring  to  take  into  the  cast  only 
"quite  new  faces."  In  this  he  was 
successful  and  he  has  always  laid 
special  stress  on  giving  a  chance  to 
young  artists. 

Dupont    has   long   been   keenly    in- 
ed   in   vaudeville   business.     He 
even  went  to  the  extent  of  running  a 
big  vaudeville  organization  some  two 
years  ago.   There  isn't  anything  worth 
knowing  about   the   business    that   he 
doesn't   know.      Surely   this    intimate 
knowledge    was    useful    to    him    last 
year  when  he  directed  the  biggest  ami 
most  ambitious  of  his  productions,  the  one  which  Berlin 
believes  will  make  him  popular  in  America  as  well.     This 
was  "Vaudeville,"  featuring  Emil  Jannings.    His  Univer- 
sal contract  was  made,  however,  before  this  picture  wa- 


ff a 


Ewald  Andre  Dupont 
comes  of  a  long  line 
of  journalists  and  he 
was  himself  a  promin- 
ent Berlin  editor  before 
he  became  interested 
in  the  screen 


released,  which  implies  that  it 
was  offered  on  the  strength  of 
former  merit. 
It  is  not  necessary  to  mention 

here    any    details 

about    "Vaudeville," 

featuring      Jannings 

and   Lya   de   Putti,   since   the   picture   will   be 

released  soon  in  America. 

Quiet  Home  Life 

C  wald  Dupont's  private  life  is  and  always  ha.s 
been  a  rather  quiet  one.  He  is  a  married 
man  and  he  likes  his  home  in  town  as  well  as  in 
the  pretty  little  bungalow  he  owns  near  one  of 
the  beautiful  Bavarian  lakes.  Here  he  retreats 
for  a  quiet  spell  of  recreation  whenever  he  finds 
a  short  time  from  his  work.  He  likes  gardening 
and  he  is  also  quite  a  keen  motorist. 

He  told  me.  before 
leaving  Berlin,  that  he 
was  looking  forward 
to  his  Amercian  trip 
and  all  the  possibili- 
ties for  work  which 
seem  to  be  in  store 
for  him  there. 


Shooting  a  scene  of 
"Vaudeville."  The 
rotund  man  at  the 
camera  is  Karl 
Freund,  who  became 
famous  in  America 
for  his  photography 
of  "The  Last  Laugh" 

Ufa 


53 


Random  Impressions 


[Eugene  V.  Brexvster,  the  editor-in-chief  of  the 
Brewster  Publications,  has  been  visiting  the  Coast  studios. 
You  will  be  interested  in  reading  his  impressions  of  the 
Western  capital  of  Celluloidia.] 

N  front  of  the  Fox  studio  in  Hollywood  is  a  small 
grass  plot  on  which  is  a  little  black  and  gold  sign 
reading  thus : 


I 


I   AM    GRASS, 

NOT  gas; 

DONT   STEP  ON   ME 


pvo  you  remember  Virginia  Pearson  of  the  dim  and  dis- 
tant  past?  That  vivid,  beautiful  brunette  who  was 
right  up  among  the  leaders  a  dozen  years  ago?  Well,  at 
a  Preview  of  Commodore  Blackton's  latest  picture  the 
other  night,  there  was  a  very  striking  blonde,  young  and 
beautiful,  the  observed  of  all  observers,  and  her  hair  was 
a  shimmering  gold.  It  was  the  same  Virginia  Pearson. 
And  her  husband.  Sheldon  Lewis,  sat  by  her  side,  look- 
ing much  too  old  for  her. 


ver  at  Fox's  studio  they  think  they  have  the  coming 
greatest  star  of  all.     I  had  a  good  look  at  her  and 
she  looks  the  part.     It  is  Olive  Borden. 


O 


YK7  ho  do  you  think .  is  Hollywood's  greatest  pianist  ? 
" V  No,  it  is  not  Eleanor  Boardman,  altho  she  seems 
artistic  and  looks  very  much  like  a  musical  artiste  of 
some  kind.  It  isn't  a  woman,  anyway — it's  a  man.  No, 
not  Ramon  Novarro,  altho  he  plays  the  piano  very  well 
indeed  and  sings  excellently.  Yes,  and  he  looks  the  part, 
too.  Nor  is  it  the  suave,  polished  Valentino,  nor  yet 
Ronald  Colman,  who  might  well  be  a  musician.  No,  you 
are  not  even  warm. 

Well,  I'll  let  you  in  on  it.  Remember  "Tol 'able  David"? 
Remember  that  terrible,  gigantic  tramp  who  oozed  villainy 
and  wickedness  from  every  pore?  And  that  big,  ugly, 
raw-boned  chap  who  nearly  ran  away  with  "The  Covered 
Wagon"?  And  that 
monstrosity  who  ran  a 
blacksmith  shop  with 
one  hand  while  holding 
a  Bible  in  the  other  in 
"The  Pony  Express"? 
Yes,  that's  the  chap — 
Ernest  Torrence !  But 
who  would  think  it? 
And  he  carries  a  big 
gold  medal  as  the  star 
opera-singer  of  the 
Royal  Academy  of  Mu- 
sic in  London,  too ! 


The  finest  speaking  voice  I  ever  heard  issue  from  a 
human  throat  came  out  of  the  face  of  Noah  Beery  the 
other  day  while  I  was  dining  with  him  at  the  Montmartre. 
It  is  rich,  deep,  resonant,  clear  and  what  I  would  call 
perfect.  He  says  he  can  sing  several  notes  below  lower 
C,  and  I  doubt  not.  And  yet  the  poor  man  cannot  (or 
will  not)  make  a  public  speech.  What  a  pity!  Charles 
Murray  and  he  should  do  some  swapping. 


And  speaking  of  anom- 
alies,  of  queer 
freaks  of  unnatural 
selection,  who  do  you 
think  is  the  star  master 
of  ceremonies,  toast- 
master,  etc.,  on  the 
Coast?  You  will  at  once 
think  of  all  the  hand- 
some, dignified,  cul- 
tured, polished,  suave, 
smooth-voiced  men  you 
have  heard  of,  but  you'll 
never  guess,  because  he 
is  the  lowest  of  low 
comedians,  always  play- 
ing absurd  comedy  parts, 
and  you  picture  him  as 
a  comical  Irish  hod- 
carrier.  Yes,  it's 
Charles  Murray,  and 
he  always  makes  a 
hit. 


Vou  may  not  believe  it,  but  Hollywood  goes  to  sleep 
about  9  P.   M.     It  is   really  a  quiet  town.     During 

the  day  it  is  all  bustle  and  hustle  like  any  other  big  city. 

The  film  folks  work 
hard  all  day  and  they 
take  it  easy  all  night. 
They  have  to. 


LIandsome  Jack  Gil- 
bert looked  anything 
but  handsome  fixed  up  as 
a  burlesque  Red  Grange 
at  Marion  Davies* 
costume  ball.  And  he 
didn't  try  to  look  pretty, 
and  he  wasn't,  and  I 
told  him  so,  and  he 
liked  it  and  I  liked  it. 


Pharlie  Chaplin 
certainly  enjoyed 
taking  off  Napoleon  at 
the  ball,  and  he  looked 
the  part  amazingly.  I 
told  him  if  he  could  find 
some  humorous  inci- 
dents in  Napoleon's  life 
and  play  the  part 
straight,  in  a  feature 
high-class  comedy,  it 
would  be  a  knock-out. 
And  it  would. 


Our  idea  of  a  charming  lad,  otherwise  Marion  Davies 
masquerading  in  "Beverly  of  Graustark" 


Vou  can  ride  around 
Hollywood  for  hours 
and  never  know  but 
what  you  are  in  Phila- 
delphia, or  Atlanta,  or 
Chicago.  You  might 
come  across  some 


54 


of  Hollywood 


By 
Eugene  V  Brewster 


players    and    a    studio    01    two,    and    you    might    not. 


I  u  m  ki  d  m  on  .1  sel  .u  First  National  and  saw  Norma 
'  falmadge  in  a  suit  of  men's  striped  pajamas  doing 
"Kiki."  The  previous  night  I  had  seen  a  Vitagraph 
revival  which  Commodore  Blackton  put  mi  at  "The 
Writer-.,"  ir  which  Norma*  appeared  in  a  1912  picture, 
and  I  swear  that  Norma  looked  far  younger  in  1926  than 
she  did  in  1912. 


b)  the  way,  she  is  one  of  thi  I  and  most  charming 

little  ladies  I  ever  met.     Everybody  loves  her.     She 
everybody     .Yes,  her  eyes  are  not  quite  the  tame  color, 
but  almost.    She  laughingly  let  me  look  into  than    and  I 
still  live! 


at  the  Lasky  studio  1  saw  them  making  a  miniature 
elevated  railroad  structure  with  real  cars  and  engines. 
It  was  about  one  hundred  feet  long  and  the  cars  each 
about  a  foot  long.  The  whole  thing  was  complete  and 
perfect  in  every  little  detail  and  many  men  will  work 
many  days  to  complete  this  railroad.  When  you  see  it 
on  the  screen,  you  will  feel  sure  that  it  is  the  real  thing. 
rearing  up  .some  twenty  feet  in  the  air  with  full-size  cars 
and  everything.  And  this  scene,  costing  thousands  of 
dollars,  will  be  on  the  screen  perhaps  less  than  one 
minute. 


I  k.\.\   into  Maurice  Costello  on  Hollywood   Boulevard 

and  had  a  chat  with  him.  No,  he  is  not  directing  his 
daughter  Dolores  as  reported,  and  doesn't  intend  to  lit- 
is, of  course,  proud  of  her  and  everybody  else  seems  to 
be.  Maurice  is  free  lancing.  Not  working  just  now  hut 
hopeful.     And  this  is  the  first  great  screen  idol  the  world 

ever  saw ! 


0 


N  almost  the  same  spot  an  hour  later  I  met  my  old 
friend,  F.dgar  Norton,  who  made  a  hit  in  "The  King 
on  Main  Street."  He  was  once  stage  manager,  for  the 
great  Richard  Mansfield,  and  is  now  the  champion  butler 
of  the  screen  and  a  mighty  good  all-around  character 
man. 


Y\J  \rnkk  Brothers  have  the  handsomest  studio  -from 
"V  the  outside  and  First  National  has  the  handsomest  in- 
side. The  Fifth  Avenue  of  First  National  (exclusive 
section  i  is  about  two 
hundred  feet  long  and 
contains     three     bunga- 

Norma      T  a  1  - 

madge's,  Colleen 
Moore's  and  Valentino's. 
Warner's  studio  looks 
like  one  of  those  stately 

rnment  buildings  in 
Washington  with  a 
dozen  big  pillars  run- 
ning all  the  way  up  in 
front.  Colonial  style,  and 
very   picturesque. 


LIOLLYWOOD  is    surrounded 
tains,  and  your  chauffeur 
Pick  ford's  house  up  there," 


IflNG  YiDOR.  who  did 
1X  "The  Big  Parade" 
and  who  is  therefore  one 
of  the  world's  greatest 
directors  even  if  he  did 
nothing  else,  looks  to  me 
like  a  big,  overgrown 
boy,  simple  and  unaf- 
fected. Seems  to  me 
nearly  all  the  great  direc- 
tors are  young  fellows 
now. 


Qolleen  Moore  is 
very  pleased  with 
her  little  studio  bunga- 
low and  garden,  and 
well  she  might  be.  She 
proudly  showed  me 
thru,  and  pointed  out 
every  item  of  interest, 
including  her  stove  and 
cooking    utensils.     And, 


with  hills  or  young  moun- 
keeps  saying:  "That's  Mary 
"That's  Tom   Mix's, 

over  there  is  where  Fitz- 
maurice  is  going  to 
build."  etc.  Every  hill 
is  represented  by  one  or 
more  players  and  their 
places  all  look  like 
money.  All  the  hills  are 
not  yet  working,  but 
from  the  looks  of  things 
they  soon  will  be. 
They  are  building  roads 
and  things  everywhere. 
Talk  about  Florida, 
everybody  here  is  land 
crazy.  Everybody  is 
making  money  buying 
and  selling  lots.  Prices 
are  already  tremendous- 
ly high  and  they  are  go- 
ing up  every  ddy.  The 
players  are  all  dipping 
in,  too,  and  Rockefeller 
and  Ford  will  soon  be 
poor  men  in  compari- 
son. 


[F  you  want  to  be  very 
smart  and  proper,  call 
a  studio  a  "lot."  That's 
the  correct  word,  "On 
the  lot"  —  "He's  not  on 
the  lot,"  etc. 


W.  F.  Seely 
A  brand-new  study  of  the  Lloyd  heir  apparent,  Mildred 
Gloria  Lloyd 


Mearlv  all  the  studios 
are  on  one  street — 
Sunset  Boulevard — and 
here  you  see  all  kinds  of 
(Continued  on  page  72) 


55 


That  Chaplin  Complex 


By  Harriette  Underhill 


DON  QUIXOTE  without  a  windmill;  a  mute  dilet- 
tante ;  a  faun  or  a  sprite ;  a  will  o'  the  wisp ;  just 
a  fantastic  cuss ;  a  marionette  with  Charlie  Chap- 
lin on  the  other  end  of  the  wires ;  a  grown-up  Peter  Pan; 
a  phantom ;  a  wraith  with 
a  sense  of  humor  ;  a 
nomad ;  Charlie  Chaplin, 
himself,  but  a  Charlie 
Chaplin  known  only  to 
himself. 

These  are  some  of  the 
answers  we  have  received 
'  to  the  question  we  have 
been  putting  to  our  friends 
recently.  For  we  have  been 
going  about  like  the  in- 
quiring reporter;  and  these 
answers  we  have  had  to  dig 
up  from  divers  places,  for  we  had  them  jotted  clown  on 
the  backs  of  envelopes,  on  calling  cards,  margins  of  news- 
papers and  on  theater  tickets. 

One  of  the  most  popular  fallacies  in  the  world  is  the 
belief,  culled  from  the  movies,  no  doubt,  that  newspaper 
reporters  carry  notebooks.  They  dont.  We  kept  one 
once  when  we  were  young,  but  what  good  was  it  ?  None. 
For  in  consulting  it,  how  could  anyone  guess  that 
T.S.O.M.D.  might  mean,  "Tell  story  on  Marion  Davies," 
or  that  T.C.  rec.  P.N.  could  possibly  mean,  "Traffic  cop 
recognized  Pola  Negri"  ?  Along  with  the  answers 
to  our  question  was  a  scrap  of  paper  with  these 
letters  scribbled  on  it :  "Get  C.  St.  R.  by  the  5." 
and  we  had  sense  enough  to  know  that  that 
meant  "Get  the  Classic  story  ready  by  the  fifth." 
So  here  it  is. 

The  question  we  have  been  eagerly  asking  each 
one  we  meet  is,  "What  is  your  idea  of 
the  funny  little  man  which  Charlie  Chap- 
lin has  put  on  the  screen?  Is  he  a  char- 
acter study?  Is  he  the  same  character 
in  each  picture?  Is  he  a  real  person  or 
a  figment  of  the  brain?" 

And  the  answers  are  all  here  at  the 
start  of  this  article. 

We  think  the  man  who  said,  "It  is 
Chaplin,  himself,"  comes  nearest  to  the 
truth.  For,  when  finally  we  put  the  ques- 
tion to  Mr.  Chaplin,  he  replied  without 
hesitation,  "He  is  an  inferiority  complex." 
And  what  a  simple  solution  that  is ;  espe- 
cially now,  when  nearly  everybody  has  at 
least  one  in  the  family.  It  seems  to  be  one 
of  those  cases  where,  after  he  learns  the 
answer,  anybody  will  exclaim,  "Of  course ! 
I  might  have  known  that  all  the  time !" 

And  it  is  quite  apparent,  too,  to  anyone 
who  believes  in  signs,  that  that  inferiority 
complex  is  dwindling  with  the  years.  In 
Chaplin's  earlier  pictures  the  funny  little 
man  on  the  screen  never  had  any  happy 
endings  to  cheer  him  on  his  way.  And  how 
well  we  remember  the  first  time  that  the 
"phantom  lover"  was  permitted  to  enjoy 
requited  affection.  It  was  in  "The  Immi- 
grant" that  he  married  Edna  Purviance  in 


the  office  of  the  justice  of  the  peace  and  that  was  the  first 
ray  of  sunshine  allowed  to  creep  into  his  sad  life.  The 
first  time  one  felt  that  Mr.  Chaplin  was  going  to  attempt 
a  "materialization"  and  allow  love  to  awaken  a  soul  in 

the  lonely  little  marionette. 


Miss  Underhill  says  the  Charlie  Chaplin  you 
and  I  laugh  at  is  just  an  inferiority  complex. 

Chaplin  is  an  egoist,  she  says,  and  what  he 
has  put  on  the  screen  is  the  thing  he  once 
feared  he  was,  at  least  in  the  eyes  of  others. 
Thus  his  inferiority  complex  became  a  shadow 
for  the  whole  world  to  laugh  at. 


Recently,  Mr.  Chaplin  was 
a  guest  at  a  house  party 
where  we  were.  Some- 
one accused  him  of  being 
the  most  famous  person  in 
the  whole  world,  not  ex- 
cepting the  Prince  of 
Wales,  himself.  To  prove 
this,  the  man  who  made  the 
assertion  said  that  when 
they  were  traveling  thru 
China,  one  of  the  coolies 
grabbed  up  a  derby  lying 
on  the  ground,  stuck  it  on  the  side  of  his  head,  and, 
twirling  a  stick  in  his  hand,  gave  a  Chinese  imitation  of 
the  Chaplin  walk. 

"He  laughed  that  funny  head  with  a  pig-tail  nearly 
off,  and  seemed  to  feel  that  one  touch  of  Chaplin  makes 
the  whole  world  kin,"  said  the  narrator. 

"Well,"  replied  Mr.  Chaplin,  "it  is  something,  isn't  it, 
to  unearth  a  Chinese  sense  of  humor!" 

While  Mr.  Chaplin  is  a  very  friendly  person,  he  is. 
withal,  so  modest  that  it  is  difficult  to  tell  him  that  he  is 
the  most  famous  man  in  the  world.  He  doesn't 
give  the  usual  polite  protest,  which  means,  "Let 
any  man  deny  it  if  he  dares !"  He  just  blushes 
and  begins  to  talk  about  something  else. 

During  supper  we  sat  next  to  Mr.  Chaplin, 

and  it  was  then  we  determined  to  ask  him  about 

his   elusive   character   that   is   known   all   over 

the  world,  yet  with   whom   none  is 

acquainted. 

"You  give  us  no  clew,"  we  said. 

"Because     your     'Wanderer,'     your 

'Prospector,'  your  'Immigrant,' never 

yet  has  spoken  a  word  on  the  screen. 

If  only  you  would  let  him  say,  'When 

I    was    in    Engknd    last    year,'    or 

'Mother   is  waiting   for  me.'  T   was 

sensitive  about  these  big  feet  when  I 

was  a  kid  in  school,'  you  would  give 

one  something  to  work  on.     But  was 

he  ever  in  England,  this  nomad  of  yours? 

Was  he  born  here,  one  hundred  per  cent. 

American?     Has  he  a  mother?     Does  he 

worry  because  his   feet  are   large?     Did 

he  ever  go  to  school  ?" 

Mr.  Chaplin  shook  his  head,  and  then  it 
was  that  he  said :  "He  is  just  an  inferiority 
complex."  He  did  not  add,  "my  own," 
but  what  he  told  us  later  made  us  realize 
that  that  was  what  he  meant. 

"I  became  terribly  unhappy,"  he  said, 
"when  first  I  began  to  be  well  known  on 
the  screen ;  and  I  shall  tell  you  why.  It 
was  because  people  insisted  on  lionizing 
me.  I  was  invited  out  everywhere,  and  if 
I  accepted,  as  I  often  had  to  do,  I  would 


CHARLIE  CHAPLIN 


(Continued  on  page  90) 


56 


EVOLUTION 
of  a  LAUGH 


67 


No,    Elinor   Fair   isn't  just   a  willing   target.     This   is 

Cecil    De    Mille    explaining    a    scene    of    "The    Volga 

Boatman"  to  William  Boyd 


Renee  Adoree  has  just  been  given  a  shining  new 

contract  by  Metro-Goldwyn.     Louis  B.  Mayer  is 

congratulating  her 


Letters  to  King  Dodo 


HOLLYWOOD. 
Dear  Majesty: 

I  should  advise  against  Your  Majesty  coming  to 
Hollywood  at  this  time.  Hollywood  is  not  yet  ready  to  em- 
brace Your  Majesty's  daring  design  of  making  motion 
pictures  that  would  show  human  beings  acting  as  human 
beings  act  in  real  life.  Hollywood  would  give  Your 
Majesty  the  loud  guffaw  if  you  proposed  such  a  radical 
departure  from  the  accepted  tradition  of  the  cinema  in  the 
place  of  its  birth. 

There  are  hopeful  signs,  however,  which  indicate  that 
at  some  future  time  Your  Majesty's  ideas  may  be  put 
into  practice.  Louis  H.  Tolhurst  has  been  making  pic- 
tures showing  the  lives  of  insects.  It  is  possible  that 
somebody  may  take  a  chance  and  show  the  lives  of  men 
and  women  just  for  the  novelty  of  it. 

But  I  am  not  so  optimistic  about  the  future  of  the 
films  as  Laurence  Stallings,  who  has  not  lived  in  Holly- 
wood so  long  as  I  have.  Stallings  thinks  they  have  a 
brilliant  future — ah,  where  have  I  heard  that  phrase 
before? 

Meanwhile,  in  accord  with  the  expressed  desire  of 
Your  Majesty,  I  shall  keep  you  informed  of  what  is  hap- 
pening in  Hollywood  from  clay  to  day,  so  that  Your 
Majesty  may  judge  for  yourself  the  trend  of  celluloid 
culture. 

New  York. 
Dear  King : 

Richard  Barthelmess,  who  has  been  ill  in  a  New  York 
hospital  with  ear  trouble,  as  Your  Majesty  has  probably 
heard,  has  departed  for  California  to  make  one  picture 
in  Hollywood.  This  will  be  Richard  Harding  Davis' 
"Ransom's  Folly,"  which  you  may  remember  as  a  story 
of  an  army  post  in  the  old  days  when  an  army  review 
looked  like  a  parade  of  the  Smith  Brothers.  Not  that 
Dick  is  going  to  wear  whiskers  in  this  piece.     No,  no ! 

All  sorts  of  rumors  are  current  regarding  Dick's  next 

58 


stellar  plans.  His  present  contract  with  Inspiration  Pic- 
tures expires  in  September.  Dick  has  been  doing  con- 
sistently good  work  and  his  next  contract  will  carry  a 
whole  lot  more  of  mazuma  for  the  young  star. 

Hollywood. 
Dear  Majesty: 

Since  I  last  wrote,  Hollywood  has  been  elevated  by  the 
presence  of  young  Anthony  Asquith,  son  of  Lord 
Asquith,  former  Premier  of  Great  Britain  and  Earl  of 
Oxford  and  Asquith.  I  think  Your  Majesty  will  recall 
the  father  from  certain  negotiations  relative  to  oil  con- 
cessions in  Your  Majesty's  beautiful  Island  of  Oz,  which 
were  abruptly  terminated  by  Your  Majesty  when  a  radio 
set  and  two  strings  of  glass  beads  were  not  forthcoming 
as  promised. 

Your  Majesty  may  also  recall  the  mother,  Margot, 
whose  memoirs  caused  many  a  monocle  to  drop  from 
many  an  eye  and  many  a  teacup  to  fall  from  many  a  knee 
when  they  burst  upon  poor  old  Mayfair. 

However  that  may  be,  young  Asquith  is  the  latest  lion 
to  be  captured  in  our  jungles  and  he  roars  complacently 
from  his  suite  at  Pickfair,  the  Beverly  Hills  estate  of 
Mary  and  Douglas.  His  sister,  the  wife  of  the  Rouma- 
nian Ambassador,  the  Prince  Something-or-Other,  is 
also  a  guest  at  Pickfair.  Anthony  is  here  to  learn  the 
moving  picture  business.  He  hopes  to  become  a  director. 
He  is  a  very  intelligent  and  studious  lad,  homely  even 
for  an  Englishman,  with  a  pair  of  trousers  quite  like 
Charlie  Chaplin's  and  his  collar  much  too  big  for  his 
neck.     He  has  delicate  and  aristocratic  hands. 

Hollywood. 
Dear  Majesty : 

The  Laurence  Stallings  whom  I  mentioned  in  a  previ- 
ous letter  is  back  in  Hollywood,  lending  the  luster  of  his 
name  to  the  script  for  Paramount's  production  of  "Old 
Ironsides." 


While  abroad  Rudolph  Valentino  visited  the 
UFA  Studio.  Left  to  right,  Valentino, 
Director    F.   W.    Murnau   and    Manuel    Reachi 


John    Drinkwater,    who    wrote    the    drama,    "Abraham 

Lincoln,"  drops  in  to  call  upon  Phil  Rosen,  who  filmed 

"Abraham  Lincoln."     Carmel  Myers  at  the  right 


By  Don  Ryan  and  Frederick  James  Smith 


Your  Majesty  will  recall  Stalling*  as  the  one-legged 
ier  who  co-authored  in  "What  Price  Glory?"  the  real- 
war  comedy  that  pleased  you  when  Your  Majesty 
on  a  tear  last  winter  in  New  York.  He  also  did 
"The  Big  Parade"  for  Metro-Goldwyn-Mayer. 

Stallings'  name  will  go  on  "Old  Ironsides"  as  the 
author,  altho  the  real  author  is  our  mutual  friend.  Harry 
Carr.  who  conceived  and  hatched  this  astonishing  movie. 
Harry  put  over  the  greatest  tie-up  in  celluloid  history 
when  he  got  Secretary  of  the  Navy  Wilhur  to  back  the 
production  with  the  co-operation  of  the  United  States 
N'avy.  The  frigate  Constitution,  now  at  dock  in 
Boston  Harbor,  will  be  the  principal  prop  used  in  recon- 
structing a  chapter  from  our  naval  history  dealing  with 
the  war  with  the  Tripolitan  pirates.     . 

The  Government  is  raising  funds  to  restore  the  old 
-el ;  hence  the  tie-up.  All  the  kiddies  who  give  pennies 
will  go  to  see  the  picture.  This  is  what  Will  Hays  might 
call  super-salesmanship. 

Jesse  L.  Lasky  thinks  it  safe  to  spend  unlimited  mil- 
lions on  making  "Old  Ironsides."  It  will  take  about  a 
year  to  do  the  thing  right,  that  is,  to  out-Benjamin  Ben- 
Hur.  Already  a  fleet  of  eighteen  sailing  ships  has  been 
built  and  some  two  thousand  extras  are  assured  of  cakes 
for  some  months  to  come. 

Jimmie  Cruze,  who  is  directing  this  spectacle,  spent 
many  weary  weeks  in  toilsome  research  work  among  the 
bazaars  of  Tripoli,  along  the  Riviera,  at  the  Folies 
Bergeres,  the  Casino,  the  Crystal  Palace  and  other  dull 
and  out-of-the-way  places,  just  to  make  the  picture 
authentic. 

New  York. 
Your  Majesty : 

It  you  follow  the  public  prints,  your  royal  highness  has 
doubtlessly  noticed  that  Adolphe '  Menjou  has  filed  suit 
for  divorce  from  his  wife,  Katherine  Menjou.  Menjou 
charges  cruelty. 

It  takes  a  brave  man  to  chance  public  disfavor  like  this 
and  I  hope  Your  Majesty  will  reward  Menjou  with  a 
special  proclamation   of   your  appreciation.      Menjou  al- 


leges that  his  wife  scolded  and  found  fault  with  him.  call- 
ing him  "good-for-nothing,  pufTed-up  and  conceited." 
and  charged  his  mother  with  being  a  prevaricator. 

Thus  does  the  famous  screen  -  under stander  -  of  - 
women  get  his  troubles  off  his  chest.  .I'm  with  him  heart 
and  soul  and  I  trust  Your  Majesty  will  back  me  up.  We 
men  must  stand  together. 

Hollywood. 
Dear  Majesty  : 

I  should  like  to  call  Your  Majesty's  attention  to  the 
career  of  Roy  D'Arcy,  because  it  offers  the  finest  ex- 
ample I  could  cite  of  the  way  to  get  ahead  in  pictures. 

This  competent  actor  had  knocked  about  for  many 
years  in  Shubert  musical  shows,  working  under  his  real 
name,  which  was  Roy  Guisti.  When  he  was  working  in 
Los  Angeles  he  was  seen  by  Eric  von  Stroheim,  who,  out 
of  a  clear  sky,  presented  him  with  the  part  of  the  Crown 
Prince  in  "The  Merry  Widow." 

Roy  used  to  drive  up  to  the  Metro-Goldwyn-Mayer 
studios  in  his  little  Chevrolet  coop,  accompanied  some- 
times by  Jean,  the  girl  who  had  liked  him  for  himself — 
before  he  got  a  big  part  in  pictures.  Towards  the  end 
of  his  first  engagement  Roy  began  to  appear  in  a  huge, 
roaring  touring-car  with  the  top  down  and  smartly  en- 
closed in  a  patent-leather  boot.  He  had  been  .signed  for 
a  five-year  contract. 

Recently  the  studio  was  visited  by  Mrs.  Laura  Rhinock 
Duffy,  widow,  the  daughter  of  old  J.  L.  Rhinock,  vice- 
president  of  the  Metro-Goldwyn-Mayer  outfit,  and. 
oddly  enough,  president  and  treasurer  of  the  Shubert  or- 
ganization. The  widow  had  seen  a  photograph  of  Roy 
as  the  Crown  Prince.  When  she  saw  him  in  real  life, 
wearing  the  cute  little  whisker  cultivated  for  the  heavy 
role  in  "Graustark,"  the  daughter  of  the  vice-president 
and  treasurer  gave  her  heart  to  the  actor. 

They  are  married.  Roy  D'Arcy — the  other  name  was 
considered  too  tough  for  the  fans — smiles  to  himself 
when  he  remembers  how  he  used  to  caper  and  envort  on 
tired  dogs  because  he  had  to  please  Jake  Shubert.  From 
a  performer  in  musical  road  shows  he  has  jumped  into 


59 


CLASSIC 


The  real  barber-shop  chord.     Director  Mai  St.  Claire,  Louise 

Brooks  (getting  the  bob)  and  Adolphe  Menjou  at  the  Famous 

studio.     Next! 


Colleen  Moore  gets  telegrams  from  all  parts 

of  the  world  on  her  birthday.     What  one? 

Now  that  would  be  telling 


the  same  as  part  ownership  of  the  Metro-Goldwyn- 
Mayer  interests.  As  for  Jean,  by-gones  are  by-gooes. 
She  merely  liked  him  for  himself — before  he  got  a  big 
part  in  pictures. 

Hollywood. 
Dear  Majesty : 

At  this  time  of  writing  the  pictures  are  really  moving. 
The  Paramount  Studios  are  being  transferred  to  the  lot 
formerly  occupied  by  the  United  Studios.  The  property 
of  Paramount*  occupying  two  blocks  at  Sunset  Boulevard 
and  Vine  Street,  became  too  valuable  for  studio  purposes 
and  will  be  subdivided  into  business  lots. 

Among  both  classes  of  the  population — I  mean  movie 
actors  and  realtors — there  is  considerable  speculation 
about  what  Joe  Schenck  will  do.  Schenck,  who  formerly 
functioned  extensively  at  the  United  Studios,  is  ensconc- 
ing himself  temporarily  at  the  Pickford-Fairbanks 
Studio.  But  those  who  speculate  in  futures  say  he  will 
build. 

Schenck  has  just  effected  a  combination  with  Sam 
Goldwyn  to  produce  "The  Garden  -of  Allah"  on  large 
scale,  using  Norma  Talmadge  as  the  vamp  and  Ronald 
Colman  as'  the  priest.  Henry  King,  who  made  "Stella 
Dallas,"  will  direct. 

Norma  has  finished  "Kiki,"  in  which  she  played  the 
part  of  a  French  gamine.  The  script  called  for  one 
sequence  in  which  she  works  as  a  chorus  girl. 

New  York. 
Sire : 

Movie  ranks  have  been  a  bit  upset  recently  at  what  it 
called  the  entrance  of  nudity  into  pictures.  Famous 
Players  tried  some  undress  in  "The  American  Venus" 
and  Universal  has  gone  a  step  or  two  further  with  "The 
Midnight  Sun."  Critics  have  wondered  why  your  prime 
minister,  Will  Hays,  permits  this  and  then  draws  the  line 
at  the  production  of  a  seriously  written  drama  such  as 
"Rain,"  f  instance 

Meanwhile,  the  speaking  stage  goes  'right  along  its 
lurid  way.  David  Belasco  has  just  revealed  Leonore  Ulric 
in  a  drama  of  the  New  York  negro  cabarets.  Indeed, 
Leonore  plays  a  "high  yaller"  who  dances  her  way  from 
the  Harlem  gutters  into  the  home  of  a  French  nobleman. 
The  dialog,  too,  is  what  even  you  would  call  profane. 


Dont  think  I  am  advocating  this  sort  of  thing  for  the 
screen.  I'm  just  mentioning  it  to  show  the  broader  scope 
of  the  speaking  stage. 

Hollywood. 
Dear  Majesty : 

Your  Majesty  has  graciously  requested  me  to  give  you 
some  idea  of  the  sports  and  pastimes  of  movie  actors  in 
Hollywood.  The  movie  actor  always  endeavors  to  live 
what  we  call  "La  Vie  d'Hollywood,"  no  matter  where 
he  happens  to  be,  for  he  realizes  instinctively  that  if  he 
once  permits  himself  to  get  out  of  this  atmosphere  he 
may  be  compelled  to  think. 

William  Powell,  who  has  just  come  in  from  location  on 
the  Painted  Desert,  told  me  about  a  New  Year's  celebra- 
tion he  attended  while  working  with  the  Paramount 
company  engaged  in  embalming  Zane  Grey's  "Desert 
Gold"  in  celluloid. 

Bill  said  he  had  been  impressed.  Nature  in  the 
Painted  Desert  is  rather  splendid.  The  sets  she  has 
reared  of  twisted  rocks  and  the  mighty  back-drop  of 
desert  sky  which  she  has  hung  there  are  rather  awe- 
inspiring.  They  made  a  man  feel  very  small,  Bill  said, 
and  as  if  he  would  like  to  be  alone  with  himself  for 
a  while. 

But  on  New  Year's  Eve  there  was  a  pleasant  surprise 
for  the  company  arranged  by  Eddie  Brandstetter,  the 
caterer  for  this  trip.  Eddie  had  been  busy  all  day  in 
the  closed  dining  tent.  When  evening  came  he  flung  it 
open  and  invited  them  inside. 

The  tent  had  been  decorated  just  like  the  Montmartre, 
Eddie's  celebrated  boulevard  cafe.  There  were  paper 
caps  for  everybody,  tin  horns  to  blow,  turkey  to  eat, 
things  to  throw  at  each  other — everything  to  make  them 
think  they  were  back  in  dear  old  Hollywood.  And  at  the 
conclusion  of  the  riotous  evening,  Bill  said,  they  all  went 
out  and  sang  and  the  cowboys  discharged  their  six-guns 
at  the  silent  desert  sky. 

Yes,  they  beat  the  desert.  Bill  said.  They  made  them- 
selves forget  they  weren't  in  Hollywood.  But,  for  some 
reason  or  other  Bill  said  he  wished  he  could  have  been 
alone  that  night,  under  the  blazing  stars  that  made  the* 
sand  strangely  white,  listening  to  the  coyotes  howling  in 
the  distance,  imbibing  something  that  is  not  for  sale  in 
Hollywood. 


60 


CI.  A 


Mr.    and    Mrs.    Douglas    MacLean    return    to 

Hollywood  after  a  trip   East  via  the  Panama 

Canal  and  Cuba 


Florence    Reed   drops   in   between   scenes   of   "The    Light 
Eternal"  and  is  received  by  Director  Benjamin  Christian- 
son,   Norma  Shearer   and   Carmel   Myers 


New  York. 
Your  Majesty : 

There  arc  all  sorts  of  denials,  but  I  feel  that  your  royal 
hig!  ' ild  know  of  the  reported  tribulations  in  the 

Jack  Pickford-Marilyn  Miller  marriage.  The  domestic 
bonds  in  this  instance  are  likely  to  be  severed  when  Miss 
Miller  goes  abroad  next  summer,  if  reports  are  to  be 
believed. 

Do  you  know  who  has  been  taking  Miss  Miller  to  social 
events  about  New  York?    No  other  than  your  loyal  sub- 
Ben    Lyon.      Xot    so    long    ago    Ben    was    squiring 
Barbara  La  Marr.     How  time  flies. 

Hollywood. 
Dear  Majesty  : 

The  craze  for  things  Russian,  which  has  passed  over 
London,  Paris,  and  Your  Majesty's  own  capital  of  Oz, 
has  just  hit  Hollywood.  Cecil  De  Mille,  who  successfully 
transferred  the  Ten  Commandments  to  the  screen,  has 
just  performed  the  same  office  for  Chaliapin's  song  about 
the  Volga  Boatman.  Not  to  be  outdone,  William  Fox 
sicked  \  ictor  Schertzinger  on  to  a  Russian  revival  of 
'Siberia,"  the  old  melodrama  that  Your  Majesty  no  doubt 
witnessed  as  a  child  when  it  was  being  performed  by 
touring  repertoire  companies. 

The  making   of   these  pictures   revealed   the   fact   that 
there  are  hundreds  of  Russian  exiles  in  Hollywood,  rang- 
ing from  dukes,  thru  exiled  bureaucrats  and  intelligentsia, 
i  to  droshky  drivers — tho  I  have  never  met  one  who 
admitted  to  the  latter  occupation. 

Pola  Negri,  who  cherishes  a  warm  feeling  for  the  icy 
steppes,  assembled  all  of  the  Slavs  in  Hollywood  for  a 
Russian  musicale.  Chaliapin  who  was  appearing  at  the 
Philharmonic,  was  a  guest.  The  great  basso  sat  at  the 
piano  for  two  hours  playing  and  singing  Slavic  airs,  the 
longest  time  on  record  for  him. 

The  Negri  mansion  in  Beverly  Hills  was  the  scene  of 
this  affair,  at  which  Pola  incidentally  displayed  the  wealth 
that  accrues  so  easily  in  this  land  of  great  opportunity  to 
progressive  actresses.  The  house  is  colonial,  the  appoint- 
ments French  and  Spanish,  the  gardens  Japanese.  Amid 
this  potpourri  of  luxury  the  hungry  exiles  consumed  thou- 
sands of  cakes  and  unlimited  gallons  of  tea. 


Hollywood. 
Dear  Majesty : 

I  have  neglected  previously  to  tell  you  about  the  annual 
Wampas  Frolic  and  Ball  which  was  held  this  year  in  the 
ultra-smart  atmosphere  of  the  new  Shriners'  Auditorium. 

The  new  auditorium  is  much  nicer  than  the  Odd  Fel- 
lows' Hall.  And  Sid  Grauman,  a  notorious  showman,  put 
on  a  series  of  acts  that  were  almost  worth  the  five  dollars 
Your  Majesty  would  have  had  to  expend  to  gain  a  seat. 

Many  of  the  acts  presented  actual  scenes  or  prolog 
effects  based  on  feature  pictures  of  the  various  studios. 
De  Mille's  act  was  a  rendition  of  the  "Volga  Boatman" 
by  a  large  chorus ;  Universal  gave  "Custer's  Last  Stand" 
from  "The  Flaming  Frontier,"  and  so  on. 

The  movie  stars  were  presented  in  a  manner  that  only 
Sid  Grauman  could  conceive.  The  stage  represented  the 
court  of  Grauman's  Egyptian  Theater.  The  stars  drove 
on  in  their  private  purple  limousines,  just  as  they  do  at 
an  opening. 

There  were  a  great  many  sarcastic  snickers  among  us 
wiseacres  when  the  thirteen  Baby  Stars  of  1926  were 
introduced.  These  infant  prodigies,  discovered  by  the 
astute  press-agents  who  compose  the  Wampas.  turned 
out  to  be  for  the  most  part  already  well  known  in  pic- 
tures. At  least  half  of  them  had  been  billed  as  stars 
already  by  some  of  the  studios  where  they  were  working. 

To  predict  that  these  talented  young  women  will  be- 
come stars  during  1926  is  like  betting  that  Cal  Coolidge 
will  continue  to  steer  the  ship  of  state,  that  Wayne  B. 
\\  heeler  will  denounce  the  demon  rum,  or  that  Gilda  Gray 
will  perform  a  dance  called  the  shimmy  during  the  same 
period  of  time.  The  truth  is  that  the  press-agents  were 
unable  to  agree  in  the  annual  log-rolling  contest  that  pre- 
ceded the  ball  and  had  to  compromise  on  these  candidates 
already  practically  elected  to  stardom. 

Next  month  I  shall  write  Your  Majesty  more  fully 
concerning  the  affairs  of  Hollywood.  Meanwhile  I  re- 
main Your  Majesty's  humble  and  obedient  secret  agent  in 
this  curious  country 

"Where  cowboys  are  made 
But  actors  are  few." 

(Continued  on  page  74) 


61 


HIGH 
HAT 


Now  that  the  surface  of  the  in- 
dustry really  has  been  scratched, 
the  silk  topper  is  coming  to  be 
quite  the  thing.  All  the  stars  are 
wearing  'em. 

Not  that  the  films  are  becoming 
•Ritzy.  They  are  heading  toward 
the  smart,  the  ultra  and  all  that  sort 
of  thing  referred  to  so  glibly  by  our 
noble  opponent,  Vanity  Fair. 

Alas,  gone  is  the  good  old 
custard-pie  era  when  mortar  was 
mortar  and  tomatoes  were  tomatoes. 


62 


1 


The  Answer 
Man 


Mildred  N. — Greetings !     Did  the 

March  winds  blow  you  in?  So 
ou  think  John  Gilbert  was  won- 
lcrt'ul  in  "The  Merry  Widow." 
••cry  body  thought  so.  He 
a.i*  born  in  Logan.  Utah,  but  so 
tar  as  I  know  he  has  had  only  one 
rife,  Leatrice  Joy,  from  whom  he 
>  divorced. 

Bobbie. — Yes,  it  was  woman  who 
irst  tempted  man  to  cat.  but  he 
look  to  drink  on  his  own  account 
itterwards.  William  Haines  was 
fd  Kelly  in  "Little  Annie  Rooney." 
f'ola  Negri  is  playing  .n  "Because 
1  Love  You,"  which  Dimitri  Buchowetzki  is  directing.  A  rather 
titting  title  tor   Madame  Pola. 

Marjorie   S. — Bull    Montana    is  now   an   American    citizen   but 
*as  once  an  Italian,  because  he  was  born  in  Voghera,  Italy,  ten 
:ter   our    Fourth    of    July,    thirty-seven    years    ago.      You 
ret'er  to  Youcca  Troubetzkoy. 

Me. — Oh,  is  that  you?     You  know  the  Venus  of  Milo  derives 

ts  name  from  the  island  of  Milo  where  it  was  discovered  by  a 

in  1820.  who  was  trying  to  uproot  a  pistachio-tree.     Mary 

Brian  is  eighteen  years  old.     Irene   Rich   has   two  children,  Jane 

<nd  Frances,  who  are  now  at  school  in  Switzerland. 

Alma. — Well,  it  is  supposed  to  be  a  secret,  but  you  know  noth- 
ng  travels  so  fast  as  a  secret.  Right  now  Richard  Barthelmess  is 
-naking  a  picture  in  California.  It  was  Douglas  Fairbanks  who 
jave  Barbara  La  Marr  her  first  real  part  in  pictures. 

\V.  M.  J. — I  should  say  I  do  drink  buttermilk.  I  couldn't 
m>wer  these  questions  without  it.  You  refer  to  Ivor  Novello 
>j>posite  Mae  Marsh  in  "The  White  Rose."  Alfred  Lunt  opposite 
Carol  Dempster  in  "Sally  of  the  Sawdust." 

k  C.  Scott. — I  should  say  I  do  go  out  in  the  fresh  air,  it 
s  the  king  of  physicians.  Sure  I  go  ice  skating — that's  how  I 
retain  my  equilibrium.  Bert  Lytell  was  Baron  Madox  in  "Eve's 
!o\er,'-  with  Clara  Bow  and  Irene  Rich.  And  now  Gloria 
Swanson  and  Eugene  O'Brien  as  her  leading  man  are  playing  in 
Fine  Manners." 

Y  Susie. — Never  write  what  you  dare  not  sign.  You 
refer  to  Gwen  Lee  as  the  stenographer  in  "His  Secretary."  Yes, 
I  thought  Norma  Shearer  was  beautiful  in  that  picture. 

E.  B.  C. — So  you  always  plant  a  tree  on  Arbor  Day.  Governor 
Morton  of  Nebraska  first  created  Arbor  Day,  and  the  first  was 
\pril  20.  1872,  when  twelve  million  trees  were  planted.  You 
refer  to  Templar  Powell  in   "Monsieur  Beaucaire." 

The  Ol'  Lady. — Aral  Aral!  Your  letter  sure  was  all  about 
villains.  You  want  to  know  who  the  fellow  with  the  Persian 
lamb  fez  was  in  "The  Phantom  of  the  Opera."  Guess  you 
refer  to  Arthur  Edmund  Carewe.     Come  on  down  to   Brooklyn. 

Larena.  Fort  Worth. — You  want  the  whole  truth  about  Val- 
entino. Well,  he  and  Winifred  Hudnut  are  divorced.  Absolutely, 
ind  finally.  Norma  Talmadge  is  thirty-one,  Constance  is  twenty- 
sfac  and  Natalie  is  twenty-eight.  So  you  think  I  must  be  terribly 
nice,  and  young.     Ouch — you  know  I  am  over  eighty  years  old. 

Irene's   Fan.— Well,  no  woman   has    faith   in  another,  but   she 
that  man  shall  have   faith  in  her.     Viola  Dana  is   playing 
in    Wild  Oats  Lane"  now,  she  was  born  right  here'  in  Brooklyn, 
ind  her  sisters  are  Edna  Flugrath  and  Shirley  Mason. 

Ruth  A. — Here,  write  this  in  your  album — 

Absence   makes   the    heart   grow    fonder, 

For  a  day.  perhaps  a  week, 
After  that  we're  prone  to  wonder, 
\t  our  love  for  the  antique. 


Hear  ye,  hear  ye!  All  you  (oiks  who  have  questions 
to  ask,  come  this  way  and  you  shall  be  heard — and 
answered.  I  have  learnt  a  lot  during  the  last  eighty- 
two  years,  and  it's  all  yours  (or  the  asking.  Been 
answering  ???  (or  the  last  fourteen  years,  and  still 
going  strong.  If  you  want  an  answer  by  mail,  enclose 
a  stamped  addressed  envelope.  If  you  wish  the  an- 
swer to  appear  here,  write  at  the  top  of  your  letter 
the  name  you  want  printed,  and  at  the  bottom  your 
full  name  and  address,  and  mail  to  me.  The  Answer 
Man,  care  of  Classic,  176  DufHeld  Street,  Brook- 
lyn,  N.  V. 


You    refer    to    Eileen    Sedgwick    in 

"The    Riddle    Rider."      Ymi    can    get 
a  picture  of  Richard  Barthelnx 
Inspiration      Pictures,      565      Fifth 
Avenue,    New    York.      So  you    liked 
bim  in  "Shore  Leave." 

D.  M.  &  M.  D.— I  agree  with  you, 

a  word  to  the  wise  is  not  sufficient ; 

take  a  club.    That  was  Jack  Joyce  in 

"New  Lives   for  Old."     No,   I  draw 

the    line    on    the    Charleston  —  you 

think  St.  Vitus  must  have  originated 

it.    Pauline  FYederick  is  working  on 

"The  Nest"  at  the  Whitman  Bennett 

Studios,    in    Brooklyn,    New    York. 

Agatha   D.  J. — That   sure  was   pretty   peach   paper  you   used. 

So  you  think  The  Classic  is  a  great  magazine.     So  do  I— why 

dont   you    tell   your    friends    about    it.      Sure,    that's    my    salary — 

$15.00  a  week. 

Ruthie. — Perhaps  I  was  too  frank.  In  the  language  of  the 
poet,  I  seen  my  dooty  and  I  done  it.  Rod  La  Rocque  is  playing 
in  "Bachelor's  Brides"  from  the  stage-play  and  also  in  "The 
Dancing  Man"   from  the  Edna  Ferber  novel.     See  you  later. 

Sighned  Shortie. — Well,  I  never  really  have  taken  the  time- 
to  figure  out  how  old  Douglas,  Sr.,  was  when  Douglas,  Jr.,  was 
born,  but  for  your  benefit,  Shortie,  Douglas,  Jr.,  is  about  nineteen 
and  Douglas,  Sr.,  is  forty-three,  so  that  makes  Doug,  Sr.,  twenty- 
four  when  he  was  born.     Righto ! 

Brown  Eyes. — Dont  be  too  sure,  the  well-fed  are  not  always 
the  well-bred.  You  want  to  know  who  receives  the  higher 
salary — Norma  Talmadge  or  Gloria  Swanson.  Well.  I'm  betting 
on  Norma. 

Sweet  Sixteen. — Well,  I  dont  want  for  a  dull  moment.  I'll 
tell  you  that.  Only  the  scissors-grinder  invariably  finds  thing> 
dull.  You  refer  to  "The  New  Commandment"  with  Ben  Lyon. 
Louise  Fazenda  made  her  debut  in  pictures  with  the  Keystone 
Company  in   1915. 

Helen. — I  sure  was  glad  to  hear  from  you.  Fire  away.  So 
you  would  like  to  see  Carol  Dempster  stop  the  kiddish  pictures 
and  appear  in  something  that  fits  her  noble  personality.  I'll 
speak  to  Miss  Dempster.  D.  W.  Griffith  paid  Monte  Blue  his 
first  screen  salary,  which  was  just  $1.50  for  the  day's  work.  His 
birthday  was  January  11th.  He  has  made  lots  of  hits,  but  his 
first  home  run  was  in  the  part  of  Danton  in  "Orphans  of  the 
Storm." 

Leo  H.  G. — Well,  there  isn't  much  history  to  Clara  Bow.  except 
that  she  was  born  in  Brooklyn  in  1905  and  won  a  contest  that 
this  magazine  started,  thereby  getting  into  pictures.  As  I  under- 
stand it,  she  is  doing  very  well. 

See  A.  Why. — What  do  you  bet  I  dont  look  like  the  picture 
at  the  top  of  the  page?  Well,  I  should  say  on  the  first  of  the 
month  there  is  no  female  or  anything  else  more  deadly  than  the 
mail.  Blanche  Mehaffey  who  was  formerly  in  the  Follies  and 
with  Mack  Sennett  has  signed  a  long-term  contract  with  Uni- 
versal.    See  you  later. 

Clara  R. — You  refer  to  Colleen  Moore  in  "Broken  Chains" 
and  not   Lillian   Gish. 

Ronald  B. — Hello  there,  thanks  for  yours.  Mauric-  Costello 
played  in  "The  Fast  Pace."  Johnnie  Walker  isn't  playing  now. 
Run   in  again  some  time. 

Peaches. — So  you  would  like  to  have  me  for  a  pal.  I  wont 
object — I  like  peaches.  Antonio  Moreno  is  playing  in  "The 
Temptress'    directed  by  Mauritz  Stiller. 

Billy  S. — The  only  sweeping  reform  that  has  succeeded  is  the 
{Continued  on  page  68) 


63 


Famous  Writers  Consider  the  Films 


THOMAS    BURKE 

(Continued  front  page  22) 

of    poverty    and    squalor    was    a    "Chink." 

I  expected  to  meet  a  great  big  husky — 
thinking  probably  that  only  a  big  rough 
man  could  have  weathered  the  hard  life  it 
had  been  his  fate  to  live.  But  Burke  is  a 
little  man  with  a  delicate,  sensitive  face  and, 
a  habit  of  licking  his  lips  before  he  speaks, 
which  is  usually  after  hesitating  to  think 
a  moment.  There  was  something  about 
him  that  reminded  me  of  Charlie  Chaplin. 

Burke  took  me  to  The  Ivy  for  lunch. 
It  is  a  sort  of  Hotel  Algonquin  of  Soho 
— the  Great  White  Way  area  of  London — 
where  actors,  artists  and  writers  congre- 
gate and  tell  each  other  what  they  are 
going  to  do  "some  day." 

"I  never  knew  an  author  who  didn't  spit 
at  the  films,"  said  Burke  quietly. 

"But  didn't  you  like  the  production  Grif- 
fith gave  your  'Broken  Blossoms'  ?" 

"Yes.  I  think  it  was  extremely  good — 
but  extremely  overdone  as  well." 

"Were  you  allowed  to  pass  any  judgment 
on  it  before  it  came  out?" 

He    suppressed    a    smile    and  hesitated, 

licking  his   lips   for  a  moment.  "I   didn't 

know   it  had  been   sold   until  it  had   been 
produced." 

"You  didn't  receive  any  exorbitant  price 
then — in  five  figures?" 

Mr.  Burke  smiled  ironically.  His  silence 
was  eloquent  and  I  would  not  be  surprised 
to  learn  that  he  had  received  almost  liter- 
ally as  well  as  figuratively — next  to  noth- 
ing. And  this  for  what  I  consider  the 
finest  picturization  on  the  screen !  But  you 
see  this  is  ancient  history.  While  they 
have  just  paid  $100,000 — and  an  additional 
percentage — for  the  film  rights  of  "Is  Zat 
So!" 

"I  like  the  German  pictures  best — or  the 
Swedish.  In  them  you  will  always  find 
skill,  background,  finesse  of  story,  ma- 
turity, mellowness.  The  American  pictures 
are  all  the  same.  Once  they  were  all  In- 
dian pictures,  then  cowboy,  then  all  pictures 
either  featuring  Mary  Pickford  or  a  thou- 
sand like  her  trying  to  imitate  her.  Now 
they  are  all  of  a  peculiar  brand  of  jazz 
life  that  has  no  lines  of  society,  breeding, 
taste  or  aristocracy  to  hold  them  back.  Is 
that  what  you  would  call  jazz?" 

"Yes,"  I  told  him,  "as  possibly  applied  to 
the  melodies  of  life." 

"I  really  try  to  see  and  enjoy  your  films 
— but  I  cant,  really.    They  sicken  me." 

"What  about  Chaplin?" 

"Ah,  that  is  different,"  he  replied  more 
quickly  than  usual.  "There  is  only  one 
Charlie.  He  is  all  Art — especially  his  feet. 
When  Charlie  came  over  the  last  time,  I 
was  one  of  the  first  persons  he  came  to  see. 
Strangely,  we  both  worked  our  way  up 
from  the  bottom,  climbed  out  of  the  hell 
of  English  lower-class  life  at  about  the 
same  time.  We  came  here  to  The  Ivy  and 
had  a  bottle  of  wine  together  just  like  you 
and  I  are  doing  and  had  a  jolly  talk  over 
old  times — and  new  ones." 


Kul 


RALPH  D.  BLUMENFELD 
Editor  of  The  London  Daily  Express 


duction — action,  romance,  plenty  of  inci- 
dent, costume  and  a  rapid  dash  of  plot. 
One  reason  for  its  success  as  a  story  of 
the  films  was  that  it  is  so  foreign  to  com- 
mon experience — which  is  all  there  is  to 
romance  in  a  way,  isn't  it?  People  read  or 
see  films  to  gratify  one  of  two  desires  usu- 
ally; that  the  story  shall  be  absolutely  dif- 
ferent from  their  own  personal  story — or 
just  like  it!  That  is  the  difference  between 
Romanticism  and   Realism." 

When  I  asked  him  if  he  had  collaborated 
in  any  way,  he  shook  his  head. 

"They  just  took  the  book,  you  might 
say  without  my  knowledge — which  is  all 
the  more  to  their  credit,  if  they  made  a 
go  of  it.  I  have  heard  that  the  more  an 
author  interferes  with  the  production,  with 
his  attempted  collaboration,  the  worse  he 
makes  the  resultant  screen  picture.  Why 
bother?" 

And  that  phrase,  I  find,  sums  up  the 
diffident  English  character  in  relation  to 
almost  everything  American — except  the 
films. 

And  I  wonder  sometimes  if  they  could 
— or  would — produce  film  pictures  of  a 
higher,  better  and  finer  tone  than  we  are 
producing.  I  hope  so.  But  I  am  of  the 
opinion  that  they  did  not  consistently  do 
so,  when  they  had  their  fling  at  it.  And 
why  did  their  industry  collapse  before  the 
assault  of  our  bad  pictures? 


SIR  ANTHONY   HOPE 

(Continued  from  page  22) 

satisfied  with  his  version  of  'The  Prisoner.' 
Of  course,  it  is  the  sort  of  story  and  set- 
ting that  especially  lends  itself  to  film  pro- 


RALPH  D.  BLUMENFELD 

(Continued  from  page  23) 

I  reminded  Mr.  Blumenfeld  that  not  a 
few  of  the  books  filmed  were  from  the  pens 
of  English  authors. 

"You  may  be  right,  but  the  ones  I  see 
are  all  turned  out  in  the  same  mold. 
What  do  you  suppose  the  great  uncon- 
trollable inland  populations  of  the  colored 
races  of  India,  Japan,  China,  the  Philip- 
pines, Africa,  must  be  set  to  thinking  when 
they  see  the  'superior'  white  man  reeling 
about  their  civilization  with  dope  and 
drink,  intent  on  crime,  being  kicked  about, 
handcuffed  and  imprisoned  by  inferior 
policemen.  Doesn't  tend  to  lighten  the 
White  Man's  Burden,  do  you  think? 
Rather  helps  to  make  a  menace  of  the 
'rising    tide    of    color'    we    hear    so    much 


about,  and  not  without  foundation.  In 
these  populous  centers  of  China  and  the 
Uganda  they  have  never  seen,  never  con- 
ceived of  the  white  man  being  so  easily 
handcuffed  and  made  prisoner.  I  tell  you, 
these  low-toned  films  complicate  the  world 
problem,  which  heaven  knows,  is  bad 
enough  already." 

I  confessed  that  this  was  a  fresh  view- 
point that  demanded  serious  consideration. 

"Mind  you,  I  dont  say  you  are  not  turn- 
ing out  any  good  pictures,  but  what  makes 
the  British  well-wisher  mad  is  that  for 
every  good  film  you  put  forward  you  de- 
mand that  the  exhibitor  take  six  duds! 
Block  booking,  that's  what  makes  all  the 
trouble.  I  am  working  and  my  paper  is 
working  to  make  block-booking  illegal." 

I  was  a  little  skeptical  of  the  drastic 
carrying  out  of  this  idea  as  he  pictured  it. 

Whereupon  Blumenfeld  seized  the  latest 
edition  of  his  paper  that  had  been  laid 
on  his  desk  a  moment  before.  "This  is 
what  I  mean,"  he  said,  beginning  to  run 
his  finger  down  the  list  of  cinema  theaters 
'  'Too  Many  Kisses,'  'Too  Many  Kisses,' " 
he  read  over  and  over  again.  "Now,  un- 
less the  exhibitor  takes  'Too  Many 
Kisses'  " — he  smiled  at  the  patness  of  the 
title — "he  gets  one  big  kick  from  Holly- 
wood and  finally  gets  nothing.  And  that's 
just  the  sort  of  film  the  whole  world 
would  be  better  off  without — 'Too  Many 
Kisses' — England  is  sick  of  that  sort  of 
film,  but  cant  help  herself — yet." 


SIR  ARTHUR  CONAN  DOYLE 

(Continued  from  page  23) 

"I  cant  spare  much  time  for  them — you 
see,  I  have  my  own  little  shows  to  carry 
on."  He  indicated  a  long  box  full  of  slides 
he  was  looking  over.  "I'm  on  my  way  to 
Brighton  now  to  give  a  lantern-slide  lec- 
ture. This  little  box  has  been  all  over 
America  with  me — competing  with  the 
films."     He  laughed  good-naturedly. 

"Did  you  collaborate  at  all  in  the  making 
of  'The  Lost  World'?"  ■ 

"Oh,  no.  Why  should  I  ?  They  know 
their  work  amazingly  well,  it's  a  great 
art  in  itself.  They  made  an  amazing  thing 
out  of  my  book,  I  should  say.  Dont  you 
think  so?  Altho  I  confess,  I  dont  think 
it  will  ever  add  much  to  my  reputation— 
you  know  what  I  mean — it's  not  the  sort 
of    thing   I'm   really   doing,   you    know." 

I  thought  I  knew  what  he  meant  and  I 
told  him  that  I  did  not  think  that  anything 
could  ever  add  to  his  reputation  after 
doing  "Sherlock  Holmes."  But  Sir  Arthur 
did  not  know  that  Holmes  had  been  filmed. 

He  shook  his  head  uncertainly  about  it. 
"What  I  am  looking  forward  to  is  the 
appearance  of  moving — that  is,  animated — 
photographs  of  the  fairy  and  spirit  world. 
They  are  bound  to  come  I" 

He  always  came  back  to  his  fairies  or 
his  spirits.  "It's  my  life-work,"  he  added 
later  in  explanation.  "But  there  is  n< 
doubt  whatever  that  the  films  reach  a  grea' 
audience  and  their  power  for  good — am 
evil — is  enormous.  For  that  reason  alont 
they  all  ought  to  be  good — I  mean  wel 
conceived,  well  done  and  bring  about  well 
being.  Come,  wouldn't  you  like  to  ruf 
down  and  see  my  Psychic  Book  Sho 
which  I  have  just  opened  in  conjunction 
with  Sir  Oliver  Lodge?     I'll  call  a  taxi 


64 


•Science  Ims  produced  an  invention 
that  reads  your  hair 


MR.  C.  NESTLE,  international 
authority  on  hair,  has  solved  the 
problem  of  permanent  waving. 
Among  other  famous  men,  Professor 
Metchnikoff,  of  the  Pasteur  Institute 
of  Paris,  declared  in  1909  that  Mr. 
Nestle' s  invention  of  the  permanent 
wave  is  the  greatest  step  forward  in 
hair  science  ever  made  for  the  comfort 
of  women.'.' 

The  New  Nestle  Meter  Scale — 
a  great  advance 

Now,  Mr.  Nestle  brings  forth  an  in- 
vention of  as  much  importance  to  the 
study  of  human  hair  as  the  X-Ray  is 
to  the  human  body. 
This  is  a  machine  that  literally  "reads" 
yiur  hair— that  reveals  its  special  charac- 
teristics and  forever  takes  the  guess  out  of 
the  permanent  wave. 

The  Nestle  Meter  Scale  removes  a 
great  responsibility  from  the  operator. 
Guided  by  its  readings,  the  permanent 
waver  knows  exactly  what  kind  of  hair 
you  really  have  and  exactly  how  to  wave 
it  for  perfect  results. 


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A 


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65 


HAMLET  AND  THE  FILMS 


(Continued  from  page  21) 


The  Two  Mediums 

Dakrymokk   explained   more   in   detail   his 
theory  regarding  the  differences  between 
the  two  mediums — stage  and  screen. 

"It  is  chiefly  a  difference  of  dimension, 
isn't  it?"  he  postulated.  "Take  a  thing 
such  as  'The  New  Sin.'  A  genre  piece. 
The  characters  are  all  men.  You  can  do 
that  in  a  play — you  can  take  a  morsel  of 
life  and  hold  it  up  and  analyze  it  before 
an  audience  for  two  hours  at  a  stretch 
and  make  it  interesting.  The  most  excit- 
ing scene  I  ever  saw  in  a  play  was  one  of 
Bernard  Shaw's  scenes  in  which  three  men 
sit  at  a  table  and  talk.  On  the  stage  it  was 
more  exciting  than  a  Mexican  bull-fight. 

"In  pictures  it  is  very  different.  You 
cannot  photograph  a  thesis.  You  do  not 
have  the  flesh  and  blood  and  the  voice  to 
work  for  you.  But  the  reality  is  just  as 
great.  The  picture  is  purely  ocular,  isn't 
it  ?  In  a  play  there  are  more  facets  work- 
ing— more  dimensions  presented.  But  in  a 
picture  there  is  greater  scope,  a  broader 
sweep — more  power — a  larger  canvas.  On 
the  stage  a  certain  artificiality  may  not  de- 
tract, but  in  the  pictures  it  is  fatal.  They 
are  so  damned  alive !" 

Barrymore  illustrated  his  point  by  refer- 
ring to  scenes  from  pictures  of  the  past, 
incidentally  paying  high  compliment  to  the 
pictorial  acting  of  Mary  Pickford,  Lillian 
Gish  and  John  Gilbert.  The  scene  in  "The 
Big  Parade,"  in  which  Gilbert  as  a  dough- 
boy teaches  Renee  Adoree,  the  village 
mademoiselle,  to  chew  gum,  was  mentioned 
by  Barrymore  as  one  of  the  best  pieces 
of  acting  he  has  ever  encountered. 

Contrary  to  a  general  impression,  Barry- 
more is  not  at  all  cynical  about  his  con- 
temporaries. I  even  fell  flat  in  trying  to 
draw  from  him  a  sneer  for  poor  old  Robert 
Mantell.  Barrymore  said  he  thought  Man- 
tell's  soliloquies  in  "Macbeth"  were  "great." 

And  he  fairly  glowed  when  he  spoke 
of  the  cast  which  trouped  with  him  thru 
"Don  Juan."  Mary  Astor,  who  plays  op- 
posite as  Adriana;  Warner  Oland  as 
Cccsar  Borgia;  Estelle  Taylor  as  Lucresia 
Borgia;  Nigel  DeBrulier  as  Marcus  Ri- 
naldo— those  and  all  the  others  were 
"great." 

The  Modest  Barrymore 
It  was  rather  surprising  to  hear  Barrymore 
1  talk  this  way,  because  there  is  an  opinion 
abroad  that  the  brother  of  Ethel  and 
Lionel  is  inclined  to  feel  his  own  impor- 
tance. If  he  does  so,  John  Barrymore  is 
a  greater  actor  even  than  I  thought  him. 
To  all  appearances  he  was  as  earnest,  as 
honest,  as  simple  in  his  enthusiasms  as  if 
he  were  a  little  girl'  from  Medina,  Ohio, 
who  had  just  won  a  beauty  contest  and 
was  working  in  her  first  picture.  I  am 
almost  inclined  to  believe  that  envy  has 
given  rise  to  rumors  about  Barrymore 
being  high   hat,   autocratic,  temperamental. 

Temperamental — my  stars!  If  any  direc- 
tor had  asked  an  average  group  of  extras 
to  get  into  that  slimy,  chilly  tank,  the 
ensuing  outburst  of  temperament  would 
have  reverberated  thru  all  filmdom.  Of 
course,  Barrymore's  check  is  larger  than 
an  extra's.  But  by  the  same  token,  a  star 
drawing  such  a  check  as  Barrymore's  is 
not  usually  expected  to  do  such  stunts, 
while  extras  are.  Jove !  I  would  give  an 
eye  to  be  there  when  some  director  asks 
Mae  Murray  to  take  a  similar  plunge ! 

"And  the  comedians !"  exclaimed  Barry- 
more, enthusiastically.  "I  think  they  are 
wonderful — Chaplin,  Lloyd,  Keaton.  The 
Mack  Sennett  comedies  are  the  greatest 
thing   in   drama! 

"I  remember  a  scene  from  a  Sennett  pic- 
ture where  a  coon  is  beset  by  a  crowd  of 


The    strenuous    movies    are    quite    different    from    the    speaking 
theater.     The  studio  is  a  far  cry  from  "Hamlet's"  stage   door 


1 


comedy  highwaymen.  He  cries  'God  hep 
me !'  And  a  clock  falls  down  from  its 
tower,  squashing  the  bandits.  'That's  what 
I  call  service !'  exclaims  the  coon.  There's 
nothing  in  'Hamlet'  any  better  than  that ! 
"For  this  reason  I  like  pictures.  They're 
so  real — so  fresh — so  new.  Making  'The 
Sea  Beast'  didn't  seem  like  a  movie  at 
all.     It  seemed  absolutely  real. 

No    More    "Sweet-Scented    Jackasses" 

"I  consider  'The  Sea  Beast'  and  'Don 
Juan'  the  first  decent  things  I  have 
done  in  pictures  since  'Dr.  Jekyll  and  Mr. 
Hyde.'  That  was  the  only  thing  I  had 
ever  made  before  that  was  any  good.  I 
got  so  tired  of  these  sweet-scented  jack- 
asses I  had  been  playing  that  I  wanted 
to  do  some  character  with  intestines.  They 
were  good  enough  to  let  me  take  the 
story  of   'Moby  Dick.'  " 

I  reminded  him  that  other  less  celebrated 
actors  were  less  fortunate.  Barrymore 
admitted  the  existence  of  purblind  pro- 
ducers, unable  to  see  the  possibilities  of 
screen  characterizations.  He  said  he  got 
a  chance  to  play  Jekyll  and  Hyde  by  a 
ruse.  He  made  a  strip  of  film  showing 
two  characters — one  sinister,  one  benevolent 
— and  presented  it  to  the  head  official  of 
Famous  Players.  This  gentleman  swal- 
lowed the  bait,  thinking  he  had  made  a  great 
discovery — Barrymore  for  Jekyll  and 
Hyde!  And  he  trotted  off  to  persuade 
the  actor  he  ought  to  tackle  the  dual  role. 

"Pictures  are  fascinating,"  resumed 
Barrymore,  "because  in  pictures  we  pro- 
duce things  of  fantasy  such  as  'Siegfried' 
and  'The  Cabinet  of  Dr.  Caligari.'  This 
mighty  field  is  just  beginning  to  be  ex- 
plored.    The     possibilities     are     limitless. 


Years  ago,  I  was  asked  by  a  producer  what 
kind  of  picture  I  wished  to  make  next 
and  I  said,  T  want  to  do  a  picture  in  which 
I  have  a  fight  with  a  horned  toad.' 
told  me  I  was  crazy.  But  I  am  goir. 
make  that  picture  some  day — I  hope  befort 
very  long. 

And  Then  Next 

"""There  is  already  the  beginning  of  a  new 
movement  in  pictures — evidences  of  it 
in    such    pictures    as    Fairbanks'    "Thief 
Bagdad,'   and   'The    Lost   World.'     I  hopt 
that  my  next  picture " 

Whatever  Barrymore  hoped  for  his  i 
picture   must   wait,   for  at  this  juncture  « 
loud    voice    called   out   to    inform   us   thai 
the  water  was  ready   for  the  last  shot  o: 
"Don   Juan." 

The  man  of  the  movies  shed  the  arm> 
blanket  he  had  wrapped  around  his  shoul 
ders  and  with  a  grim  smile  plunged  intc 
the  slimy  depths. 

The  scene  represented  an  escape  fron 
prison — a  ghastly  chaos  of  rushing  watt 
and  struggling  arms  beneath  the  cold  glar| 
of  studio  lamps. 

Don  Juan,  confined  in  a  dungeon  a 
Rome,  had  loosened  a  stone  and  burst  hi 
bars.  But  his  efforts  also  had  loosed 
flood  of  murky  water  from  the  Tibei 
Under  gaunt,  cobwebbed  arches  swept  thi 
foaming  cataract,  while  from  the  grate 
cell  adjoining,  he  whose  wife  the  philar 
derer  had  filched— the  character  played  1> 
DeBrulier — screeched  imprecations  at  th 
wounded,  struggling  swimmer. 

I  waited  long  enough  to  see  Barrymor 
fished  out  and  headed  for  a  warm  dressing 
room  with  a  bath,  a  rub-down  and  a  month 
fishing  trip  ahead  of  him.  He  deservt 
them   all. 


That  Poise 

which  comes  from 
is  noticed 


It  it  alike  "lilllt" mm 
air>  that  you  are  under  ike 
loittt  scrutiny.  Areyoucare- 
!*1  M  tkoo't  ike  ':(!•!  •  kadeoi 
ttadtr  w  match  yon- 


"By  MADAME  JEANNETTE 
^  jhwun  COtfMth  '•»'».  mjmol  h\    1  t>r  r.^inpi  i  >r 

I  ibonierita  ■■-  j  contulwm  «>  Ki»r  iutntnti< 

j.Ku.    tcKanliiiK  fhc  cm-  of  ihr  skin  ami  thr 
proper  use  of  btsut)    prtpftntktfll 

/I  S(  )FT,  delicate  texture— 
^-/*  a  lovely  satiny  face— yet 
not  a  sign  of  powder.  What  is 
the  Secret  of  her  alluring  corn 
plexion?  Hoes  she  USe  powder? 
She  does,  but. a  shade  that 
matches  so  perfectly  the  tone 
of  her  skin  that  she  secures  the 
good  effects  of  powder  without 
seeming  to  use  it. 

All  smart  women  strive  for 
a  natural  complexion,  hut  all 
do  not  achieve  it.  Not  all 
women  have  found  a  powder 
that  really  matches  their  skin 
—  a  powder  that  reveals  their 
natural  coloring.  These  women 
thank  me  for  telling  them  about 


knowing  that  your  complexion 
but  your  powder  is  not 

Read  how  the  scientifically  blended  shades  of 
Pompeian  Beauty  Powder  can  help 

and  eyes  tome  for  special  advice. 


Pompeian  Beauty  Powder. 
Complexions  are  not  composed 
of  single  colors,  but  a  blend  ot 
different  colors.  So  it  is  onl\ 
natural  that  powder  to  match 
your  complexion  must  also  be 
a  blend. 

Pompeian  Beauty  Powder  is 
scientifically  blended  from  dif- 
ferent colors.  Whatever  the 
tone  of  your  complexion,  some- 
one shade  of  this  powder 
matches  it  perfectly. 

Choose  the  correct  shade  for 
your  complexion  from  the  shade 
chart.  In  case  of  doubt  about 
the  shade  you  require,  write  a 
description  of  your  skin,  hair 


Shade  Chart  for  selecting  your 

shade  of  Pompeian  Beauty  Powder 

Medium  Skin:  The  average  Amer- 
ican skin  tone  is  medium,  neither 
decidedly  light  nor  definite!)  olive. 
This  skin  should  use  the  Naturelle 
shade. 

Olive  Skin:  Women  wim  this 
type  of  skin  are  apt  to  have  dark 
hair  and  eyes.  This  skin  should 
use  the  Rachel  shade  to  match  its 
rich  tones. 

Pink  Skin:  This  is  the  youthful, 
rose-tinted  skin  (not  the  florid 
skin)  and  should  use  Flesh  shade. 

White Skin:Th\ssk'in  is  unusual, 
but  if  you  have  it  you  should  use 
White  powder  in  the  daytime. 

Pompeian  Beauty  Powder  is  toe 
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67 


The  Stars  Tell  About  Their  Gardens 


(Continued  from  page  26) 


Adolphe  Menjou 

Adolphe  Menjou's 
especial  pride  is  an 
oleander  hedge  (Neriutn 
Oleander) . 

"I  had  a  nurseryman 
set  out  the  plants  where 
they  would  have  plenty 
of  sun.  I  dont  allow 
them  too  much  water. 
Each  spring  the  soil  is 
enriched  and  each  au- 
tumn I  carefully  prune 
the  hedge. 

"I  do  not  recommend 
the  oleander  except  for 
climates  like  ours,  since 
it  will  'winter  kill.' " 

Raymond   Hatton 
Day    Hatton    rejoices 
**  in    a    flowering    al- 
mond-tree. 

"I  planted  it  four 
years  ago,  when  it  was 
no  more  than  a  lone- 
some shoot,  setting  it 
carefully  in  sheep  ma- 
nure. Since  then  it  has 
had  no  attention  except 
yearly  pruning  and  fer- 
tilizing." 

Anita  Stewart 

To    Anita    Stewart    there    is    a    charm 

about  the  "Shasta  daisy." 

"If  you  live  in  California,  plant  your 
seed  in  January,  or  set  out  your  seedlings 
in  February.  For  a  hedge  of  daisies, 
scratch  a  groove  an  inch  deep  in  moist,  fine 
soil.  Keep  the  ground  soaked  until  the 
shoots  appear,  then  thin  out  the  plants  to 
a  distance  of  five  inches  apart.  Be  care- 
ful to  mulch  them  in  hot  weather  until 
the  root-stem  becomes  woody  close  to  the 
ground,  or  thev  will  be  burned  and  die." 

Dorothy    Phillips    . 

Qorothy  Phillips:    "Calla  lilies  are  a 
satisfaction   because  they  are  easy  to 
raise  and  so  decorative. 

"Bulbs  should  be  planted  early  in  the 
spring.  If  arranged  in  a  hedge,  they  bloom 
best.  When  the  bulbs  send  out  shoots,  dig 
very  carefully  around  the  plants ;  then  give 
them  plenty  of  water  and — that's  all  there 
is  to  it !" 


Warner  Baxter 

VT/arner  Baxter 
thinks  his  Spanish- 
style  house  is  best  set 
off  with  Amaryllidacece, 
a  cactus  of  Mexican 
origin,  better  known  as 
the  century-plant. 

"The  beauty  of  these 
plants  is  that  you  put 
them  in  and  let  them 
alone  for  fifty  years. 
They  need  nothing  but 
sun  and   water." 

H.  B.  Warner 

LI  B.  Warner  has 
"  been  in  California 
only  long  enough  to  buy 
a  house,  but  he  has  al- 
ready planted  some  tiny 
pansy  plants. 

"I  know  that  all  that 
is  necessary  to  grow 
pansies,  once  they  are 
planted  in  good,  rich 
soil,   is  to  keep   them 


Warner   Baxter   devotes   his   spare   time   to   cultivating   a   cactus   of 

Mexican  origin 


a  lot  of  time  thin- 
ning them.  In  winter, 
watering  once  a  week 
is  sufficient  (for  Cali- 
fornia), and  in  summer 
every  other  day.  Every 
two  years  transplant  to 
a  new  bed. 

"Keep  the  tops  cut 
down  and  dead  stalks 
removed  and  you  will 
have  the  neighbors  beg- 
ging for  slips.'' 

Louise  Fazenda 
I   ouise    Fazenda    is 

another   lover  of 
pansies. 

"If  you  want  your 
pansies  to  look  their 
best,  separate  the 
clumps  into  single 
plants  to  give  them 
room.  The  advantage 
of  this,  also,  is  that  you 
can  arrange  your 
colors  to  suit  your  own 
fancy.  I  like  to  gradu- 
ate my  flower  beds  and 
have  the  pansies  backed 
with  taller  flowers  and 
sometimes      bordered 


watered  and  carefully  pick  off  the  blooms. 
The  more  you  pick  them,  the  more  they 
will  bloom." 

Mildred  Davis  Lloyd 

JV/Iildred  Davis  Lloyd:  "Poinsettias  be- 
•  gin  to  bloom  in  November.  During 
the  blooming  season,  supply  with  plenty 
of  water,  and  when  they  have  finished  the 
flowering,  cut  down  almost  to  the  ground. 
Plant  these  cuttings  in  rich  soil  in  an- 
other part  of  your  garden  and  they  will 
bear  flowers  the  next  year." 

Charlie   Chase 

C^harlie  Chase:  "The  silver  daisy  makes 
a  very  decorative  flower  border.  It 
has  a  faintly  purple-silver  bloom  and  each 
daisy  lasts  a  long  time.  I  raised  mine  from 
seeds,  planted  in  soil  that  is  rather  sandy 
early  in  February.  If  you  set  out  plants, 
be  sure  you  set  them  well  apart,  as  the 
daisies  spread  and  you  may  have  to  spend 


with  the  lovely   sweet  alyssum." 


Anita  Stewart  and  her  Shasta  daisies 


The  Answer  Man 

(Continued  from  page  63) 

vacuum  cleaner.  The  players  you  men- 
tioned are  with  Famous  Players.  Wallace 
Beery  and  Neil  Hamilton  are  playing  in 
"Beau  Geste."  Of  course,  I  go  to  the 
office  every  day. 

Muriel  D. — You  refer  to  Ray  Howard 
in  "Sally,  Irene  and  Mary."  Baby  Peggy 
Jean  Montgomery  will  be  eight  years 
young  on  October  26th,  while  Jackie 
Coogan  will  be  twelve  on  exactly  the  same 
day.  Ten  years  from  October  26,  she 
will  be  eighteen  and  he  will  be  twenty- 
two,  so  it  is  quite  possible,  you  see. 

Carolyn   G.   H. — So  you   are  going  to 

Scotland,    and    you    want    your    Classic 

sent  there  to  you.     It  shall  be  done !     I 

didn't   know   you    were    right   around   the 

corner   from  me. 

Gerald  from  Movie- 
land. —  Well,  the  best 
way  to  be  contented 
with  your  lot  is  to 
build  a  house  on  it. 
Shirley  Mason  is  not 
playing  now.  Sally 
O'Neil  has  been  loaned 
to  Buster  Keaton  for 
the  lead  in  his  next  pic- 
ture, "Battling  Butler," 
from  the  stage-play. 

G.  S.  D.— What  beau- 
tiful orange  stationery. 
Well,  Ramon  Novarro 
is  twenty-seven  years 
old.  The  only  way  you 
can  get  a  personally 
autographed  picture  of 
him  is  to  write  to  his 
most  able,  alert  and  con- 
scientious press-agent, 
Herbert  Howe,  Metro- 
Goldwyn  Studios,  Culver  i 
City,  California. 

Rebecca  B.— Wei!,  we 
have  a  lot  of  things  in 
common.  And  you  know 
(Continued  on  page  71 J 


METROPOLITAN  PICTURES 


enttd  hy  John  C.  Flinn 


iPriscilla 


Another    Priscilla 

Dean  feature 

coming  is 

"Forbidden 
Waters  " 

By 
Percy  Heath 


OBODY  deserves  popularity  better  than 
Priscilla  Dean,  whose  pictures  are  the  delight 
of  more  than  a  million  devoted  fans.  Her 
sparkle  and  gay  charm,  her  daring  escapades, 
her  altogether  bewitching  way  of  slipping  in 
and  out  of  danger,  have  endeared  her  to  au- 
diences everywhere. 

And  now  this  fascinating  star  is  making 
for  you  three  wonderful  pictures — crowded 
with  fresh  comedy,  breezy  situations  and 
hair-raising  thrills.    Watch  for  them ! 


Another   Priscilla 

Dean  feature 

coming  is 

"The  Dice 
Woman" 

By 

Percy  Heath 


ii 


THE  DANGER  GIRL" 


with  JOHN  BOWERS 

adapted  by  Finis  Fox  from  "The  Bride"  by  George  Middteton  and  Stuart  Olivier 

Directed  by  EDWARD  DILLON 

Here  is  a  spectacular  drama  worthy  of  the  ex-  one  another  as  Miss  Dean  winds  in  and  out  the 

traordinary  talents  of  Priscilla  Dean.    A  daring  tangled  thread  of  the  story  and  proves  herself 

jewelry  robbery  leads  to  a  desperate  situation  in  more  captivating  than  ever, 

which  suspicion  falls  on  everyone.    Rapid-fire  A  delightful  film  which  nobody  can  afford 

action,  quick  laughs  and  tender  romance  follow  to  miss! 


RELEASED   BY 


PRODUCERS  DISTPJBUTING  CORPORATION 

t.  C.  MUNHOE.  Pr™«k»i       RAYMOND  PAWLEY.  Vm-Kittmt  ml  Tm*m      JOHN  C  FUNN.  VlM-Ptofckiu  »nd  G»>«.l  VUnmn 


Avoid  Gray  Hair 

as  these  women  do 


No  need  now  to  grow  old  before  your  time — to 
allow  gray,  faded  or  unbecomingly  bleached  hair 
to  age  you.  For  Brownatone,  used  so  success- 
fully for  years  by  thousands  of  women  through- 
out the  United  States  and  Canada,  brightens 
and  beautifies — 'tints  any  shade.  Mrs.  A.  B. 
Jordan  of  Woodland,  W.  Va.,  who  has  used 
Brownatone  satisfactorily  for  several  years,  re- 
marks that  "No  gray  haired  woman  can  afford 
to  let  such  a  golden  opportunity  go  by  as 
Brownatone  offers.    I  recommend  it  toanyone." 


The  antiseptic  qualities  of  Brownatone  are  assur- 
ance of  its  perfect  safety.  So  there's  no  need  to 
fear  results.  Brownatone  is  guaranteed  to  be 
absolutely  harmless  to  hair  growth  or  skin.  Mrs. 
Marie  James  of  389  Nixon  Street,  Biloxi,  Miss., 
even  remarks  that  "When  I  started  using 
Brownatone,  six  years  ago,  my  hair  was  thin  and 
short.  But  now  it  is  beautifully  long  and  heavy. 
I  like  my  hair  a  chestnut  brown,  and  have  had 
no  difficulty  in  getting  it  the  right  shade,  since 
using  Brownatone.  I  must  say  it  is  a  wonderful 
tint  for  gray  and  faded  hair." 


As  Brownatone  permeates  each  entire  hair  itself, 
it  cannot  rub  off  or  wash  out.  There's  no 
interference  whatsoever  with  shampooing  —  or 
even  with  permanent  waving,  marcelling  or  scalp 
treatments.  For  the  color  is  lasting.  You  need 
apply  it  again  only  as  the  hair  grows.  And  it 
is  so  simple  to  use  that  you  can  apply  it  yourself 
at  home.  Merely  brush  the  color  through. 
Which  is,  of  course,  one  reason  why  Dora  Paserk 
of  Mil  St.  Catherine  Avenue,  Cleveland,  Ohio, 
says,  "/  prefer  Brownatone  to  any  other  hair 
tint  I  have  ever  used." 


There  are  two  colors  in  Brownatone  from  which 
any  shade  may  be  obtained— one  from  Blonde  to 
Medium  Brown;  the  other  Dark  Brown  to 
Black.  Sold  at  drug  and  toilet  counters  every- 
where, 50  cents  and  $1.60.  Use  Brownatone  and 
you  will  say  as  does  Mrs.  R.  H.  Staeubli,  836 
North  Lafayette  Park  Place,  Los  Angeles,  Cal., 
"It  is  the  best  hair  tint  I  ever  used." 

Test  the  merits  of 
Brownatone.  Mail 
the  coupon  with  10c 
for   a    trial  bottle. 


The  Kenton  Phirmacil  Co. 

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Enclosed  Is  10c.  for  test  bottle  of 
Brownntone.  '  >  Blonde  to  Med.  Brown 
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GUARANTEED    HARMLESS 

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TINTS   GRAY    HAIR  ANY   SHADE 
70 


Marion   Davies  entertains  George  Wilson   (left)   of  the  Los  Angeles 

Tigers  and  Red  Grange  (right)  of  the  Chicago  Bears.     Here  are  two 

big-time  professional  football  players 

Super -Realism  in  the  Movies 

(Continued  from  page  43) 


King,  von  Stroheim,  Vidor,  Ingram,  I  am 
nevertheless  worried  about  their  attitude. 
Lubitsch  I  regard  frankly  as  a  dan- 
gerous influence,  much  as  I  admire  his 
sophistication  and  his  wizardry.  Stro- 
heim is  a  tortured,  unhappy  spirit,  who 
plainly  never  does  what  he  is  after,  but 
has  a  boundless  genius  for  cinema  com- 
position ;  he  has  been  developing  down- 
ward from  the  dynamic  "Greed"  to  the 
virtually  static  "Merry  Widow."  Vidor  in 
part  of  the  "Big  Parade"  creates  some- 
thing of  sheer  perfection.  Henry  King's 
"Stella  Dallas"  was  undoubtedly  the  out- 
standing achievement,  the  master  stroke, 
a  picture  which,  like  "The  Last  Laugh," 
seemed  to  have  absolutely  everything  the 
motion  picture  could  give  us. 


YY/hat  I  fear  much  is  the  influence  of 
the  Lubitsch  of  "Lady  Windermere's 
Fan."  Mind  you,  he  is  amazingly  clever 
and  sure  of  himself.  But  to  me  he  seems 
to  depart  steadily  from  the  true  character 
of  the  motion  picture.  People  sit  in  a 
salon,  or  in  a  hotel  room,  weeping  their 
closet  dramas  sardonically  over  each*  other's 
shoulders,  and  one  of  them,  behind  the 
other's  back,  grimaces,  mocks.  On  these 
.  subtle  gestures  of  people  in  a  London 
drawing-room  he  centers  the  spotlight  of 
your  attention.  The  beauty  of  these  stunts 
is  not  of  motion,  or  of  dynamic  forms,  it 
is  "literary"  and  stationary.  The  movies 
become  a  vehicle  for  his  particular  brand 
of  skepticism.  But  I  cant  bear  watching 
merely  skepticism  spread  over  a  large 
screen.  I  must  see  things,  people,  in  re- 
lated motion.  Here  they  stay  in  a  room, 
the  tempo  is  slow,  and  everything  is  re- 
duced to  little  smiles  and  grimaces,  or 
hand  waves  that  move  back  and  forth  to 
each  other.  ...  I  would  rather  read 
Lubitsch. 

I  do  not  .question  the  all-important  business 

of  the  director   (conductor  of  the  whole 

symphony)   to  select,  to  arrange  the  order 


of  things,  to  relate  the  movements,  to 
compose  his  "shots"  in  order  to  gain  the' 
utmost  effect  or  atmosphere. 

"I  prefer  to  suggest  ideas  .and  situations 
in  my  pictures,"  says  Lubitsch,  "rather 
than  to  load  them  down  with  nothing  but 
the  starkly  realistic." 

And  Rex  Ingram  says  likewise: 

"The  most  convincing  atmosphere  is 
often  far  from  realistic.  Because  the  di- 
rector aims  to  get  over  the  effect  of  th< 
atmosphere  he  desires,  rather  than  th< 
actual  atmosphere  which  exists  in  sue! 
scenes  .  .  .  which,  reduced  literally  to  th* 
screen,   would  be  quite  unconvincing." 

Yes,  this  is  all  very  sensible  and  ven 
clever,  when  it  does  not  go  too  far.  Bu 
you  must  not  get  away  from  the  camera 
you  must  give  it  space  to  roam  and  worl 
in,  room  to  breathe.  Otherwise,  you  los^ 
(1)  the  particular  revealing  super-realise 
that  the  motion  picture  has,  and  (2)  th 
significance  and  beauty  of  objects  in  re 
lated  motion  which  is  the  very  soul  of  th 
cinema.  

It  is  fashionable  to  be  subtle  and  "arty 
just  now.     To  be  suggestive.     In  "Th 
Merry  Widow,"  von  Stroheim  blurred  th 
film    every    time    Mae    Murray    wept.     1 
was  like  the  false  impressionism  of  painter 
some  years  ago.     Why  should  we  look  i 
colors  or  faces  thru  a  fog,  if  we  were  neai 
sighted.    In  the  same  film  there  were  mai 
velous  shots  of  John  Gilbert's  head,  isolate 
in  a  close-up,  as  he  reacted  to  some  shod 
Here  the  firm,   clear  tones  of  the  pictui 
made  it  seem  like  a  great  piece  of  sculptur 
The  effect  of  the  unabused  camera  was  iiJ 
finitely  stronger  than  the  fake  impression 
ism  they  go  for  when  they  try  to  color  c| 
touch    up   a    picture,    or    when    there  is  y 
sunset,  or  moonlight  over  water.    And  Jul 
as  bad  as  the  gushingly  sentimental   fad* 
outs  of  the  end  are  the  places  where  til 
sets  have  too  definitely  the  air  of  beiifl 
fresh  from  the  scene  factory.     I  know,  <*| 
(Continued  on  page   77) 


, 


C  A   S    H    M 

b  o  u  a  u 


!  I'nderwood  &  Underwood 

ack  Dempscy  and  his  wife,  Estelle 
'aylor,  on  the  roof  of  the  Hotel  Fleet- 
rood   at   Miami    Beach,    Florida,    gaze 

ut  upon  the  waters  of  Biscayne  Bay 


The  Answer  Man 

(Continued  from  page  68) 

e  habit  of  going  to  the  bottom  of  things, 
ually  lands  a  man  on  top.  Forrest 
anley  opposite  Marion  Davies  in  "When 
nighthood    was    in    Flower."     You    were 

K. 
May's  Bud. — Well,  the  trouble  with 
>st  marriages  is  that  a  man  always 
ikes  the  mistake  of  marrying  the  woman 
\o  carries  him  off  his  feet — instead  of 
'  ing  to  find  one  who  will  keep  him  on 
bnx 

Margaret  Louise.  —  Yes,  that  was 
Urold  Austin  in  "Black  Lightning." 
m  "Twenty  Thousand  Leagues  Under 
t  Sea"  was  done  about  seven  or  eight 
Jdrs  ago.  Sure,  but  when  days  go  wrong, 
member  they  aren't  self-starters. 

Zhic— Just  mark  down  1895  for  Valen- 
H>'t  birth  year. 

■weft  Turpentine. — Women  can  ask 
^stions  which  wise  men  wont  answer. 
Cria  Swanson  was  born  in  1897.  Con- 
I  Tearle  finished  work  in  "The  Dancer 
itn  Paris"  and  left  for  the  Coast  to 
Min  work  on  "Good  Luck,"  a  famous 
Biry  Lane  melodrama  for  First  National. 
4{'ita. — I  dont  think  anything  will  hap- 


( 3om  up  of  i  velvet 
MDOOth  "kin 
No  "age -line*"  or 
coarse  pore*. 


D^ow  —This  fine  hard-milled  soap  keeps 
your  skin  smooth  •  fragrant  •  youthful 


Look  closely  at  an  exquisite  com' 
plexion.  Notice  its  clean,  fine  tex- 
ture.   Pores  are  practically  invisible. 

The  Safest  Beauty  Treatment 

Cleanliness  is  the  surest  way  to  en  via- 
ble  skin.  But  cleanliness  is  not  mere 
application  of  soap  and  water.  Care  in 
the  soap  you  use  is  most  important. 
Choose  Cashmere  Bouquet  as  the 
soap  for  your  face  and  hands.  It  is 
"hard-milled,"  which  means  the  cake 
is  hard  and  firm — not  the  least  bit 
squdgy.  With  Cashmere  Bouquet 
onlyenough  soap  penetrates  the  pores 
to  cleanse  them.  Thus  no  soap  stays 
in  the  pores.  It  all  dissolves  bring- 
ing dust  and  dirt  out  with  it,  leaving 
the  pores  clean  and  unstifled. 


A  Book  of  Beauty 
Secrets 

This  unusual  booklet  has 
been  endorsed  by  an  au- 
thority on  beauty.  Every 
statement  u  approved  by  an  ^^^  V 

eminent      skin      specialist.  s^sV 

Send  for  your  copy  and  a 
trial  cake  of  Cashmere  Bou- 
quet Soap.  Fill  out  the 
coupon. 


Expert  dermatologists,  physicians  who 
\now  all  about  s\m,  say  water  and 
the  right  soap  should  be  used  every 
day  to  \eep  s\in  smooth  and  youthful. 
Cashmere  Bouquet  is  the  right  soap. 
Its  fragrant  lather  is  so  gentle,  so 
cleansing,  that  it  fairly  caresses  your 
skin  and  leaves  it  soft  and  lovely. 
Careful  special  processes  make  Cash- 
mere Bouquet  safe  for  your  daily  use. 
This  "hard -milled"  cake  is  pressed 
into  almost  marble  firmness.  Secret 
essences  are  added  to  give  that  inde- 
scribable fragrance. 
Try  this  Treatment —  Watch  Results 

Wet  the  face  with  warm  water.  Work  up  a  thick  Cash- 
mere Bouquet  lather.  Massage  this  into  the  skin  with 
the  fingertips  until  the  skin  feels  refreshed  and  alive. 
Rinse  in  warm  water.  Then 


Rinse  in  warm  water.  Then 
a  dash  of  cold.  Pat  the  face 
dry'  with  a  soft  towel.  If 
the  skin  is  inclined  to  be 
dry,  rub  in  a  little  Colgate's 
k  Charmis  Cold  Cream. 


722 


71 


Something 

DIFFERENT 

for  fobbed  Hair 

There  is  a  tremendous  difference 
in  bobs.  Some  are  wonderfully 
attractive  and  becoming,  while 
others,  well — which  kind  is  yours? 

I  wish  you  could  picture  the 
becoming  kind  I  have  in  mind  — 
the  sort  that  makes  men  turn  to 
admire.  I  can't  tell  you  what  the 
color  is,  but  it's  full  of  those  tiny 
dancing  lights  that  somehow  sug- 
gest auburn,  yet  which  is  really  no 
more  actual  color  than  sunlight.  It's  only 
when  the  head  is  moved  that  you  catch 
the  auburn  suggestion— the  fleeting  glint 
of  gold. 

You  have  no  idea  how  much  your 
bob  can  be  improved  with  the  "tiny  tint" 
Golden  Glint  Shampoo  will  give  it.  If 
you  want  a  bob  like  that  I  have  in  mind, 
buy  a  package  and  see  for  yourself.  At  all 
drug  stores,  or  send  25^  direct  to  J.  W. 
KobiCo.,  656  Rainier  Ave.,  Seatde,Wn. 

Golden  Glint 

SHAMPOO 


Beautifully  balanced 

"Old  Town  Canoes"  are  the  exact  reproduc- 
tions of  models  built  by  the  Penobscot  Indians. 
These  Indians  were  masters  in  the  art  of  canoe 
building.  Their  canoes  were  speedy,  they  carried 
large  loads  easily  and— they  were  beautifully 
balanced. 

"Old  Tbwn  Canoes"  are  not  only  steady,  fast 
and  beautiful — they  are  also  light  in  weight 
and  remarkably  durable.  Sturdy  and  rigid, 
"Old  Town  Canoes"  stand  up  under  the  severest 
strains — they  last  for  years  without  repairs. 

"Old  Town  Canoes"  are  low  in  price  too.  $64 
up.     From  dealer  or  factory. 

The  1926  catalog  is  beautifully  illustrated 
with  all  models  in  full  colors.  It  gives  prices 
and  complete  information.  Write  for  your  free 
copy  today.  Old  Town  Canoe  Company, 
674  Main     Street,  Old  Town,  Maine. 

Old  Town  Canoes* 


72 


pen  to  me,  unless  it  be  enlarged  condition 
of  the  cranium  due  to  excessive  flattery. 
Norma  recently  completed  "Kiki,"  from 
the  stage-play. 

Ramon  Novarro  Fan. — Of  course,  if 
you  feel-  like  writing  to  the  editor,  you  do 
so.      He  will   be   glad   to    hear    from   you. 

Gladys  W.  W.— I  think  she  is,  but  I'm 
not  sure.  No,  David  Powell  was  mar- 
ried. Webster  Campbell  directed  Doris 
Kenyon  in   "The   Half-Way  Girl." 


Magdale. — Yes,  the  Brooklyn  Navy 
Yard  is  not  far  from  our  office.  That's 
why  we  dont  eat  peanuts  here — afraid  the 
shells  might  scare  the  sailors.  Patsy  Ruth 
Miller  is  with  Warner,  and  address  Jack 
Mulhall  at  First  National.  Fred  Thomson 
owns  the  horse,  "Silver  King." 

Anna. — That  was  some  stationery  you 
have.  No,  I  never  get  tired  answering 
questions.  That's  what  I  get  my  $12.50 
(Continued  on  paye  74) 


Random  Impressions  of  Hollywood 

(Continued  from  page  55) 


actors  running  around  loose,  going  to  and 
from  restaurants  and  soda  fountains  with 
their  make-up  on.  Elsewhere  the  city  is 
just  like  any  other. 


L-Jarry  Carr  is  very  popular  here  with 
everybody  and  much  beloved.  He  is 
now  doing  a  little  work  for  Lasky,  but 
Brewster  Publications  still  have  a  lien  on 
him  and  hope  soon  to  haul  in  on  the  chain. 


I 


saw  "Don  Q"  in  New  York  last  spring, 
and  in   London  last   August,  but  it  just 

arrived    in    Hollywood    late    in    January. 

"Ben-Hur"  and  "Lady  Windermere's  Fan" 

are  not  here  yet.    Yet  they  were  all  made 

here. 


Cox  is  fixing  up  their  lot.  It  now  looks  like 
a  rubbish  heap — part  of  it — but  they're 
going  to  make  all  the  other  studios  take 
a  back  seat.  The  outside  of  Lasky's  looks 
like  a  lot  of  old  sheds  and  barns  nailed 
together.  They  are  going  to  move  out 
soon  and  take  over  First  National,  and 
First  National  is  going  elsewhere. 

In  every  studio  now  they  have  at  least  two 
cameras  on  every  scene,  and  they  take 
every  scene  twice,  which  makes  four  nega- 
tives of  every  scene.  You  folks  see  only 
the  best  of  the  four. 

Jack  Holt  has  the  prettiest  cigar-lighter 
in  Hollywood.  He  works  it  with  one 
hand,  which  he  cant  do  with  a  match.  He 
was  smoking  a  cigaret  and  I  said,  "For 
shame — you  should  smoke  a  pipe."  He  ad- 
mitted it,  adding  that  he  does  so  at  home, 
but  at  the  studio  a  pipe  is  awkward  and 
is  likely  to  be  mislaid. 

YY/hen  I  first  saw  Esther  Ralston  on  a 
First  National  set,  I  said,  "Hello,  I 
haven't  see  you  since  1913  at  the  old  Kalem 
studio  when  I  was  photographed  with  you 
and  Alice  Joyce  and  the  Answer  Man." 
She  looked  puzzled  and  said  "Y-e-s."  Then 
I  discovered  that  I  was  not  speaking  to 
Anna  Q.  Nilsson,  and  we  all  laughed,  in- 
cluding Anna  Q.,  when  I  told  her  a  mo- 
ment later.  They  do  look  something  alike, 
now  dont  they  ?  Only  I  guess  Esther 
doesn't  date  back  quite  so  far. 


Cince  I  have  been  in  Hollywood  I  have 
kept  my  lamps  trimmed  and  burning, 
and  I  think  that  Tom  Mix  is  the  finest 
specimen  of  He-manhood  I  have  yet  dis- 
covered. He  looks  good  to  me,  and  he 
talks  even  better  than  he  looks.  He  is  a 
mature  man  of   well-thought-out   ideas. 


C~V  course,  anybody  would  recognize  the 
six  feet  three  of  Ernest  Torrence  a 
mile  off.  When  I  got  within  hailing  dis- 
tance, I  said,  "Come  hitherward,  little  one, 
I  wouldst  make  speech  with  thee."  He 
came  hitherward  with  knitted  brows  and 
piercing  eyes  and  pierced  me.  "Ah,  'tis 
thee,"  he  answered  and  then  we  shook 
hands.     Mine  is  sore  yet. 


Qnk  who  has  traveled  thru  France  and 
Belgium  observes  at  once  when  travel- 
ing thru  America  the  striking  difference 
in  the  houses  of  the  poorer  classes.  Abroad 
the  poorest  and  humblest  are  picturesquely 
beautiful ;  in  America  they  are  monstrosi- 
ties of  ugliness — until  you  get  near  Los 
Angeles.  There  are  very  few  ugly  houses 
around  here,  and  I  guess  those  were  built 
by  Easterners.        

"Daruon  my  persistency  of  vision "  1 

said  gravely  to  Constance  Talmadge 
when  I  found  myself  in  the  same  elevator 
with  her  at  the  Great  Western  Costume 
Company.  "To  what  fortunate  circum- 
stance do  I  owe  the  honor  of  this  imperti- 
nence?" she  replied  haughtily.  Then  we 
both  laughed  heartily  and  shook  hands. 
You  see  we  were  old  friends — at  least  of 
nine  years'   standing. 


VT/uen  I  was  introduced  to  Ricardo 
Cortez,  he  greeted  me  with  all  the  gal- 
lantry of  a  cavalier  and  knight  errant  but 
quite  naturally.  He  looked  quite  as  hand- 
some and  polished  as  ever  Valentino  did 
and  he  has  those  dreamy  eyes  with  the 
whites  showing  under  them  that  always 
makes  feminine  hearts  flutter.  I  think  this 
man  will  perhaps  be  counted  among  the 
screen   idols  of   the   near    future. 


"In  thy  arms  let  me  taste  the  delights  of 
paradise,"  I  greeted  Alec  Francis  on 
the  Lasky  lot,  and  then  we  embraced  like 
two  Frenchmen.  I  had  not  seen  him  for 
twelve  long  years,  and  he  looks  younger 
now  than  then.  . 

If  I  were  asked  to  name  the  most  popular 
player  in  Hollywood,  I  would  hesitate 
between  Florence  Vidor  and  Marion  Davies. 
Neither  is  at  all  up-stage,  and  both  are 
charming.  

If  you  think  you  have  a   few  automobiles 
in  your   town,   wait   till   you    see    Holly- 
wood and  these  parts.     Everybody  ha- 
— even   the   cook.      Cars   are   as   important 
here  as  shoes — more  so. 


17  very  day  a  Santa  Fe  train  leaves  Chi- 
cago  for  California,  and  each  train 
has  four  long  sections  full.  Returning, 
two  sections  are  usually  empty.  Soon 
evervbody  will  be  in  California  and  Florida. 
There  are  real-estate  offices  on  nearly 
every  business  block,  and  some  have  men 
out  in   front  laying   for  you. 


Assistant  directors  are  more  important 
*~*  here  than  directors.  At  least,  the> 
think  they  are.       

''There  are  2,479,781  directors  her. 
(approx.).  Nearly  everybody  has  di 
rected  or  thinks  he  can  direct,  and  want 
to  try.  Multiply  this  by  five  and  yon  hav* 
the  exact  number  of  those  who  can  ac 
or  think  they  can  act  and  want  to  try 
If  you  thought  of  coming,  too — well,  donl 


Paging  the  Film  Fathers 

mlmued  from  pogt 

emained  behind  to  till  Ins  fields  when 
■ir  and  daughtei  went  to  Hollywood, 
t ittx  them  home  soon  Hut  instead 
»ent    tor   him! 

en     Norma    Shearer    was    a    girl     in 

eal,    hei     lathi  i     was    master    oi    tin 

A    picture    ot    him    in    his    hunting 

i  hangs  over  her  Hollywood  dreai 

luit  Norma  hasn't  seen  her  fathei   foi 

His    business   keeps   him    in 

ind  Mis    Shearer  travels  across 

mtinent   twice  a   yeat    to  he  with  him 

.i  tew  ilass     so  the  movies  are  responsible 

tor  the  breaking  up  oi  one  happy   home. 

Fathers  in   All    Walks   of   Life 

From  all  walks  oi  life  the  players  have 
■eome;  from  the  New  England  factory 
where  Neil  Hamilton's  father  worked 
metal  polisher  ("But  I  took  Dad  out 
shops  last  year,"  says  Neil  happily)  ; 
Pennsylvania  coal-fields,  where  the 
rider  O'Malley  toiled  and  Pat  himself  was 
i  breaker  boy ;  from  the  Chicago  apart- 
ment house  where  Mary  Philbin's  father 
in  his  street-railway  uniform  brought  the 
newspaper  announcing  that  his  little  girl 
v.in  a  beauty  contest  Mr.  Reynolds, 
Vera's  father,  is  a  Los  Angeles  politician. 
Howard  Davis,  father  of  Mildred,  is  a 
paper  man  Marion  Davies'  dad  is  a 
justice  in  New  York  City. 

In  the  war  George  Arthur's  father  had 
to  salute  his  own  son.  He  is  a  contractor, 
formerly  of  London,  now  of  Hollywood. 
At  first  the  Arthurs  did  not  like  the  blaze 
>f  California  sunshine  after  London  fog 
md  returned  home.  Ten  days  later  they 
rabled  that  they  were  sailing  for  America. 

Sometimes  a  screen  star  does  not  add 
uster  to  the  paternal  name,  when  that  name 
j  not  considered  dressy  enough  for  electric 
ights.  J.  Cronk  found  his  surname  no 
lindrance  in  the  banking  business,  but  his 
laughter  changed  her  name  to  Claire 
A'indsor. 

One  evening  last  year  Hollywood  ob- 
served Mae  Busch  dining  at  the  Cocoanut 
jrove  with  a  handsome,  grey-haired  man 
vho  seemed  very  devoted.  The  next  morn- 
ng's  paper  announced  her  engagement — to 
in  "Australian  millionaire."  It  was  a  week 
>efore  the  mischievous  Mae  revealed  the 
:act  that  it  was  her  own  father.  For 
nany  years  Mr.  Busch  had  lost  trace  of 
tis  daughter.  Mae  had  left  Australia  with 
l  traveling  road  show.  Then  one  day  he 
ead  an  interview  with  her  in  a  fan  maga- 
:ine.  and  that  very  night  took  a  boat  for 
-os  Angeles. 

A  favorite  movie  plot  in  the  early  days 
>f  the  movies  was  that  in  which  a  locket 
dentified  a  long-lost  child.  Life  has  quite 
is  impossible  plots,  as  Jack  Gilbert  dis- 
overcd  last  spring,  when  a  perfect  stranger 
ame  to  his  dressing-room  and  holding  out 
lis  arms  in  the  fashion  beloved  of  melo- 
Irama  greeted  him  with,  "My  boy !  My 
>ov !"  Papers  he  carried  proved  unmis- 
akably  that  he  was  Jack's  real  father, 
vhom  his  mother  had  divorced  when  he 
vas  a  baby,  and  of  whom  he  had  never 
>een  told ! 

In  the  eyes  of  the  fathers  of  the  stars, 
s  thev  gaze  at  their  famous  children,  is 
ride — and  something  else,  bewilderment. 
Vre  they  thinking,  perhaps,  of  the  days 
■  hen  these  glorious  beings  were  not  screen 
tars,  but  little  boys  with  grubby  hands, 
nd  little  girls  with  missing  front  teeth, 
3  be  taken  care  of  and  scolded  and  loved — 
nd  spanked? 


You  cant  afford  to  be  without 
The  Motion  Picture  Classic 


>oai  you 
still  command 

his  admiring  glances  ? 

£  W  XOES  your  mirror  still  reflect  a  youthful  radiant  complexion? 
/  J  Ask  yourself  these  questions.  If  the  answer  is  "no,"  then 
-*-"^  you  are  being  unfair  to  yourself.  Every  woman— no 
matter  what  her  age — by  observing  the  laws  of  nature  in  the  care 
of  her  skin  can  prevent  fading  color,  blotches,  and  other  blemishes, 
and  keep  ever  fresh  the  charm  of  youth  to  which  she  is  entitled. 
Thorough  cleansing  is  the  first  step  in  creating  or  preserving 
complexion  beauty,  and  among  medical  skin  specialists,  cleansing 
with  a  pure  soap  and  warm  water  is  the  method  most  highly 
recommended. 

Start   this   simple   treatment   today 
and  watch  your  s\m  grow  younger 

Get  a  cake  of  Resinol  Soap  at  your  druggist's.  Every  night  with 
warm  water  gently  work  the  thick,  creamy  lather  of  Resinol  Soap 
into  the  pores  of  your  skin.  Then  thoroughly  rinse  off  your  face 
and  splash  on  a  dash  of  cold  water  to  close  the  pores.  Within  a 
week  you  will  see  the  difference.  A  finer,  smoother  texture  in 
your  skin — a  softening  and  then  a  disappearance  of  those  insidious 
little  blemishes — a  ruddier  glow  of  health — a  more  youthful 
appearance  in  your  whole  face. 

Resinol  Ointment  is  a  ready  aid  to  Resinol  Soap.  In  addition  to  being  widely 
used  for  eczema,  rashes,  chafing,  etc.,  many  women  find  it  indispensable  for 
clearing  away  blackheads,  blotches,  and  similar  blemishes.  All  druggists  sell 
these  products. 

Resinol 


Soap 


Write  today  and  uk  ua  for  a  Trie  trial  of 
KfBinol  Soap  tiitt  ointment.  Address  Dept. 
B.    Resinol.    Baltimore.    Md. 


73 


Safeguard 
where  you 
cannot  see 


Sani-Flush  eliminates  all  the 
labor  from  the  task  of  cleaning 
the  toilet  bowl.  It  cleans  far  more 
thoroughly  than  any  amount  of 
scrubbing    and    scouring. 

Sani-Flush  purifies  the  trap 
which  you  cannot  See  or  reach, 
removes  sediment  and  banishes 
foul  odors. 

You  simplysprinkle  Sani-Flush 
into  the  bowl,  follow  the  direc- 
tions on  the  can,  and  flush. 
Marks,  stains,  incrustations 
vanish.  The  bowl  is  clean, 
white,  sanitary.  Sani-Flush 
cannot  harm  plumbing  connec- 
tions. Always  keep  a  can  handy 
in  the  bathroom. 
Buy  Sani-Flush  at  your  grocery, 
drug  or  hardware  store,  or  send 
25c  for  a  full-size  can.     30c  in 

Far  West.     35c  in  Canada. 

Sam-Flush 

Cleans  Closet  Bowls  Without  Scouring 

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Canton,  Ohio 


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74 


Letters  to  King  Dodo 

(Continued  from  page  61) 


New  York. 
Dear  King : 

Your  Majesty  must  begin  giving  a 
thought  to  your  wardrobe  at  once.  I  have 
just  seen  Rudolph  Valentino  upon  his  re- 
turn from  Europe  and  I  realize  that  your 
regal  raiment  is  sadly  out  of  date. 

Valentino  came  back  with  a  dozen  or 
so  fur-lined  bathrobes.  Scores  of  pleated 
trousers.  (A  lot  of  Italian  relatives,  too.) 
He  still  wears  his  slave  bracelet.  On  the 
other  wrist  a  watch  held  in  place  with  a 
second  slave  bracelet.  A  couple  of  plati- 
num chains  across  his  decorative  waistcoat 
complete  the  ultra  touch. 

With  his  new  divorce,  Rudy  was  de- 
cidedly happy.  '  There's  just  one  cloud  upon 
his  horizon.  His  pictures  have  been  barred 
in  Italy  because  of  his  recent  plan  to  be- 
come a  naturalized  American.  Suppose  this 
international  problem  should  ultimately  lead 
to  war,  Your  Majesty!  Just  suppose. 
Imagine  your  subjects  rushing  into  enlist- 
ment camps  with  the  cry  "Make  the  world 
safe   for  Valentino !" 

New  York. 
Your  Majesty. 

Reports  have  filtered  all  the  way  to 
Manhattan  anent  one  Greta  Garbo,  a  luxu- 
rious appearing  Scandinavian  actress  who 
is  yet  to  make  her  debut  on  your  majesty's 
screen.  When  the  Metro-Goldwyn  powers 
looked  over  Ibaiiez's  "Torrent,"  in  which 
Miss    Garbo    makes    her    American    debut, 


their  eyes  glistened.  '"Here,"  they  chuckled, 
"is  the  sensation  of  the  next  film  year.'' 
"Torrent,"  I  am  reliably  informed,  is  but 
an  indifferent  production  of  Monte  Bell 
but  Miss  Garbo  flashes  like  a  bolt  of 
lightning  from  the  silverscreen.  So  plans 
for  the  immediate  making  of  Miss  Garbo's 
next  picture,  "The  Temptress,"  also  an 
Ibanez  effort,  have  been  held  up  tempo- 
rarily while  the  aforementioned  powers 
consider  how  best  they  can  embellish  Miss 
Garbo's  vibrant  dramatic  qualities. 

Hollywood. 
Dear  King : 

By  this  time  Your  Majesty  will  know 
definitely  whether  or  not  your  subjects 
have  taken  a  fancy  to  "La  Boheme,"  in 
which  Lillian  Gish  makes  her  first  cellu- 
loid appearance  since  that  turgid  effort, 
"Romola."  Doubtless  Your  Majesty  has 
heard  of  the  tribulations  encountered  in 
meeting  Miss  Gish's  insistence  upon  lengthy 
rehearsals  before  each  scene.  Miss  Gish 
was  developed  in  the  Griffith  school,  which 
calls  for  weeks  and  weeks  of  rehearsal 
before  anyone  unpacks  a  camera.  Director 
King  Vidor,  on  the  other  hand,  likes  to 
shoot  spontaneous  stuff. 

Miss  Gish  had  her  way  and  "La  Boheme ' 
was  made  as  she  wished  it.  Now  reports 
afe  leaking  out  of  Metro-Goldwyn  that 
Victor  Seastrom  is  having  his  difficulties 
with    Miss   Gish   in   "The    Scarlet   Letter." 

Still  Miss  Gish,  who  starts  for  Art  with 
a  capital  A,  always  has  her  way. 


The  Answer  Man 

(Continued  from  page  72) 


per  for.  Leatrice  Joy's  first  under  her 
contract  with  Cecil  De  Mille  was  "Hell's 
Highroad,"  in  which  Edmund  Burns  played 
opposite   her. 

Miss  Ruth. — Yes,  it  is  true  that  Vita- 
graph  sold  out  to  the  Warner  Company. 
Thus  disappeared  from  the  movie  land- 
scape a   landmark  of  antiquity. 

Jere  De  L. — Corinne  Griffith  was  born 
November  24,  1897.  Wallace  Beery  in 
"Devil's  Cargo." 

Gill,  Mexico. — Listen  here,  you  must 
not  include  your  questions  in  letters  in- 
tended for  other  departments.  When  you 
do,  I  have  to  put  on  roller  skates  and  skip 
all  over  the  map.  May  McAvoy  is  twenty- 
four,  single,  and  address  her  at  First 
National.  Yes,  Barbara  Bedford  is  mar- 
ried to  Albert  Roscoe.     See  you  again. 

Nellie  E.  O. — Your  letter  was  a  gem, 
and  I'm  sure  I  understand.  Anyway,  some 
of  us  have  to  suffer  more  than  others.  I 
will  be  glad  to  hear  from  you  any  time. 

Katharine  L.  P. — Yes,  there  is  a  Kath- 
ryn  Perry  who  is  married  to  Owen  Moore. 
Marshall  Neilan  left  Metro-Goldwyn  to 
start  his  own  producing  company.  His 
first  picture  was  "Skyrocket,"  with  Peggy 
Hopkins  Joyce  and  Owen  Moore,  which 
had  its  premiere  on  the  U.  S.  S.  Leria- 
than.  I  have  never  computed  the  number 
of   times    Peggy   Joyce   has   been   married. 

A  Movie  Girl. — Johnny  Walker  has 
black  hair  and  brown  eyes.  Percy  Mar- 
mont  played  the  lead  in  "The  Shining 
Adventure,"  directed  by  Hugo   Ballin. 

Betty. — David  Powell's  last  picture  be- 
fore his  death  was  "Back  to  Life," 
in  which  Patsy  Ruth  Miller  also  appears. 
Mr.  Powell  died  of  pneumonia  April  16. 
1925,  and  left  a  wife,  living  in  this 
country,  and  a  child,  now  attending  school 
in    England. 


Thistledown. — Wrong!  My  nose  is 
not  red.  But  in  winter  it  is  like  one  of 
Oppenheim's  novels — read  to  the  very  end. 
Holmes  Herbert  was  born  in  Dublin,  Ire- 
land, in  1882.     He  is  six  feet  tall. 

M.  T. — Warner  Brothers  have  been  busy 
developing  the  new  "sheik,"  Don  Alvarado, 
and  he  has  been  signed  under  a  long-term 
contract  with  them.  He  is  twenty-two;  a 
Spaniard,  five  feet  eleven,  weighs  160 
pounds,  and  has  black  hair  and  eyes,  of 
course.  Did  you  ever  see  a  blond  sheik? 
Richard  Barthelmess  in  "Just  Suppose.' 
No,  I  pass. 

Mildred  C. — Most  of  the  players  you 
mentioned  are  with  Famous   Players. 

Roy  S.  O. — A  new  camera  was  used 
for  the  first  time  in  this  country  for  Betx 
Daniels'  picture,  "The  Manicure  Girl." 
is  called  the  gyroscope,  and  by  using  this 
camera  the  cameraman  can  follow  tht 
player  from  room  to  room  and  thus  get  th< 
effect  of  continuous  action.  It  was  firs' 
used  on  the  German  picture,  "The  Las 
Laugh."  Tom  Mix  is  forty-six.  Hoo 
Gibson  is  married  to  Helen  Johnson,  am 
Marion  Xixon  is  with  Universal.  I'll  se< 
you  in  my  dreams.     Good  night ! 

Frenchie.- — Thank  you  for  the  drawing 
It  looked  just  like  Pola  Negri.  She  woul' 
be  flattered  at  seeing  it,  I'm  sure.  Ramo: 
Novarro  is  twenty-seven.  No.  I  neve 
argue.  I  find  that  those  who  argue  mo; 
are  those  who  know  least. 

The  Ol'  Lady.— Hello  there,  you  her 
again  ?  So  you  received  a  picture  froi 
John  Gilbert.  And  you  have  ridden  in  ou 
Times  Square  shuttle  and  know  what 
is — yes,  just  like  the  subway  scene  i 
"Manhandled." 

Rose  D. — That  was  a  great  letter,  Ros* 
You  must  write  me  again,  buf  you  mu: 
ask  some  questions. 


Super -Realism  in  the  Movies 


ntinutd  from  page  70) 


,.  ih.it  it  i^  generally  better  to  pro 
ilmc   even    exteriors    undei    the    perfectly 
tiled    light    of    the    studio,    and    that 
oi    tin-    most    triumphant!}     realistic 
«  have  hern  worked  out   indoors      Hut 
what   1  applaud  is  the  realistic  spirit  with 
which    von    Stmheim,    in    "Greed,"    repro 
duces  .i  dentist's  othce.      Because  here   he 
how    varied,   fantastic  and 
lovel)    .ill   the   "business"  of    such  a   room 
ne   when   translated   to   the   black 
and  white  of   the   screen. 

Hut   when   the  director   orders  a  certain 

kind  of   bedroom,   shaped   like   a   gondola, 

let  us  say,  .i  bit  of    fantastic  Orientalism) 

formal  beauty  i^  created  not  bj   the 

camera,    but    by    the    art-director,    then    I 

•,  and  heroine  unhappy. 

Tiik  more  high  handed  the  director  be 
mes,  the  more  he  tampers  with  the 
ra,  and  so  much  the  more  stagy 
dives,  cafes  and  boudoirs  do  you  get.  You 
more  and  more  uncomfortable-looking 
rs  and  more  blots  and  blurs  and  gloz- 
ings  on  the  film.  It  all  seems  inevitably 
cheap  and  offensive,  and  really  harks  back 
lO  the  trick  film  that  SO  completely  went 
out  of  fashion.  The  "expressionisticism" 
of  "The  Cabinet  of  Dr.  Caligari"  was 
really  this  same  stuff  on  a  much  higher 
plane  Now  "Caligari"  was  actually  a 
of  tableaux  invented  in  the  hot- 
house imagination  of  the  art-director. 
Everything  was  distorted  and  twisted,  in 
accordance  with  the  demands  of  some 
other  art — except  the  more  or  less  life- 
like players,  who  really  should  have  worn 
masks.  It  was  a  bizarre  and  fascinating 
experiment,  but  led  us  in  the  wrong  direc- 
entirely.  For,  once  you  begin  tug- 
gesting  and  touching  up,  once  you  stop 
photographing  people  in  natural  settings 
and  place  them  in  a  distorted  cheese-cloth 
paradise  (whether  distorted  by  sentimcntal- 
ism  or  "expressionistic"  fantasy,  it  does 
not  matter)  you  may  as  well  go  on  scene- 
painting  everything  in  your  photoplay. 
And  the  further  you  go  in  this  dirt  ■ 
the  further  you  get  away  from  the  impor- 
tant and  particular  qualities  of  the  motion 
picture.  

T*he  camera  is  a  greater  artist  than  any 
property-man !  He  may  try  a  daring 
stunt  in  the  way  he  handles  the  perspective 
of  a  building  or  a  wall  or  a  window.  But 
the  camera  with  its  super-human  powers 
beats  him ;  it  is  tar  more  daring  in  what 
it  discovers.  For  it  is  an  instrument  which, 
left  to  itself,  seems  to  have  a  soul  of  its 
own. 

In  "The  Last  Laugh,"  direct  clear  camera 
shots  of  a  revolving  hotel  door  made  a 
more  beautifully  fantastic  picture  or  sym- 
bol than  any  painted  contraption  in 
"Calgari." 

I  have  heard  of  times  when  the  camera 
turned  up  with  effects  that  the  director 
scarcely  counted  on  or  hoped  for.  James 
Cruze  and  his  colleagues,  in  making  "The 
Covered  Wagon,"  became  a  little  afraid 
lest  the  endless  trains  crawling  over  the 
desert  might  draw  the  picture  out  too 
monotonously.  But  in  the  act  of  cutting 
and  editing  it,  they  realized  suddenly  that 
it  was  the  long  line  of  wagons  winding 
slowly  and  rhythmically  that  carried  the 
whole  picture  and  even  became  the  hero 
of  it. 


Diausm,    Realiam.     More  Realism    Th< 
movie  camera  when  used  in  connection 
with    real    oi    natural    formi    is    alwaj 
capable  ol  giving  us  lomething  better  and 
mole  imaginative  than  when  taking  form 
cenea   which   have   been   deprived   <>i 
their    "natural"    character    thru    the    in 
in  fei  ence    "i    the    si .  n<  paintei ,     Scent 
painters,  when  the)  are  merely  that,  should 
back  t.i  the  theater,  and  lei  the  camei  i 
do  its  own  work.     I  in  tlu  ii  com 

ii  ol  interior  as  well  as  exterior 
scenes  should  chug  to  natural  forma  as 
much  as  possible.  They  should  especially 
try   to  get   away    from   the  had  tendency 

of   dressing    up   rich    people's   homes   in   the 
most    elaborate    and    horrible    had    ta.stc. 


In  von  Stroheim'a  "Merry  Widow"  there 

were  exquisite  cinema  compositions.     But 

in  their  weaker  moments  they  had  two  de 
fects:  at  times  the)  seemed  complete!)  i 

tuial  and  Stuffy  ;  at  other  times  they  would 
seem   to   Stop,   like    motionless    tableaux. 

The  early  portions  of  "The  Big  Parade" 
had  an  amazingly  natural  quality.  Life  in 
the  French  village  behind  the  lines  was 
as  if  in  a  strange  new  home;  one  placidly 
lovely  picture  moved  into  the  other.  And 
when  the  big  kick  of  the  story  came,  it 
came  thru  the  energy,  the  motion.  There 
was  a  scene  where  Milisande  rushes  up 
stream,  against  the  mad  torrent  of  motor 
transports,  looking  for  her  doughboy.  In 
constant  motion,  her  frail  human  anxiety 
is  centered  always  against  a  background 
of  madly  rushing  force — "The  Big  Pa- 
rade !"  f  doubt  whether  anything  better 
has  ever  been  done  with  the  movie  camera. 

One  remembers  also  for  such  beauty 
the  scene  in  "Stella  Dallas,"  where  Stella 
goes  into  the  comfort  station:  the  square 
window  to  the  right,  the  hard  bench,  upon 
which  she  sits  weeping  so  miserably  that 
the  mascaro  dribbles  down  her  face,  and 
the  hard  young  woman  beside  her  smoking 
a  cigarette.  Supremely  imaginative  treat- 
ment of  real  detail. 


"Ctella  Dallas"  is  perhaps  the  ideal 
picture  so  far.  It  has  the  barest  thread 
of  a  story,  and  resembles  the  "Last  Laugh" 
in  being  essentially  the  portrait  of  a  char- 
acter. In  the  progression  of  the  film  there 
was  an  illusion  of  reality  which  only  frag- 
ments of  other  pictures  attain.  Nothing 
seemed  artificially  "composed";  the  direc- 
tor never  thrusts  his  ideas  at  you.  He 
seems  so  restrained  that  you  have  the 
illusion  of  watching,  unobserved,  from  a 
window,  a  life.  The  vulgar,  weak,  sym- 
pathetic soul  of  Stella  is  revealed  by  a 
hundred  little  gestures  and  objects:  the 
cheap,  bric-a-brac  of  her  flat,  the  shiny- 
glassware,  the  posies  and  favors  that  her 
addle-pated  mind  loves,  assume  the  greatest 
meaning  and  arrange  themselves  into  the 
most  intricate  and  beautiful  patterns.  Her 
predicament  is  tremendously  real  and  be- 
comes steadily  more  and  more  intense  as 
the  film  clings  steadfastly  to  the  single, 
poignant  idea  of  Stella  Dallas,  until  she 
becomes  one  of  the  most  tragic  figures  that 
any  part  has  ever  presented.  I  saw  no 
sentimentalism  here;  I  felt  only  that  the 
director  had  helped  the  camera  to  find  its 
soul  in  its  realistic  searching  of  depths 
such  as  we  only  suspect  and  pass  by  every 
day  in  our  own  lives. 


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No  *  off-color" 
teeth 

—  no  toneless  gums 

when  that  dingy  film 
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MODERN  dental  science  has  made 
important,  recent  discoveries  in 
lightening  cloudy  teeth. 

Run  your  tongue  across  your  teeth, 
and  you  will  feel  a  film,  a  viscous 
coat  that  covers  them. 

That  film  is  an  enemy  to  your  teeth 
— and  your  gums.  You  must  remove 
it.  It  clings  to  teeth,  gets  into  crevices 
and  stays.  It  absorbs  discoloration?, 
gives  teeth  a  cloudy,  "off-color"  look. 

Germs  by  the  millions  breed  in  it 
and  lay  your  teeth  open  to  decay.  And 
they,  with  tartar,  are  a  chief  cause  of 
pyorrhea  and  gum  disorders. 

Tooth  troubles  and   gum  troubles 
now  are  largely  traced  to  that  film. 
New  methods  remove  it, 
And  Firm  the  Gums 
Now,  in  a  new-type  dentifrice  called 
Pepsodent,  dental  science  has  discov- 
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it,  then  to  firm  the  gums. 
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Name. 


Address.. 


Only  one  tube  to  a  family. 


2012 


77 


The  Amusement  Calendar 

offered  by 

Associated  Exhibitors,//^ 

Oscar  A.  Price,  Pres. 


12  3  4  5  6  7 


BETTY  C0MPSON 


HOUSE 
PETERS 

and. 

JAY 
HUNT 


'for 
the 


Counsel 

From  LeroyScott's     M  m/PgdPWQ  f?fi 
Famous  Novell       JLrfrMWrW&&& 

Personally  Supervised  by  Edward  Silton 


Directed  by 
Burton  King 
// 


8  9  10  11  12  1314 


GLENN  HUNTER 

Ivith 

CONSTANCE  BENNETT 

^"""^'    as  another  of  those 
lovable  boob" characters 


^PINCH 
HITTER 

Directed  by  Joseph  Henaberyfrom 
the  Story  by  C.  Gardner  Sullivan 


151617  1819  20  21 


STRONGHEART 

Ohe  most  natural  actor  on  the  screen, 
in  a  smashing  picturization  of  the^ 
widely  read  Novel  by  Rufus  King  ~ 


NORTH 


STAR 

Presented  by 

HOWARD  ESTABROOK^ 

Directed  by 

Paul  Powell 


22  25  24  25  26  27  28 


No  Book  Learnin' 

(Continued  from  page  19) 


at  the  bottom  at  seven-fifty  a  day  (when 
I  could  get  it)  and  if  I  worked,  studied, 
watched  and  learned  all  about  every  de- 
partment of  the  studio. 

"Air.  De  Mille  is  the  most  wonderful 
man  in  the  world !  I'm  all  alone.  I 
haven't  anyone  belonging  to  me  and  no  one 
to  work  for.  He  is  the  reason  I  didn't 
go  under  in  those  seven  years,  because  I 
wanted  to  show  him  I  could  top  anything 
he  had  said  I  might  do   if   I   stuck. 

"I  use  psychology  on  myself.  I  talk  to 
myself  and  make  myself  follow  what  I 
decide  is  best.  I  knew  that  I  very  likely 
wouldn't  stick  to  such  a  disheartening 
business  if  I  had  money  back  of  me.  I 
was  only  twenty-one  and  I  had  twenty- 
five  hundred  dollars. 

"You've  got  to  get  rid  of  that  money," 
I  told  myself.  So  I  stayed  at  the  Alex- 
andria for  five  weeks  and  spent  the  money 
right  and  left,  only  keeping  the  wardrobe 
which  I  needed  for  pictures.  Then  I 
worked  as  extra  for  weeks,  sometimes  one 
day  a  week,  sometimes  three,  sometimes 
not  at  all. 

"The  first  day  on  the  lot  I  was  abso- 
lutely bewildered.  There's  never  been 
such  a  green  extra !  Didn't  know  any- 
thing about  make-up  and  I  looked  so 
funny  after  I  got  it  on  that  I  was  afraid 
to  go  out. 

"After  three  months  of  this,  I  was 
down  to  twenty  cents  and  knew  something 
had  to  be  done.  I  met  Goodstadt,  the 
casting  director,  and  asked  him  if  he 
wouldn't  let  me  go  up  north  with  the  men 
who  were  to  make  'The   Sea  Wolf.' 

"  'Bill,  we  want  men  on  this  picture !' 
he  said. 

"  'I'm  a  man  !'  I  told  him. 

"  'But  these  are  tough  birds.' 

"  'I  can  raise  a  beard  in  a  week.  I  can 
look  so  tough  you  wouldn't  know  me ! 
Just  let  me  go  !'  " 

His  First  Contract 

"LIe  looked  at  me  a  minute  and  said: 
A  A'Come  into  the  office!'  And  there  he 
gave  me  a  contract  beginning  at  thirty 
dollars  a  week !  I  was  so  happy  —  I 
thought  I  was  sitting  on  the  world.  I 
walked  all  the  way  from  the  Lasky  Stu- 
dios to  Los  Angeles,  stopping  every  five 
blocks  to  take  out  the  little  pink  paper 
that  had  'contract'  written  on  it.  You 
see,  De  Mille  had  said  I  might  be  a  job- 
less extra  for  years  and  this  was  only 
three   months  ! 

"Every  time  I  had  a  chance  I  talked 
to  Mr.  De  Mille.  Half  the  time  I  didn't 
know  what  the  devil  he  was  talking  about, 
but  I  thought  about  it  and  wondered  and 
finally  some  of  it  began  to  seep  in.     After 


two  or  three  years  I  realized  what  he 
meant  by  timing,  spacing,  and  other  cryp- 
tic remarks.  For  instance,  he  might  say : 
'This  will  be  a  six-foot  fade-in.'  I  had  to 
know  when  six  feet  had  been  ground  and 
start  the  action  then. 

"  'Skip  over  the  center — we're  going  to 
put  a  title  in  these.'  I  must  know  how 
long  to  hold  it  for  the  title  and  when  to 
go  on." 

But  after  the  first  few  years,  the  Fates 
who  sit  up  yonder  spinning  destinies 
began  to  get  the  thread  of  Bill's  life 
snarled  and  knotted.  Everything  went 
wrong. 

Then— Hard  Luck 

Qke  day,  after  a  period  of  hard  luck, 
Fox  gave  Bill  a  contract  for  two  pic- 
tures. The  wolf  was  so  uncomfortably 
near  the  door  that  Bill  looked  on  the  slip 
of  paper  as  a  gun  to  keep  the  animal 
away.  .  .  .  That  night — of  all  nights ! — 
there  was  an  automobile  accident  and 
"William  Boyd — broken  leg"  was  entered 
in  reporters'  notebooks.  .  .  .  The  contract 
was  as  useless  as  an  unloaded  gun ! 

For  nine  months  the  leg  refused  to 
mend. 

"The  first  three  months  I  felt  sorry  for 
myself,"  said  Bill,  "I  thought  I  was  get- 
ting a  raw  deal  and  it  wasn't  fair  and  so 
on.  Then  one  day,  as  I  sat  with  my  leg 
propped  up,  I  said  to  myself:  'See  here, 
this  isn't  getting  you  anywhere.  I  know 
you  haven't  had  anything  to  eat  for  two 
days,  but  you've  gone  without  eating 
longer  than  that  before  this,  and  it  didn't 
kill  you.  You  came  up  then,  and  you  can 
come  up  now !' 

"I  think  that  experience  helped  me  de- 
velop my  spirit.  Anyway,  a  man  must 
have  ideals  and  ambition  and  never  let  go 
if  he's  going  to  get  to  the  place  he's 
headed   for !" 

It's  Bill's  ability  to  get  something  from 
every  experience,  his  willingness  to  learn 
even  from  the  most  unintelligent  fan  letter 
that  has  brought  him  from  the  rolling  mill 
of  fifteen  years  ago  to  screen  prominence. 

"Oh,  but  there  is  no  part  that  isn't 
worth  playing!"  he  cried.  "Somebody  had 
to  think  in  order  to  write  the  part,  no 
matter  how  small  it  is,  and  if  it  was  worth 
creating  in  print,  it's  surely  worth  cre- 
ating on  the  screen.  Perhaps  you  can 
develop  it  so  that  it  stands  out.  My  part 
in  'The  Road  to  Yesterday'  was  developed. 
It  wasn't  much  to  begin  with. 

"Sincerity  is  the  whole  thing.  If  you 
are  sincere  and  know  what  you  want  to 
do,  go  to  it  and  let  'em  stop  you  if  they 
can  !" 

They  cant  stop  Bill. 


KIMPEI  SHEBA,  of  the  Japan  Times,  of  TOKIO 
has  written  a  remarkable  article 

THE  MOTION  PICTURE 
IN  JAPAN 

for     the     May     CLASSIC  — it     is     illustrated     with 
some    striking    pictures    of  Japanese    film    favorites 


78 


Masterpieces  of  the 
Screen 

nlinued  from  pain-  4C>) 

these,    "  I  lu     Vanishing     American" 
nearest    to   hcing   .1   masterpiece,   yet 
ntaiued    several    i;I.uuil;    defects    that 
it   out   ol    the   one   hundred   per   cent. 
1  lu-     Merr>     Widow."    "He     Who 
Slapped"    and    "The    lluiuhli.uk    ol 
Dame"    rould    hardly     he    improved 
their  kind,  and  yet    they    fall  shot  t 
ie  one  hundred  per  cent,  rating.    "ki-s 
Mr    \  lines  in  the  same  class  with 

I)     Windermere's     Kan,"    hoth    almost 
perfect    in    their    way,   hut    the    latter    had 
.     ,.|     the    cue    hundred    per    cent,    ele 
ts,  so  that   the   former  cannot   he  rated 
quite   -it    one    hundred    per    cent.      As    for 
.    Hawk,"  "Hen  llur"  contains  .ill 
the  fine  points  that  "The  Se.i  Hawk"  cor- 
d  plus  many    more,  hence   it   is  not   in 
the   one    hundred    per    cent,    class.      There 
are  possibly    several  dozen  more  threat   pic- 
tures   that    1    have    overlooked,    but    these 
will  suffice,      lli.it  leaves  us  the  following, 
•i    I    nominate    as    the    great    master 
pieces  ol   the  si  reen  : 

lien  iiiu 

The  Wanderer 

The  Ton  Commandments 

Stclhi    Dallas 
The  Big   Parade 

>    Windermere's  Kan 

The  Six  Great  Films 

f\-  these,  according  to  my  lights,  "Ben- 
Hur"  is  the  greatest.  Far  greater 
than  "The  Wanderer."  which  falls  in  the 
il.iss,  much  better  than  "The  Ten 
Commandments,"  also  of  the  same  class; 
it  seems  to  contain  all  the  qualities  and 
elements  of  a  one  hundred  per  cent,  pic- 
ture, and.  therefore,  I  award  it  first 
honors.  I  cannot  conceive  of  a  more 
masterful  production.  Next  to  it  1  place 
"Stella  Dallas,"  altho  it  lacks  many  of  the 
qualities  of  a  one  hundred  per  cent,  pic- 
ture. And  yet  it  is  certainly  the  greatest 
emotional  drama  ever  produced  and  a 
greater  picture  of  its  kind  is  beyond  my 
wildest  hopes  and  dreams.  "The  Big 
Parade"  is  a  war  picture  and  stands  in  a 
class  by  itself  unapproached.  One  can 
hardly  compare  "The  Big  Parade"  with 
"Stella  Dallas,"  they  being  so  different  in 
scope  and  theme,  and  they  both  come  very 
close  to  the  one  hundred  per  cent,  mark 
because  the  great  qualities  they  do  possess 
are  far  beyond  one  hundred  per  cent. — if 
that  is  possible.  According  to  our  chart, 
"Lady  Windermere's  Fan"  falls  consider- 
ably below  the  two  last  mentioned,  but  yet 
it  is  so  wonderful  of  its  kind  that  it  must 
be  rated  as  a  masterpiece. 

When  you  have  seen  "Ben-Hur,"  I  am 
asking  you  kindly  to  look  again  at  the 
chart  in  the  rtrst  part  of  this  article  and 
check  up.  I  f  any  reader  can  name  any 
other  picture  that  contains  anywhere  near 
the  number  of  qualities  that  "Ben-Hur" 
contains,  I  will  be  very',  very  much  sur- 
prised. You  may  prefer  "Stella  Dallas," 
or  even  "The  Big  Parade"  if  you  have 
not  seen  enough  of  the  horrors  of  war, 
but  I  think  you  will  have  to  agree  with 
me  that  "Ben-Hur,"  all  things  considered, 
is  the  great  masterpiece  of  the  screen. 


Eugene  V.  Brewster, 

Editor-in-Chief  of  the  Brewster  Pub- 
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Be  sure  to  read  his  impressions  in 
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The  Candid  Kid 

(Continued  from  page  35) 

My  first  cast  elicited  the  information 
that  Laura  was  in  pictures  for  the  do- 
re-mi  as  well  as  for  art's  sake,  and  that  is 
not  her  boy  friend's  name  either.  Since 
she  is  a  blonde,  this  was  entirely  unex- 
pected, as  only  brunettes  are  supposed  to 
carve  the  gold  out  of  one's  teeth  or 
tooth,  as  the  case  may  be. 

Not  for  Art  Alone 

""The  next  throw  produced  the  return 
that  she  is  entirely  satisfied  with  doing 
pleasant  parts  with  Reginald  Denny  and 
not  parts  unknown  and  attempted  by  as- 
pirants with  a  burning  ambition  and 
adenoids. 

As  a  matter  of  fact,  Laura  does  not 
think  that  she  can  put  the  Great  Eleanora 
Bernhardt  on  the  bum.  She  deposes  that 
since  she  seems  to  be  fated  to  be  an  actress 
until  death  or  matrimony  doth  intervene, 
that  she  may  as  well  try  to  be  a  fair  to 
middling  performer  and  a  good  trouper. 
Next  she  proved  to  be  a  genuine  girl 
by  almost  lapsing  into  an  emotional  coma 
at  the  mere  mention  of  the  name  of 
Ronald  Colnian.  She  said  she  got  the 
best  weep  of  her  life  from  "The  Dark 
Angel." 

A  Film  Fan  Herself 

""Then  she  proved  that  she  was  different 

by  not  becoming  delirious  at  being  ques- 
tioned anent  her  views  of  that  bold,  bad 
boulevardier,  Lew  Cody.  In  fact,  she  even 
defied  him  by  saying  that  she  was  going 
to  move  out  into  his  Beverly  Hills  neigh- 
borhood where  all  the  husbands  wear  the 
marksmanship  medals  they  won  in  the  war 
all  over  their  vests. 

Laura  was  full  of  candor.  She  said 
she  felt  sorry  for  Lew.  She  might  even 
be  called  the  candid  kid  even  tho  being 
sorry,  for  Lew  has  been  known  to  be 
serious  if  not  fatal. 

Of  this  she  was  informed,  so  the  re- 
sponsibility is  her  own. 

The  conversation  progressed  thru  po- 
lice dogs  to  the  carelessness  of  latter- 
day  vestals,  cigaret  smoking  and  psycho- 
analysis, even  to  nearing  the  last  hope  of 
all  interviewers,  the  Volstead  law.  Then 
the  b.  f.  returned  and  started  to  wind  his 
watch. 

Laura  got  -her  start  in  pictures  with  her 
candor.  After  taking  a  flicker  at  the 
flickers  as  an  extra,  Laura  braced  Al 
Christie  for  a  job  in  stock  as  an  ingenue. 
She  got  the  job. 

Laura's  Career 

Cince  then  her  rise  has  been  rapid.  She 
^  is  now  one  of  the  best  bets  out  at 
Uncle  Carl  Laemmle's  Universal  joint. 
But  she  has  not  even  dropped  back  into 
second. 

You  will  note  that  I  have  not  attempted 
to  describe  her.  Who  has  been  able  to 
dissect  a  dimple  with  a  typewriter  or  catch 
the  lilt  of  a  liquid  laugh.  You  are  able 
to  look  at  the  pictures.  If  you  are  not 
satisfied  with  Laura's  looks,  you  are  a  sap. 

If  you  would  read  and  believe  a  lot  of 
applesauce  that  I  might  write  about  her 
rise  to  success,  you  would  be  a  still  greater 
apsay. 

It  has  never  been  a  question  of  Laura  s 
getting  into  the  movies.  They  could  not 
keep  her  out. 

The  Candid  Kid's  got  what  it  takes. 


MORE    IMPRESSIONS    OF    HOLLYWOOD 

By   EUGENE   V.  BREWSTER 

In   the  May  CLASSIC 


80 


The  Master  Mind  of  the 
Movies  Speaks 

ntmued  from  pag* 

"You  ire  -n. ii.  Master,"   I  breathed. 

-In   motion    pictures."   he    replied    mod 

eitly,   "1    am    I  N'   ything.      Ml    that    has 

that   i-    I       Ml   th.it   is  hfinj!.  thai    is 

1      \u    thoughts,  my    plans,  mj    dire<  tion, 

tr.xii   tlu    sun  kissed   sloi^s  .'t    California, 

lo  ■  •  •"  .,    . 

•■Tlu-  rock  bound  coasts  <>i  Maine,  I 
completed,  glad  lo  be  oi   an.)   assistance. 

The  Alpha  and  Omega 

••LT\\   .\."  he  -viiil     "That  .iN<>  is  mine. 

*-"  I  .mi  the  Alpha  and  Omega.  II  an) 
thing  is  m>.  it  i-  b-cause  1  have  said  it 
must  be  so.  li  there  are  cabarel  scenes, 
iming  |hk)1s,  orgies,  romping  flappers 
ami  faces  that  appear  in  the  hearl  of  .i 
it  is  because  I  wish  to  have  cabarel 
scenes,  swimming  pools,  orgies,  romping 
flappers  and  faces  that  appear  in  the 
heart  of  a  rose." 

"  \nil    that    lets    out    a    lot    of    people."    1 

"People!"  he  puffed,  "what  people? 
Lubitsch,  Griffith,  IV  Mille,  Ingram, 
Neilan,  Robertson,  Brenon,  Fox,  Gold- 
w\n.  Lask)  pawns,  tools,  puppets  of  my 
genius;  my  raw  materials,  my  clay,  my 
canvas,  my  tubes  of  color,  the  keys  ol 
my  piano.  /  direct,  /  undertake,  /  dis- 
1    tell    them    what    to    do,    and    they 

do  it  I" 

"Indeed  they  do,  Master,"  I  agreed, 
politely. 

"And  now,"  he  said,  with  a  vague  ges- 
ture of  finality,  "you  know  what  you  know. 
Which  is  not  much.  And  you  may  tell 
the  World.     Which   is  also  not   much." 

"Thank  you,  Master,"  I  said.  "Shall  I 
ack  the  same  way  1   came?" 

"You  have  seen  ME!"  he  replied.  "You 
cannot  possibly  go  hack  the  same  way 
that  you  came." 

The  Master  is  right  1  am  a  changed 
man.  Now.  whenever  I  look  upon  a  super- 
special  extra  gold  star  fifty-two  jewel 
feature  picture,  1  lose  my  appetite  and 
black  spots  appear  before  my  eyes. 

And  sometimes  I  have  to  carry  a  heavy 
cane. 


DON  RYAN 

The  CLASSIC'S 
brilliant  writer, 
is    interviewing 

RUDOLPH  VALENTINO 

for  the  MAY  Issue! 


WATCH  FOR  IT! 


This  is  one  of  fifteen 
sensational 
features ! 


j  n  r 

RUOt.NI/l  s  IN   mis  \\\  VR|i  |OR  DISH) 

mi  io\  vin 

Ol    mi  '.'  ■  ni'  ii 

vTin*  fluimron  fcic^ar  .t'JdVjraph  (fomjuu 

MM  \>  M  Ml  HI  Ml 
Ol    llll     I   Mil  P   SlAII 

mi  Imi'Ihim  (,ikmv\  (  Iovirnmini   \ni>  iiii  I'. 
AND  Roi  M 


Telephone  Preparedness 


Nine  years  ago,  when  this  nation 
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system  by  which  people  near  at 
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saw a  usefulness  for  the  telephone 
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out innumerable  developments, 
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him  unknown.  But  not  even  he  fore- 
saw the  marvelous  applications  of 
telephony  which  gave  to  the  Ameri- 
can armies  that  fighting  efficiency 
which  is  possible  only  when  there 
is  instant  exchange  of  complete 
information. 

Since  the  completion  of  its  service 
in  time  of  war,  the  Bell  System  has 
devoted  itself  to  the  extension  of  the 
telephone  art  as  one  of  the  great 
agencies  for  the  development  of  the 
pursuits  of  peace. 


American  Telephone  and  Telegraph  Company 
and  Associated  Companies 


BELL 


SYSTEM 


IN     ITS     SEMI-CENTENNIAL     YEAR     THE     BELL     SYSTEM     LOOKS     FOR- 
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Romeo -Juliet  Contest 
Winners 

(Continued  from  page  7) 

Romeo  and  Juliet?  Why,  Mary  and  Doug, 
of  course.  Mary's  loveliness  combined 
with  her  years  of  acting  experience  make 
her  an  ideal  choice  for  Juliet.  And  Doug ! 
Why,  he  is  the  only  actor  I  know  of  who 
could  put  the  necessary  verve  and  dash 
into  the  role  of  Romeo.  I'd  give  up  a 
whole  year  of  picture-going,  if,  by  doing 
so,  I  could  see  these  two  favorites  make 
"Romeo  and  Juliet,"  a  real  classic  of  the 
screen.  Sincerely, 

Miss   Tona   Swan, 
2496  Fulton  St., 
San  Francisco. 

Honorable  Mention 

John  Barrymore  and  Mary  Pickford  as 
Romeo  and  Juliet  would  be  an  achievement 
for  the  screen. 

Barrymore,  the  polished  artiste,  giving 
us  love,  grace,  physical  charm,  and  intense 
passion. 

Mary,  with  her  ethereal  beauty,  sincer- 
ity, and  natural  ability  of  emotional  ex- 
pression. 

"Romeo  and  Juliet"  calls  for  sweet  ro- 
mance, intense  love,  blended  with  fire  and 
passion. 

Barrymore  and  Pickford  can  give  us 
all  these.  Virginia  Keller, 

112  Ea.  40, 
Tacoma,  Washington. 

Honorable  Mention 

It  is  a  trite  but  nevertheless  true  state- 
ment that  Lillian  Gish  and  Ramon  Novarro 
possess  the  complete  lyrical  beauty  of  an 
ageless  classic.  They  alone,  among  us  of 
the  earthly  earth,  seem  to  have  caught  the 
perfection  of  eternal  youth.  To  them 
love  would  be  the  unquenchable  fire  of 
Zoroaster. 

Jessie  Livingston  Butler, 
1523  East  Boulevard, 
Cleveland,  Ohio. 

Honorable  Mention 
Since  I  first  saw  a  picture  of  Ramon 
Novarro,  he  has  been  my  ideal  of  the 
perfect  Romeo.  I  shall  be  deeply  disap- 
pointed if  anyone  else  is  cast  in  that  role. 
Quoting  Harry  Carr :  "He  has  romance 
without   physical    taint." 

Mary  Astor  has  wistfulness,  dark 
beauty,  purity,  youth !  What  else  is  nec- 
essary  for  the  perfect  Juliet? 

Mrs.  H.  L.  Kington, 
248  W.   Broadway, 
Madisonville,  Kentucky. 

Honorable  Mention 

One  must  bring  to  the  roles  of  Romeo 
and  Juliet  not  only  physical  beauty  and 
charm,  but  deep  intelligence.  Lillian  Gish 
is  the  perfect  Juliet.  She  is  convincing 
in  pathos,  has  youth  and  a  great  spiritual 
beauty.  The  ideal  Romeo  would  be  Ronald 
Colman.  He  has  fire,  romance  and  sin- 
cerity. Very  truly  yours, 

C.  Q.  Gotshall, 
153  Prospect  St., 
Ashtabula,    Ohio. 

Honorable  Mention 

Richard  Barthelmess  and  Mary  Pick- 
ford are  my  choice.  Both  are  the  very 
spirit  of  youth  and  masters  of  its  screen 
technique.  Both  artists  sincere  and  true. 
Sweet  and  pretty  and  sixteen  as  any  is 
Mary,  while  something  tells  me  charming 
Romeo  had  beautiful  dark  eyes  and  a 
lovable,  crooked  smile. 

Susan  Wynne, 

Care  W.  G.  Harvie, 
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Mattoax,  Virginia. 


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82 


j 


The   Inside  Facts  About 
the  Extra 

ntinued  from  page  17) 

menial  labor,  then,  no  doubt,  greater  p 

would  come   tn   the  i  \ii  .1 
I  have  met  at  least  five  hundred  persona 
in  the  motion  picture  industry    in  the  past 
eighteen  months.     I   have  purposely    talked 
with  "i  interviewed  these  people,  inside  and 
outside,    everywhere,    in    ordei    to    u<  1    the 
real  truth  as  to  yoiu  chance  in  the  movies. 
I  have  particularly   concerned  myscli   with 
tin-  problems  of  the  extra  character.     I 
tunately,  1  have  closely   observed  the  ways 
and  means  ol  the  biggest  men  and  greatest 
mi   the   game   today.      But    this   does 
not    make   me   immune    from   error.     Am 
other    extra    charactei    hail    the    same,   or 
almost  the  same,  chance  to  put  his  or  her 
nations  down  on  paper  for  the  benefit 
of   his   or   her    fellow    workers,   as    1    am 
doing  here. 
Hut  back  to  the  subject. 

The  Element  of  Chance 

r\o  not  be  discouraged  yet.  I  will  give 
^  you  the  sunny  side  in  a  moment.  In 
oar  discussion,  let  us  not  fail  to  recognize 
that  there  are  always  two  view-points  to 
subject.  The  matter  of  chance  is 
simply  being  balanced  by  the  weights  of 
de  whose  springs  and  point  of  accuracy 
are  so  often  uncertain,  having  no  fixed 
destination.    Now  read  on. 

It  is  true  that  there  are  hundreds  of 
people  who  get  work.  I  have  gotten  lots 
of  it  myself.  But  by  no  means  is  the 
age  up  to  a  fairly  good  weekly  salary. 
Say,  thirty-five  to  fifty  dollars  a  week 
would  be  a  figure  unheard  of  as  an  average 
— it  would  really  be  a  catastrophe  for  an 
:  to  average  this  amount  of  money 
tor  one  month  straight.  Of  course,  there 
some  men  and  women  who  <^et  fifty  to 
five  hundred  dollars  a  day;  perhaps  they 
work  four  or  five  days  a  mouth,  depend- 
ing on  the  person,  the  circumstance  and 
the  picture.  But  we  are  only  dealing  with 
the  extra  and   the  newcomer  at   present. 

Let  US  assume,  then,  that  you  have  joined 
The  Great  Parade,  whose  carriers  hear  the 
banners  of  the  extra.  In  other  wcn-ds,  you 
(are  here  in  our  fair  land  and  are  read)  to 
begin  your  journey  for  work.  You  have 
turned  your  hack  upon  the  rest  of  the 
world  (which  is  a  grievous  mistake)  and 
your  heart  is  throbbing  with  the  romantic 
hope  of  the  brilliant  future  ahead.  Good 
enough,  that's  the  spirit,  all  right,  but  there 
is  a  saying  about  ignorance  being  bliss,  etc., 
etc. 

You've  just  begun,  we'll  say.  You  have 
a  few  dollars  in  your  pocket,  and  mighty 
lucky  if  you  have.  Let  us  say  that  you  are 
on  your  way  from  Los  Angeles  headed 
toward  Culver  City,  where  one  of  the  larg- 
est studios  in  the  world  is  situated.  And 
you  are  happy:  the  Mowers  and  the  sun- 
shine on  a  December  morning  will  make 
you  that  way. 

As  you  enter  the  vicinity  you  see  a 
huge  electric  sign  telling  that  your  Golden 
Gate  is  near — but  they  are  iron  gates. 
And  as  the  saying  goes,  you  walk  down 
the  street,  all  the  little  birds  go  tweet, 
tweet,  tweet.  You  see  a  great  line  of 
struggling  humanity  forming  to  the  right 
of  the  iron  gates.  And  one  by  one  you 
see  the  line  move  forward !  forward !  for- 
ward !  And  around  to  the  left  and  right 
there  are  huddled  with  deathlike  g 
upon  each  other,  men  and  women  clustered 
in  a  mass  that  only  a  machine  gun  could 
disperse — much  less  you,  who  must  get 
thru  that  mob   for  a  job. 

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to  the  already  angry  forces.  Presently  you 
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window,  where  you  see  a  man  giving  out 
cards  in  different  colors.  You  wonder  what 
the  devil  they  are.  Alas !  it  is  not  long 
before  you  learn.  In  another  breathless 
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who  gives  you  your  job.  You'll  probably 
grin  and  blush.  It  takes  but  a  glance  to 
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watch  the  faces  pass  by  you.  One  after 
another  the  worn  faces  move  on  and  the 
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pass-checks  they  are  called.  Among  them 
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mostly   the   latter. 

Among  this  queer,  fascinating  line  you 
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hands  gesture  deep  gratitude  when  the 
paltry  five  dollars  is  given  as  a  reward 
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comes  a  regular  Hollywood  Sheik  whose 
white  shirt  is  carelessly  flung  open  about 
the  neck,  whose  hair  is  pasted  back  with 
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looking  ;  he  is  smoking  a  cigaret  nervously, 
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Your  breath  is  taken,  you  are  amazed, 
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after  all — but  he  was  a  double  for  the 
hero.  For  the  real  heroes  do  not  enter 
the  studio  that  way — not  often,  at  any  rate. 
However,  the  casting,  or  assistant  casting, 
director  looks  up  and  with  recognition 
comes  a  smile.  You  hear  a  click  and  the 
door  swings  open.  All  doors  are  elec- 
trically manipulated.  And  the  young  man 
has  gone  thru  the  Great  Barriers,  leav- 
ing behind  him  hungry  hearts,  saddened 
eyes  and  shrunken  souls  casting  furtive 
glances,  as  tho  peering  at  mystic  shadows. 

But,  fear  not,  for  you  may  be  in  his 
shoes  tomorrow,  and  he  may  be  in  yours. 
And  so  on  and  on — the  chance  you  have. 
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84 


/ 


Banis 

G mi y  Hair 

in  15  Minutes 


w 


the   youthful 

'    .      ■     in     IMI'IH 

■  this,  the  one  tint   ih.it  it 
,t  Mild  iKrfcctl)   i«lc;  il ' 
ii»i  wiili  ihr  moat  ciuctiiit,  1uIh>i- 

t  to  Impun  t«»  gray. 

1 1  .ill  m  (oruiri  hurmoiiioui 

m.|  ili.uir,      lit 

1  iK-nn.1 

lit  uni  nt  t  rr.il  •  ' 

\Ltiirrt     will      bTunhtiitf.     rubbing. 

■hampoainM,   iunshinr,   ault  water,   peraplratlon. 

rrm  mm.   w  .i\  i"K,  inarvrHng  •  '"'■ 

K   cannot    ....lire  texture  »>r 

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lu.ition  rn.it>!--*  anyone  to  apply 

it  in  the  pn\  .i.  \  oi  her  own  home. 

If  M«itr«  <*jnr+T**J  aU>t»t  your  *«iir,  J*uni%*  Rum ,*Tf*rt 
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The  Find  of  the  Year 

The  girl  they're  all  talking  about — 
the  best  bet  in  Hollywood.  Her 
name  is  Dolores  Costello.  And  no 
longer  do  they  refer  to  her  as  Maurice 
Costello's  little  girl.  Not  only  is  she 
a  great  beauty — she  looks  like  Elsie 
Ferguson — but  she  can  act.  In  "The 
Sea  Beast"  and  "Mannequin"  Dolores 
gives  glowingly  beautiful  perform- 
ances. 

Of  course,  you'll  want  to  know 
more  about  this  new  young  star.  In 
the  May  issue  of  Motion  Picture 
Magazine,  you'll  find  an  interview 
with  Dolores  Costello,  written  by 
Alice  Tildesley.  Order  your  copy 
from  vour  newsdealer  today. 


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ber  often  changes,  due  to  trouble  ome  land 

l.nli.  -       \  .hi    knov\    what    I    mean      But 
■trangei  things  happen  in  the  movies  than 
in  in  ii. m.     Both  good  .mil  bad  gi 
But  such  is  life  in  all  us  i".nU. 

Final.)   you  land   i  job.     Hurra    ' 
sir,  be  thru  th  I  7  -;"    \  M  .  made 

tii>  and  "ii  the  l"t  01  set  at  8  A  M  . 
tumes  furnished,  That's  youi  call,  Greal 
Kims !  ;n  l.ist  the  Golden  Gate  has  swung 
about,  gracefully  admitting  you  to  cher- 
ish its  mysteries.  What  few  friends  and 
many  enemies  > » •  t »  have  heai  you  shout 
aloud  your  triumph.  At  lasl '  at  is  I '  Yi>u 
kiss  the  dirty  nm  in  grateful  pose  t.>  the 
god  di  chance. 

Of  course,  it  is  understood  thai  you 
know  how  tu  make  up;  you  have,  in  fact, 
mplete  make-up  case.  With  full  equip 
merit,  it  is  known  as  straight  make  up, 
which  includes  grease-paint  and  powder, 
puff,  cold-cream,  pencil,  brush  and  comb, 
lining,  loquaro,  rouge  and  toning  brush, 
mirror,  towels  and  many  other  items  which 
you  will  learn  about  as  you  go  on;  yes, 
many  I  It  is  true,  too,  that  you  could 
"get  by"  without  such  things — but  not  an 
actor.  Never  I  Besides,  suppose  the  di 
rector  should  select  you  out  of  the  mob  of 
three  or  four  hundred,  more  or  less,  to 
do  a  little  part  which  is  called  a  "bit." 
Or  suppose  you  are  a  camera  hog  and 
are  prone  to  getting  close-ups — not  to  have 
make-up  would  be  terrible!  It  would  be 
ruinous !  Nay !  your  career  is  at  an  end 
before  starting. 

But  no  such  luck,  either  with  or  with- 
out make-up.  The  little  "bit"  you  may  do 
is  obtained  from  the  outside;  you  are  writ- 
ten in  for  the  part  before  you  ever  go 
on  the  lot  or  set.  However,  the  director 
was  very  busy  that  day  and  had  no  time 
for  personal  interviews,  and  if  such  were 
asked  for  the  result  would  be  what  you 
didn't  ask  for.  But  maybe,  perhaps,  to- 
morrow !  ah,  tomorrow !  will  bring  better 
luck. 

Your  First  Work 

\Y7hen  the  day's  work  is  finished,  you 
draw  your  three  dollars,  five  or  seven- 
fifty,  as  the  case  might  be,  and  you  are 
happy.  But  when  told  that  you  are  done 
for  the  day,  not  so  good.  It  means  that 
you  have  to  do  the  same  thing  all  over 
again  to  get  another  job  on  another  picture. 
You  waste  two  days,  often  a  week,  to  get 
one  day's  work. 

Now  comes  the  chance  you  have.  Briefly, 
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Hard  work  and  persistence,  backed  by  a 
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tience, nerve  and  iron  ability,  mingled  with 
tons  of   brains — should  help  some. 

Good  appearance,  possible  photographic 
qualities,  a  complete  wardrobe,  the  art  of 
knowing  how  to  make  up,  which  in  itself 
is  a  great  accomplishment,  wearing  a  clean- 
cut  smile,  with  loads  of  PERSONALITY, 
go  a  long  way  in  time.     In  time ! 

And  the  natural  process  of  elimination 
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not stand  the  grind,  those  who  fall  by 
the  roadside  of  failure  for  one  reason  or 
another,  and  being  a  sticker  yourself — all 
will  push  you  several  rounds  up  the  ladder. 

And  last,  but  not  the  least,  sticking  to  it, 
facing  the  seemingly  impossible,  doing  the 
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the  big  hill  where  a  new  world  will  arise 
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success  loves  success.  And  by  that  time 
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85 


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not  be  mentioned  here.    You'll  know  a  few    ! 
tricks  of   the  trade  by  that  time. 

The  Men  at  the  Top 

Dut  by  no  means  do  I  wish  to  give  even 
the  slightest  insinuation  that  the  men 
who  are  the  executives  of  the  movies  are 
wrong  or  in  any  way  have  the  responsi- 
bility for  the  creation  of  the  great  law  of 
compensation  in  the  game. 

Undoubtedly  some  of  the  finest  men  and 
women  in  our  land  are  highly  associated 
with  the  movies.  We  know  that.  Some 
of  the  best  people,  morally,  are  holding 
down  responsible  positions  in  a  hundred 
different  departments  of  the  great  industry. 
One  could  not  meet  finer  men  and  women, 
in  any  opinion.  And  this  embraces  the  row 
from  producer  to  extra.  And,  of  course, 
one  oftentimes  will  meet  the  opposite — so 
it  is  in  any  walk  of  life.  "The  Movie"  is 
still  a  big  baby — that's  why  a  lot  of  people 
love  the  screen. 

To  repeat,  as  in  every  walk  of  life, 
we  meet  folks  who  are  not  so  good — the 
movies  are  not  to  blame  for  their  share  of 
the  minority.  So,  good  luck  to  you,  Mr., 
Mrs.  and  Miss  Extra.  As  Billy  Evans,  the 
famous  baseball  umpire,  said,  "The  hours 
are  from  three  to  five  and  the  game  is 
always  on  the  lookout  for  good,  intelligent 
and  honest  men."  So  it  is  with  the  movies 
— the  camera  is  on  the  lookout,  too,  and  it 
pays  from  three  dollars  a  day  to  many, 
many  of  them,  as  the  case  may  be. 


Flash  Backs 

(Continued  from  page  45) 

most  prominent  of  the  footlight  Virgins. 
Our  bet  is  that  Gloria  will  get  away 
with  "The  Miracle"  neatly.  We  dont 
know  who  will  direct,  but  Fritz  Lang,  the 
man  who  made  "Siegfried,"  would  be  a 
good  selection. 


Now  that  Dolores  Costello  seems  to 
have  arrived  definitely  as  a  potential  star, 
the  usual  discoverers  are  advancing  their 
claims.  The  Warner  Brothers,  the  pro- 
ducers, for  instance,  lay  claim  to  her  dis- 
covery. 

Actually,  the  credit  goes  to  John  Barry- 
more.  It  is  true  that  the  Warners  noted 
a  picture  of  the  Costello  sisters  in  a  Chi- 
cago paper  when  they  were  chorus  girls 
in  a  musical  revue. 

Small  film  roles  were  offered  them — and 
the  two  girls,  daughters  of  the  first  film 
idol,  Maurice  Costello,  arrived  in  Holly- 
zvood.  Dolores  began  to  play  tiny  roles, 
those  of  maids  and  so  on.  Then  Barry- 
more  reached  the  Coast  to  start  work  on 
"The  Sea  Beast."  The  leading  feminine 
role  hung  between  several  actresses,  but 
Barrymore  insisted  upon  the  untried  Miss 
Costello  for  the  part. 

In  this  fashion  came  her  first  hit.  Mean- 
while,  Dolores's  sister  is  still  playing  ob- 
scure parts.     Thus  luck  in  the  movies. 


FREDERICK  JAMES  SMITH'S 

reviews  of  the  current 
motion  picture  dramas 
appear    exclusively    in 

The  CLASSIC 

Be  sure  to  read  his 

THE  CELLULOID  CRITIC 

each  month! 


86 


Famous  at  Fifty 

(Continued  fi  <>m  pogt  31  > 

time  everyone  had  tlu   feeling  that  he  could 
have  been  a  whole  lot  better.     It   is  tins 

uragement  that   tires  one  with  thi 
thusiasm  to  give  him  more  and  bettei  work. 

"When    we    had    finished    the    picture, 

tsch  said,  'See,  Euldlc,   1   made  you  an 

lishmau.'       Because     >>i     his     cheerful 

me  .it   tn  ^t   wondci  s   n    he  knows 

what  lie  is  doing.     It  is  not  long  before  one 

tnul-  out.      Lubitsch    has    thai    artistic    in 

I  that  knows  the  right  thing   from  the 

wrong.     He  inoculates  you  with  the  scene 

that   you  are  amazed  .it   your- 

on  the  screen.     Vou  begin  to  wonder, 

did  that  man  make  me  do  that?     I  believe 

that  it  I  had  a  few  more.-  pictures  with  him 

I  would  be  a  good  actor.' 

Martindel's  Career 

jV/f  \RriNi>i  i  has  been  in  the  theatrical 
business  all  his  life,  and  says  he  hopes 
to  live  to  be  a  hundred  that  he  might 
tually  learn  all  there  is  to  know  about 
acting.  His  career  has  been  mostly  on  the 
legitimate  stage  in  New  York.  He  lias  a 
rich  bass  voice  which  may  be  remembered 
by  many  who  saw  the  New  York  produc- 
tions of  "Naughty  Marietta"  and  "The 
Firefly."  Numerous  other  light  operas  and 
musical  comedies  have  his  name  on  the 
original  cast  sheets.  His  career  in  the  film 
realm  has  been  varied.  Eddie  has  worked 
in  everything  from  comedy  and  horse 
opera  to  "lady  Windermere's  Fan,"  under 
the  direction  of  Lubitsch.  It  is  in  this 
picture  that  he  scores  his  first  real  bit  in 
the  movies. 

"When  1  was  given  the  part  of  Lord 
Augustus,  I  wondered  it  1  hadn't  been  mis- 
continued  Eddie.  "According  to 
Oscar  Wilde's  play,  1  could  not  understand 
how  I  would  fit  the  character.  When  I 
came  under  the  thumb  of  Lubitsch,  I  found 
out.  He  had  changed  the  character.  He 
understood  what  he  was  doing,  and  had 
allotted  me  my  proper  niche  in  the  cast. 
During  the  filming  of  the  picture  I  felt  like 
>ne  of  these  light-hearted  individuals  who 
breezes  into  a  scene  and  out  again  with  a 
happy  good  morning  and  a  hearty  farewell. 
It  was  delightful  work,  in  fact,  the  hap- 
piest work  I  have  had  during  my  six  years 
in  pictures. 

"When  I  came  to  Hollywood  and  the 
picture  business,  I  did  not  expect  to  stay. 
I  thought  I  would  take  my  fling  at  the 
movies  and  return  to  the  stage.  For  six 
years  I  have  been  working  in  the  studios. 
I  have  been  cataloged.  By  that  I  mean  I 
have  been  placed  as  a  character,  going 
down  on  the  casting  books  as  a  typical 
business  man  or  banker  type.  Because  of 
my  grey  hair  and  my  size  I  get  the  part  of 
the  man  of  wealth.  I  wish  the  same  parts 
were  wished  on  me  in  civil  life.  I  lost  one 
job  because  I  made  up  my  mind  not  to 
play  bankers  any  more.  I  was  called  to  a 
studio  and  appeared  with  a  couple  days' 
growth  of  beard,  an  army  shirt  and  old 
trousers.  I  lost  the  job.  They  wanted  a 
rich  man  .  .  .  banker  type." 

Martindel  is  a  big  man  of  commanding 
presence  and  aristocratic  bearing.  Another 
great  Hollywood  rumor  that  he  bemoans 
is  that  most  people  think  he  is  an  English- 
man. 

Hails  from  Ohio 

"I  cannot  understand  why  I  create  the 
impression  that  I  am  English.  I  was 
born  in  Hamilton,  Ohio,  and  anyone  who 
has  talked  to  me  knows  that  I  manipulate 
my  'r's'  like  any  good  old  backwoodsman. 
I  experienced  the  same  thing  when  I  was 
working  on  the  stage.     When  an  English 


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87 


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gentleman    was    needed,    I    was    assigned 
the  part." 

Martindcl  admits  he  is  forty-eight  years 
old.  He's  not  a  juvenile,  but  there  are  few 
juveniles  who  appear  more  youthful.  Six 
years  ago  he  came  to  Hollywood  to  play 
with  Earle  Williams  in  "Captain  Swift." 
When  he  arrived,  Eddie  said  he  saw  ex- 
chorus  men  from  New  York  riding  around 
in  automobiles  and  buying  houses.  He 
made  up  his  mind  to  stay  and  get  some  of 
the  swag,  if  a  mere  chorus  man  could  bowl 
over  such  a  heavy  pay  check.  He  has 
succeeded  in  getting  the  house  and  the 
automobile.  How  he  ever  did  it,  Eddie 
says  he  does  not  know,  for  he  has  no  con- 
ception of  business,  despite  the  fact  that 
he  plays  the  parts  of  American  bankers.  A 
few  weeks  ago  he  discovered  a  salary 
check  which  was  dated  1922,  and  was  made 
out  to  him  by  the  old  Goldwyn  company. 
It  was  lying  in  the  bottom  of  an  old 
wardrobe  trunk.  Fortunately,  he  was  still 
able  to  get  it  cashed.  If  nothing  else,  this 
little  episode  should  give  out  the  impression 
that  he  is  not  a  base  commercial  artist. 
Like  Lord  Augustus,  he  is  the  blythe  young 
blade  of  forty-eight  who  never  counts  his 
pennies  nor  his  dollars,  but  flits  thru  the 
films  playing  the  parts  of  severe  bankers 
and  rich  old  moneybags  of  the  business 
world. 


Renee  Makes  Good 

{Continued  from  page  39) 

leading  roles,  success  didn't  rush  out  to 
Miss  Adoree  and  throw  its  arms  around 
her  neck.  In  the  first  place,  Miss  Adoree 
was  a  stranger  in  a  strange  land,  and  the 
fact  that  she  married  into  citizenship 
didn't  make  her  any  less  a   foreigner. 

And  then  there  were  thousands  of  pretty 
girls  in  Hollywood.  Miss  Adoree  is  not 
a  great  beauty ;  she  is  attractive,  she  is 
magnetic  and  her  face  is  alive  and  spark- 
ling. But  there  are  far  prettier  girls  to 
play  pretty  roles  in  little  pictures. 

So  Hollywood  thought  she  was  awfully 
lucky  to  get  on  at  all  and  directors  chose 
her'  for  roles  because  she  was  amiable, 
quick  and  easy  to  work  with,  rather  than 
because  they  suspected  she  had  a  definite 
and  unusual  quality  to  bring  to  the  screen. 

Then  came  "The  Big  Parade"  —  and 
King  Vidor  selected  her  to  play  the  role 
of  Melisande,  the  French  peasant  girl  who 
falls  in  love  with  the  gum-chewing  dough- 
boy. And  when  Miss  Adoree  began  work 
in  "The  Big  Parade,"  she  began  to  re- 
member her  life  back  in  France,  before 
she  ever  heard  of  the  movies.  She  forgot 
her  six  years  in  America  and  all  the 
things  she  had  learned  that  a  movie  heroine 
must  do,  and  she  played  the  role  the  way 
she  felt  it. 

Renee  Adoree's  performance  in  "The 
Big  Parade"  takes  her  from  the  ranks  of 
the  confirmed  second-raters  —  those  who 
merely  "get  by" — and  puts  her  in  the  ranks 
of  those  who  belong.  It  was  not  merely 
a  role,  played  before  the  camera,  it  was 
the  summing  up  of  a  series  of  authentic 
experiences. 

Besides  her  work  before  the  camera, 
Miss  Adoree  played  an  important  part  in 
the  making  of  "The  Big  Parade."  She 
was  one  of  Vidor's  most  valuable  assist- 
ants. It  was  Miss  Adoree  who  supplied 
the  details  of  the  scenes  in  the  French 
peasant  home.  It  was  Miss  Adoree  who 
explained  the  .whole  psychology  of  the 
peasant  tossed  in  the  midst  of  unthinkable 
chaos.  Without  her,  "The  Big  Parade" 
would  have  been  a  less  vital,  less  sti-rring 
picture. 


inference 
^Book 


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Catalog 
No.55 


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tained by  actual  door-to-door  canvass. 
Write  for  your   FREE  copy. 

R.  L.  POLK&  CO.,  Detroit,  Mich. 

839  POLK     DIRECTORY    BLDG. 

Branches  in  principal  cities  of   U.    S. 


Cieaftone 


Your 
skin  can  be 
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of  Pimples,  Black- 
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been  Tried,  Tested  and  Proven  its  merits 
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WRITE  TODAY  for  my  Free 
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E.  S.  GIVENS      223  Chemical  Bid;,      Kansas  City,  Mo. 


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EYELASHES     and      BROWS 
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BEAUTYPEEL 


"UNMASKS 

YOUR  HIDDEN 

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by  peeling  off  freckles,  tan,  pimples.  a?ne, blackheads, 
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CAN  BE  YOURS 


PEOPLE  ADMIRE  DAINTY  ANKLES 


Thick  or  swollen  ankles  can 
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Lenor  Ankle  Reducers 

ANKLES  ACTUALLY  LOOK  THIN 
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Different  in  reducing  action  from  all 
other  reducers.   Slip  on  when  you  go 

to  bed  and  note  amazing  results  next  morn- 
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calf.  Slips  on  like  a  glove.  No  strips  of  rub- 
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to  rub  in  or  massage.  Enables  you  to  wear 
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LENOR  MFG.   COMPANY 
503  Fifth  Ave.,    New  York.    Suite  BG-4 


88 


NOW! 

YouDorit 
Have  To 
Be  HI 


LOSE 

5  to  15 
Pounds 
In  Two 
Weeks 


A-    I       'i  don't  havo  to  exorcise  or  diet 

thinl  It  it  easy  t«»  raduos.  th«  0. 

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your  friitida  won't  beln  ve  their  «•>■«»• 

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The  method  Is  a*  pimple  and  pleasant  aa 

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l""yMLti'(.  It  i.s  absolutely  barmleas  and  posl- 

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iH'ly  wTtiS  l.-tfrr  «ikintr  us  to  send  tr«attn«nt 
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O.B.C.T.Laboratory,4016LlncolnAvt.,Dept.36Chicagov!H. 


flniTft  nosE  adjuster 

(Mafad) 
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S29  SpnnKfield  Ave. 

NEWARK,  N.  J. 


IMMKIll  A  rKl  V    ! 
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FRANKLIN  INSTITUTE  Dept.  P-2S3 


RAILWAY    MAIL    CLERKS 
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BE  A  DETECTIVE  Earn  Big  Money 

Work  homo  or  travel. 
Experience  unnecessary,   rarticulursfree.   Write  Dept  MC. 

American  Detective  System, 1968  Broadway,  New  York 


PERSONAL 
Appearance 


fs  now  more  than  ever 
the  key  note  of  success, 
both  in  social  and  busi- 
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and  Knock-Kneed 
men  and  women, 
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1  a  -  Worn  at  night.  My  new  "Lim-Straitner."  Model 
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you  from  further  humiliation,  and  improve  your  personal 
appearance  100  per  cent.  (Model  18  is  not  like  old-fash- 
ioned splints  or  braces,  with  bothersome  straps,  hard  to  ad- 
just, buta  scientific,  modern  device  of  proven  merit,  used  and 
recommendedforthelast4  years  by  phvsicians  everywhere.) 
Write  todav  for  particulars,  testimonials  and  my  free 
copyrighted  physiological  and  anatomical  book  which  tells 
you  how  to  correct  bow  and  knock-kneed  legs  without  any 
obligation.    Enclose  a  dime  for  postage. 

M.  TRILETY,   SPECIALIST 

\  1385  L.  W.  U.  Building,  Bingham  ton,  N.  Y. 


L 


The  Celluloid  Critic 

'.finii.i/  / 

[orj    I  i   i  .i\  a,   .i   in  m    dirci  loi       I  his 
l  i  i  . i \ .i  nol  * . 1 1 1 >    hat  iln  1 1  ii  'I  .hi  <  nii  i 
taining  satire  upon  the  he  man  pi<  tin 
the  grcal  oj»cn    ipai  es,  but,   I  am  >•  liabl) 
informed)   he    n  wrote    the    itoi >    inti 
present    form.     ( Ither    *.••  ntli  men    ■>■■  i    1 1 1- 

ram  credit,  thus   fulfilling  one  "i   1 1 >» 
unwi  itltii  law  1  ni  tlu-  i  num. i. 

The  nighty  popular  l»i\  plays  /■'(//  Dona, 
who  goes   West   at   the   Instigation  "i   his 
Blonde   Inspiration,  no  other  than   1 
Ralston.     Out  where  men  are  men,  how- 

.  he  finds  that  the  West  has  changed. 

Is  and  modern  plumbing  are  now  the 
thing.    All  goes  well  until  the  Blonde  In 

ition  decidt s  tn  go  W  est  for  a  visit. 
Then  BUI  and  the  boys  have  to  hunt  around 
for  mustangs,  board  up  the  bathroom  and 
hide  the  flivvers.  Dix  is  excellent  and  the 
whole  effort  is  breezy  and  amusing.  You 
will  like  it.  While  1  am  on  the  subject, 
let  me  suggest  that  you  keep  an  <:■ 
I  a  Cava. 

The  Blonde  Miss  Joyce 

"The  Skyrocket,"  starring  the  much 
talked-about  Peggj  Hopkins  Joyce,  has 
a  whole  lot  of  what  they  called  box-office 
value.  It  is  likely  to  do  a  land-office  busi- 
ness thruout  America,  I  am  told.  Prob 
ably  it  will. 

The  story  itself  is  huilt  from  a  novel 
of  movieland  life  by  Adela  Rogers  St.  John, 
the  local  Edith  Wharton  of  Hollywood. 
It  is  the  Story  of  a  bathing  girl  extra  who 
ascends  to  the  heights  of  screen  stardom. 
Then,  in  the  glamourous  confusion  of  fan 
letters,  billboard  superlatives,  bills  and 
general  adulation,  she  loses  her  viewpoint 
and  almost  loses  the  one  man  who  cares 
for   her. 

Like  all  of  Miss  St.  John's  stories,  "The 
Skyrocket"  is  said  to  he  based  upon  a  real 
Hollywood  talc.  It  is  whispered  .  .  . 
But  why  repeat  gossip.  You  can  probably 
guess  the  real  life  counterpart  of  Miss 
St.  John's  Sharon  Kinnii.  Oddly,  Miss 
Joyce  rather  intrigues  me  as  Sharon.  Any- 
way, she  is  very  blonde  and  not  at  all  un- 
interesting. The  direction  of  Marshall 
Xeilan  isn't  very  good.  Mickey,  I  fear, 
was  more  concerned  with  the  injection  of 
a  bitter  thrust  at  certain  people  and  things 
than   with  his  direction. 

The  question  has  been  raised  as  to 
whether  or  not  "The  Skyrocket"  hurts  the 
Coast  screen  colony  because  it  shows  that 
prohibition  isn't  being  completely  enforced 
thereabouts.  Well,  what  about  it?  To 
ask  fans  to  believe  that  everything  is  as 
Will  Hays  would  have  it,  is  to  ask  them 
to  believe  in  Santa   Clans. 

Mickey  Neilan  Again 

LIkki-:  T  can  turn  to  another  Xeilan  el 

"Mike."  This,  I  believe,  is  the  story  in 
which  Mr.  Xeilan  originally  was  slated  to 
direct  Mary  Pickford.  Then  Colleen  Moore 
started  work  on  "The  Desert  Flower"  and 
Miss  Pickford  changed  her  plans,  fearing 
a  confiiction  of  pictures.  Xeilan  persuaded 
Metro-Goldwyn  to  let  him  make  the  com- 
edy with  his  discovery,  Sally  O'Xeil. 

Mike  is  the  eldest  of  three  children. 
The  father  is  a  comedy  railroad  section 
boss.  Mike  foils  a  robbery  and  wins  the 
love  of  a  young  hobo.  All  this  is  done 
after  the  fashion  of  the  old  Mabel  Not 
mand  comedies,  with  Charlie  Murray  and 
Ford  Sterling  as  slapstick  foils  for  Miss 
O'Xeil.  Far  be  it  from  me  to  say  whether 
or  not  Sally  O'Xeil  is  a  successor  to 
Mabel  Xormand.  Miss  Normand,  I  must 
admit,  never  won  much  laughter  from 
me.     However,  her   screen  comedy   seems 


WIN  $1000 

Quick  and  Easy 


m 


4».       CMAfUIC 
CHAPLIN 


Put  Each  Movie  Star 
In  a  Separate  Room 

Ky  drawing  3  straight  lines,  you  c«n  put  rjch  ol  ihne  6 
Movie  Stars  in  a  separate  Room.  Then  cut  <>u.  tin,  A  I- 
vertiscmenl  and  send  it  lo  us  rn  ht  a  .iy  v.  ith  your  Name 
and  complete  Adilicss.  We'll  immediately  credit  you 
with  100  "Points"  and  tell  you  how  ca»y  ii  is  lo  secure 
the  additional  "  Points"  to  nuke  you  the  winner  ol  the 
$1,000.  This  Contest  closes  May  IS,  1926.  Duplicate 
Prizes  will  be  awarded  in  case  ol  a  fie. 

Send  No  Money 

Just  your  Solution  and  your  lull  N.irnc  and  complete 
Address.  Enter  this  Contest  to  win!  Your  chance  is  as 
good  as  anybody's!  Think  what  you  can  do  with  $1,000 
cash!  There  is  no  time  to  lose!  Quick  action  can  bring 
you  $100  Extra.  Send  your  Solution  NOW  ! 

Peerless  Pen  Corporation 

boo-630  S.  Dearborn  St.    Dept.  111.  Chicago 


COLORS 

gray  hair  in 

^»°  ONE  APPLICATION. 

fl  Returns  youthful  color  so  you  can 
bob  it.  Bobbed  hair  takes  years  off  your 
age,  but  not  if  it's  gray.  Not  atfected  by  salt 
water,  perspiration,  oils,  tonics,  shampoos 
previous  dyes.  Does  not  stain  scalp  or  rub  oil 
Composed  Henna  Herbs;  Harmless.  Easily 
applied  at  home.  14  shades.  P.  P.  $1-60. 
White  Henna  for  lightening  hair  grown 
dark,  $2.25.  Pilocarpine  Hair  Tonic  i  pow- 
erful stimulant  >,s5.00.  Free  Ad  vice-  Book  k  t. 


B.  PAUL,  Dept.  9-K,  21 W.  39th  St.,  N.Y.C.  \ 
&«.  AT  ALL  DRUG  AND  DEPARTMENT  STORESaSs! 


fiooooo 

Travel  Accident 
\  Insurance  Policy 


Hero  in  your  chance  to  gel  absolutely 
Free  $1000  auto  accident  policy 
■with  every  order  of  2  tires  and  2 
brand  new  tubes.  Standard  Poller 
Issued  by  the  $7.000 .000.00  FsdsraJ 
life  Insurance  Co. 


6,000  to  12.000Mile« 


1   '•».       iiaaunju,        arvt..  1 Hay  111  !■       Ul 

•at la-fled  Chicajro  motoriats  grttlna- 
from  6  to  12  thousand  miles—ATj. 
Wsber.  Galena.  Ill  cot  12.000 
miles  sstisfsctorr  service.  W*  bsTa 
been  in  buaine-s  16  years.  Only 
slightly  used  Urea  Created  by  our 
secret  process. 


GUARANTEE 


If  any  tire  fails  Co  aati-fy  yoa  after 
you  have  used  it  wo  will  replace  It 
at  one-half  purchase  price.  Send 
only  $1  deposit  for  each  tire  ordered. 
Pay  postman  balance  on  delivery. 
Deduct  6  per  cent  for  cash  with  or- 
aer.  Orders  filled samedsyreceiTsd. 
Keep  this  ad  for  proof  of  cuaran  tee. 
Not  necessary  TO  ORDER  2— 
yoa  can  order  1  tire  or  tube  at 
prices  listed  above  without  policy. 

EAGLE  TIRE  & 

3445-7  S.  Michigan   Ave. 


al v)  d 

■Mil 

LOWEST  PRICE  LIS 

Si"                 Tirr. 

Tub*. 

30x3        -    »3. 25 

SI. SO 

30x3K      •     3.65 

X.7S 

32x3H     -     3.95 

X.95 

31x4     -     -    4.50 

2.00 

32x4         -      4.95 

2.25 

33x4    •    •    S.45 

2.50 

34x4       -      5.75 

2.65 

32x4$<     -    e.oo 

2.95 

33x4*4     •       6.25 

3.0O 

34x4*       -    6.50 

3.25 

33x5         -     -7. SO 

3. SO 

35x5    .     -  7.75 

3.75 

37x5       •      S.25 

4.00 

2'xl!0.       5.45 

2.75 

$1000  Policies  FRE 

Aatomobili.ta  ah<ml< 

U'Ctc.1.  so  for  a  sr* 

yoa  ran  fret   t* 

brand   new    tubes 

Send 

a«e.    date    of    birth. 

Bene- 

nciary'a  name,  reta' 

;<  —.hm 

andaddrr.i.  Policy  protacta 

Too  in  bodily  injury 

1     -,. 

,.»;:', 

RUBBER  CO. 

Dept.  184.  Chicago,  III. 
89 


SAY  "BAYER  ASPIRIN"  and  INSIST  I 

Proved  safe  by  millions  and  prescribed  by  physicians  for 


Headache 
Pain 


Neuralgia 
Toothache 


Colds 

Neuritis 


Lumbago 
Rheumatism 


&fl 


Accept    only    "Bayer"    package 
which  contains  proven  directions. 

Handy    "Bayer"    boxes    of    12    tablets 


Also  bottles  of  24  and  100- 
Aspirin   Is  the  trade  mark  of  Bayer  Manufacture   of  Monoaceticacidester  of   Salicylicaeid 


(O  iFiPdD  imrinp^inr  y 


A 


AMMIEIP 


AGENTS  WANTED 


Agents — Write  for  Free  Samples.  Sell  Madison 
"Better-Made"  Shirts  for  large  Manufacturer 
direct  to  wearer.  No  capital  or  experience  re- 
quired. Many  earn  $100  weekly  and  bonus. 
MADISON    SHIRTS,    562    Broadway,    New    York. 

Agents — Earn  handsome  profit  selling  subscrip- 
tions to  MOTION  PICTURE  MAGAZINE  and 
MOTION  PICTURE  CLASSIC.  No  capital  or  ex- 
perience required.  Big  commissions  and  bonus. 
Write  today  for  particulars.  Brewster  Publications, 
Inc.,   175  Duffleld   St.,   Brooklyn,   New  York. 

Agents  wanted  to  advertise  our  goods  and  dis- 
tribute samples  given  to  consumers :  90c  an  hour  ; 
write  for  full  particulars.  American  Products 
Co.,  5721   American  Bldg.,   Cincinnati,   Ohio. 

HELP  WANTED— MALE 

U.  S.  Government  Jobs.  Railway  Mail  Clerks, 
Mail  Carriers,  Postofflce  Clerks.  $1,700  to  $2,700 
year.  Men  18-45.  Common  education  sufficient. 
25  coached  FREE.  Write  immediately.  Franklin 
Institute,   Dept.    P  84,    Rochester,   N.   Y. 

HOW  TO  ENTERTAIN 

Plays,  musical  comedies  and  revues,  minstrel 
music,  blackface  skits,  vaudeville  acts,  monologs, 
dialogs,  recitations,  entertainments,  musical  read- 
ings, stage  handbooks,  make-up  goods.  Big  catalog 
free.  T.  S.  Denison  &  Co.,  623  So.  Wabash, 
Dept.    63,    Chicago. 


MIRRORS 


Mirrors  resilvered  at  home.  Costs  less  5  cents 
per  square  foot ;  you  charge  75  cents.  Immense 
profits,  plating  like  new,  brassy  worn-off  auto- 
parts,  reflectors,  tableware,  stoves,  etc.  Outfits 
furnished.  Details  FREE.  Sprinkle,  Plater,  675 
Marion,    Indiana. 


PATENTS 


Inventions  commercialized  on  cash  or  royalty 
basis.  Patented  or  unpatented.  In  business  24 
years.  Complete  facilities.  References.  Write 
Adnm  Fisher  Mfg.  Co.,  512  Enright  Ave.,  St. 
Louis,    Mo. 


PERSONAL 


Want  to  earn  some  more  money?  Sell  sub- 
scriptions to  "Motion  Picture  Magazine."  Write 
to  Brewster  Publications,  Inc.,  175  Duffield  St., 
Brooklyn,    N.    Y. 


PHOTOPLAYS 


SCENARISTS,  AUTHORS!  Photoplays  pub- 
lished, copyrighted.  Fiction  stories  revised. 
Booklet    free.      Hollywood    Scenario    &    Pub'g    Co., 

Markham   Bldg.,   Hollywood,   Calif. 

Successful  Photoplays.  New  free  book.  Full  in- 
structions on  writing.  Details  of  our  service,  re- 
vision, typing,  marketing.  Commission.  Successful 
Photoplays,   Box   43,   Pes  Moines,    la. 

Photoplay  Ideas  Wanted.  We  are  right  on  the 
ground  in  Hollywood.  We  know  the  market.  Book- 
let free.  Universal  Scenario  Corp.,  203  Security 
Bldg.,  Western  &  Santa  Monica  Blvd.,  Hollywood, 
Calif. 


RATES 


THESE  ADVERTISEMENTS  are  read  by 
thousands  of  people  each  month.  Some  of  these 
advertisers  use  this  section  every  month  to 
increase  their  business.  Write  for  rates  to 
Brewster  Publications,  Inc.,  175  Duffleld 
Street,  Brooklyn,  N.  Y. 

SHORT  STORIES 

Stories    and    Photoplay    Ideas    Wanted    by    48 

companies ;  big  pay.  Details  free  to  beginners. 
Producers'    League,    441,    St.    Louis,    Mo. 

Stories,  Poems,  Plays,  Etc.,  are  wanted  for  pub- 
lication. Good  ideas  bring  big  money.  Submit 
MSS.  or  write  Literary  Bureau,  134  Hannibal,  Mo. 

STAMPING  NAMES  ' 

Stamp  Names  On  Key  Checks.  Make  $20  per 
100.  Some  make  $10  daily.  Either  sex.  Work  can 
be  done  at  home,  spare  time.  Send  25c  for  sample 
and   instructions.      M.    Keytag   Co.,    Cohoes,   N.    Y. 


VAUDEVILLE 


GET  ON  THE  STAGE.  I  tell  you  how!  Per- 
sonality, confidence,  skill  developed.  Experience 
unnecessary.  Send  6c  postage  for  instructive 
illustrated  Stage  Book  and  particulars.  O. 
LaDelle,   Box  557,   Los  Angeles,   Cal. 


in  a  fair  way  to  become  a  legend  and  even 
a  tradition.  Personally,  I  dont  care  for 
Miss  O'Neil.  Her  personality  is  too  hard. 
You  can  chip  the  laughs  from  her  beaded 
eyelashes. 

In  "Hands  Up,"  Raymond  Griffith  dons 
a  silk  topper  of  the  Civil  War  vintage. 
In  fact,  the  brash  Mr.  Griffith  plays  a 
spy  who  sets  out  to  foil  the  attempt  of  the 
Union  to  get  gold  from  a  Nevada  mine. 
Thus   he   hopes   to   save   the    Confederacy. 

Griffith  does  a  whole  lot  of  foiling,  in- 
cluding taking  the  beads  away  from  a 
bloodthirsty  Indian  in  a  crap  game,  but 
he  finally  falls  in  love  with  two  girls.  The 
war  ends,  but  Griffith  cant  decide.  Then 
Brigham  Young  drives  by  in  a  crowded 
covered  wagon.  Griffith  assists  the  two 
girls  into  the  wagon,  headed  for  Salt  Lake 
City — and  the  picture  ends.  "Hands  Up" 
is  hardly  hilarious,  but  it  has  funny  mo- 
ments. Griffith  knows  his  business  as  a 
farceur,  but  the  comedy  seems  long. 

A  No.  2  "Stella  Dallas" 
T  dont    know    the    original    novel    by    Sir 

Philip  Gibbs,  but  the  film  version,  "The 
Reckless  Lady,"  turns  out  to  be  a  feeble 
imitation  of  "Stella  Dallas."  Here  is  the 
deserted  mother  caring  for  her  daughter, 
in  the  new  background  of  the  Continent, 
it  is  true,  but  doing  all  the  "Stella  Dallas" 
stuff.  The  scoundrel  who  has  attempted  to 
seduce  the  wife  finally  jumps  off  a  cliff— 
really ! — and  mother  and  daughter  are  re- 
united with  daddy.  Altho  Belle  Bennett 
and  Lois  Moran,  the  two  players  of  "Stella 
Dallas,"  play  in  "The  Reckless  Lady,"  the 
piece  doesn't  register.  It  is  just  dull  and 
tedious.  An  observation  of  the  two  in  this 
new  piece  will  lead  you  to  give  new  laurels 
to  Henry  King  for  his  fine  direction  of 
"Stella  Dallas."  With  the  same  players, 
Director  Howard  Higgin  is  helpless. 

The  leather  medal  of  the  month  goes 
to  "The  Ancient  Mariner."  This  version 
isn't  wholly  Coleridge's  poem.  Not  by  a 
long  shot.  It  seems  that  a  wealthy  rounder 
is  about  to  win  a  gal  away  from  her 
true  love  when  an  old  sailor  takes  the  silk- 
hatted  scoundrel  aside  and  tells  him  the 
story  of  "The  Ancient  Mariner."  Dont 
ask  why.  I  cant  tell  you.  The  film  adapta- 
tion of  the  old  salt's  tale  seems  to  concern 
the  Ancient  Mariner,  two  symbolical  fig- 
ures labeled  Life  and  Death,  and  a  flock 
of  bathing  girls.  So  the  wealthy  rake, 
overcome  by  the  bathing  girls  or  some- 
thing, renounces  the  girl  to  her  true  lover 
and  all  ends  well. 


That  Chaplin  Complex 

(Continued  from  page  56) 

stand  at  the  portals  of  the  rich  homes, 
after  having  timidly  knocked  at  the  front 
door,  and,  as  a  butler  would  approach  to 
let  me  in,  the  urge  to  seek  safety  in  flight 
was  almost  too  strong  to  be  overcome.  I 
felt  that  my  feet  were  larger  than  any- 
one's else,  my  arms  were  dangling,  and  I 
was  painfully  conscious  of  the  fact  that 
I  might  have  a  cockney  accent,  having 
been  reared  in  the  streets  of  London. 
Sometimes  I  was  obsessed  by  a  horrible 
idea:  What  if  I  should  lose  part  of  my 
clothing!" 

Of  course,  the  funny  little  man  on  the 
screen  does  lose  a  part  of  his  clothing. 
It  has  happened  before  and  it  happens  in 
the  latest  picture,  "The  Gold  Rush."  And 
by  the  way,  if  one  may  judge  by  their 
reviews  of  this  picture,  the  critics  feared 
that  Chaplin  might  be  about  to  bestow  a 
real  personality-  on  his  vague  and  elusive 
little  marionette.  They  expressed  the  be- 
lief that  here  was  a  character  study  rather 
than  a  farcical  presentation.  We,  however, 
had  not  felt  that  way  about  it.     To  us  the 


90 


Ml     III    "  I  111'    (  ■■•III     l\Ush"    U.ls 

much  ■•!  -i  ny  -'.  ry  a    evet      I  here  -^t 1 1 1 
en  him  and  the  humans  tin' 
il  divide. 

'nc  night   I   was  invited  to  dine  at  the 

|w,„,  .I  I  upland's  greatest  a<  tors," 

linued     Mr.     Chaplin,     mentioning     his 

winch  we  shall   nut.     "I   was  shown 

tin-  library,     lit-  was  rehearsing  'King 

■ ,'   hut    1   did   nut    know   tli.it,   and    was 

•mull  agitated  when  he  looked  straight 

■•  and  cried  in  agonized  tones:    'How 

rper  than  a  serpent's  tooth  it  is  to  have 

a  thankless  child.     Sit  down.' 

"1   sat   down       I    s.u   on   the  edge  of   my 

1  was  frightened.     Kid  spots  danced 

n    he   stared   at    me 

:.  Tremble,  thou  wretch,  that  hast 

within    tlue    uudivulged    crimes.      An-    you 

unite  comlorta 

"Presently,    the    great    actor's    daughter 

entered       1    was    introduced.      She    looked 

!  said  sadly,  'Mr.  Chaplin,  1  never 

your    pictures.'      That 

didn't    help    a    hit.      Then    we    were    seated 

at   the  dinner   table.       There   were  hundreds 

rkv  and   spoons  and   knives,   it   seemed 

to  me,  at  cither  side  of  my  plate.    1  wanted 

j   gaily,  'Let's  use  the  brassic  tor  this 

and  attack  m\    food  with  any  one  of 

the  implements   I  could  seize  first;  hut  my 

hands    were    clammy    with    embarrassment. 

1  just  kept  on  drinking  water;  at  hast  the 

rI.issc,    were    the    same   as    the   ones    I    was 

Used   to   .it   home." 

Mr.  Chaplin  declares  that  it  is  difficult 
to  realize  how  many  people  suffer  from 
shyness  and  how  often  what  is  called 
"upst  i  tneielx   an  aggravated  form 

ish  fulness. 
"'Success  has  spoiled  him.'  everyone  de- 
clares as  soon  as  a  man  begins  to  be  known 
at    all."    resinned     Mr.    Chaplin.      "It    may 
be,  as    it   certainly    was   in   my   case. 
a  desire  to  shield  oneself    from  a  hurt.     It 
terrible    thing    to    feel    that    you    are 
surely  going -to  be  the  most  awkward  and 
stupid   person   at   a   party,   that   the   others 
have   had  advantages   which  you  have   not 
had,    ami    that    you    are    making    yourself 
ridiculous." 

This  sounds  strange  from  the  most  famous 
man  in  the  world,  a  man  who  has  been 
treated  like  a  king  all  over  the  world. 
Why,  Mr.  Chaplin  even  gives  other  people 
the  credit    for  his   pictm 

"I  never  can  say,"  Mr.  Chaplin  added, 
sweeping  toward  a  conclusion,  "'Now   I'm 

.:  to  make  a  new  film,'  and  tin  i 
ahead  and  make  it.  I  have  to  receive  my 
inspiration  from  someone  else.  It  was  be- 
cause I  saw  Edna  Purviance  as  a  woman 
of  Paris  that  I  was  able  to  work  out  that 
Story.  Jackie  Coogan  immediately  sug- 
gested 'The  Kid'  in  every  detail;  and  I 
had  no  idea  of  making  an  Alaskan  picture 
until  1  saw  Georgia  Hale  as  a  dance-ball 
girl.  1  cannot  make  another  one  until  I 
suddenly  see  some  character  which  inter- 
ests me,  and  then  I  suppose  I  shall  involun- 
tarily weave  a  story  around  that  character." 
And  there  you  have  the  origin  of  Charlie 
Chaplin's  contribution  to  the  art  of  the 
cinema — a  nomad,  a  lovable  mute  dilettante, 
his  own  inferiority  complex,  spread  out  on 
the  screen,  a  shadow  for  the  whole  world 
to  laugh  at. 

Like  most  sensitive  and  imaginative  per- 
.  Mr.  Chaplin  is  an  egoist,  and  what 
he  has  put  on  the  screen  is  tin-  thing  that 
he  once  feared  he  was;  at  least,  in  the 
eyes  of  others.  In  the  happy  and  prosper- 
ous endings  he  now  allows  his  down- 
trodden hero,  one  can  trace  a  dawning 
complacency,  a  breaking  up  of  complexes. 
But  Mr.  Chaplin  will,  at  least,  we  hope  he 
will,  remain  to  the  end  what  he  is  now — 
a  modest,  whimsical,  lovable  person,  who 
is  never  quite  happy,  always  a  little  dis- 
trait and  a  little  sad. 
These  are  indeed  ingratiating  attributes ! 


CL* 


Dont    jump    off    that    cliff    - 
buy  a  copy  of  The  Classic! 


Cure  That  Spring  Fever! 

Thci e  are   jusl   t\\"  ( ures   for  that 
spring  fever.    Sulphur  and  molasses 
and  Tin    Cj  vssk  I     <  >ne  is  old  fash- 
ioned, tin-  other  is  the   1926  remedy. 
Everybody  likes  motion  pictures     and 
Tin  Classic  is  the  one  de  luxe  maga- 
zine of  the  film  field.     Aside  t  rom 
being  the  mosl  beautiful  publication 
of  the  screen,  it  is  the  most  intelli- 
gently edited  ami  the  most  brilliantly 
written.      It   is   tree   from    fan   hunk 
and  slush.      It  treats  of  pictures  and 
picture   people   accurately,   brightly 
and  fearlessl) . 

*      #       * 

Glance  over  its  list  of  contributors 
and  you  will  realize  that  THE  CLASSIC 
is  the  magazine  of  the  screen.    Eugene 
V.     Brewster,    the    founder    of     The 
Brewster    Publica- 
tions,   Frederick 
James  Smith,  Agnes 
Smith,   Robert  E. 
Sherwood,    Don 
Ryan,  Alice  Tildes- 
ley,    Dorothy    Donnell,    Milton    Howe,    Verne 
Kibbe,     Sara    Redway,     Harriette     Underhill, 
H.  W.  Hanemann,  Tamar  Lane,  Harry  Carr.     1/ 
All  big  names  in  the  world  of  motion  pictures — 
and  they  all  write  for  THE  CLASSIC — most  of 
them  exclusively. 


The  May  issue  is  going  to  be  unusually  bright 
and  attractive.  There's  a  stunning  cover  of 
Colleen  Moore,  redolent  of  spring.  Tamar 
Lane  has  written  an  article,  FAMOUS  BLUNDERS, 
which  is  destined  to  cause  a  lot  of  talk.  It  relates 
— fearlessly — of  the  notable  errors  made  in 
motion  pictures,  the  big  mistakes  of  business  and 
judgment  which  unmade  stars. 

Henry  Albert  Phillips  will  continue  his  inter- 
views with  famous  European  writers  on  motion 
pictures.     You  cant  afford  to  miss  this! 

Lya  de  Putti,  the  famous  German  star  and 
idol  of  Berlin,  is  coming  to  America.  THE  May 
CLASSIC  will  present  the  first  interview  with  .Miss 
de  Putti,  secured  in  Berlin.  You  doubtless  have 
noticed  that  The  Classic  has  been  covering 
German  film  activities  thoroly  and  interestingly. 
In  Berlin  TLIE  Classic  has  scored  one  journal- 
istic beat  after  another. 

And  some  fifteen  other  sensational  features! 


A 


'/ 


91 


let  Us  Taste  Life 
While  We  May  n 


"Doushka,"  he  whispered,  "Life  is  so  short. 
Let  us  taste  it  while  we  may!"  And  the  princely 
stranger,  who  had  suddenly  appeared  out  of  the 
soft  shadow  of  the  warm,  sensuous  Egyptian 
night,  bent  and  kissed  her  lips. 

She  struggled  against  the  intoxicating  emotion 
— tried  vainly  to  resist — to  push  him  away — but 
he  again  gathered  her  into  his  arms  and  most 
tenderly  kissed  her. 

All  power  of  movement  seemed  to  desert  her. 
She  only  knew  that  she  was  wildly  happy,  that 
this  was  heaven,  and  she  wished  it  would  never 
end. 

*  *  *  * 

Thus  Elinor  Glyn  sets  the  stage  and  plants  the 
situation  very  early  in  her  startling  novel  "His 
Hour" — one  of  the  10  thrillingly  dramatic  stories 
that  you  may  now  secure  at  an  unheard-of  low 
price. 


10  Great  $2^2  Novels 

by  ELINOR  GLYN 

NOW  YOURS 


Think  of  it.  Ten  $2.00  novels — actually  sold  in 
the  original  edition  at  $20.00— all  for  only  $2.98.  This 
is  the  most  amazing  book  bargain  ever  offered  —  a 
bargain  that  has  absolutely  astounded  the  publishing 
world. 

Elinor  Glyn's  Masterpiece 

But  that  is  not  all.  Included  in  the  10  volumes 
is  Elinor  Glyn's  latest  sensational  success — "This 
Passion  Called  Love"  —  a  powerful  treatise  on  this 
burning  subject  that  everyone  wants  to  read.  The 
regular  bookstore  price  of  this  great  work  alone  is 
$2.00  a  copy. 

How  Can  We  Do  It? 

How  can  we  give  you  a  com- 
plete set  of  10  fascinating  vol- 
umes for  the  absurdly  low 
price  of  only  $2.98  for  all  ?  This 
wonderful  offer  is  made  possi- 
ble only  by  paying  Elinor  Glyn 
a  few  pennies  royalty  —  by 
economically  printing  an  enor- 
mous quantity  of  books  at  one 
time  and  by  selling  in  great 
quantities  at  small  profit. 

These  10  volumes  are  not 
tiny  paper  booklets  with  soft 
covers — they  are  handsomely 
bound  in  genuine  Royal   Blue 


IF  YOU 
ACT  NOW 


Cloth  with  stiff  board  covers 

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Simply  mail  the  coupon  and  the  books  will  be  shipped  to 
you  at  once.  When  they  arrive  pay  the  postman  only  $2.98 
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purchase,  simply  return  the  books  within  five  days,  and  your 
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10  VOLUMES 

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Are 

The  Price  of  Things 
Guinevere's  Lover 
The  Man  and  The  Moment 
His  Hour 
Love  Itself 
The  Reason  Why" 
Red  Hair 
The  Point  of  View 
The  Seventh  Commandment 
And  Elinor  Glyn's 
Latest  Book 
This    Passion    Called    Love 


THE  AUTHORS'  PRESS,  Dept.  818,  Auburn,  New  York 


Please  send  me  the  set  of  Elinor  Glyn's  famous  books  in  10 
volumes.  On  arrival  I  will  pay  the  postman  only  $2.98,  plus  a 
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books  within  5  days  if  not  satisfied,  and  you  will  refund  my  $2.98. 


Name. 


Address. 


City State 

IMPORTANT:    If  you  may  not  be  home  when  the  postman  calls, 
send  cash  in  advance.     Also  if  you   reside  outside  the   U.  S.   A. 


92 


EDWARD  LANGER  PRINTING  CO.,  INC., 
JAMAICA,  NEW  IOBK  OITT. 


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This  and  other  Gainsborough  powder 
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THE  musics  playing  and  the 
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near  you!  The  crowd  is  there, 
and  trouble  is  not,  and  Para- 
mount guarantees  a  good   time. 

With  half  the  world  asking  for 
more  Paramount  Pictures  and 
the  other  half  seeing  them  from 
Greenland  to  Cape  Horn,  who 
wouldn't  make  them  best! 

Out  of  the  house!  —  and  into 
the  cast  of  life!  —  Paramount's 
waiting  for  you! 


See  these  Paramount  Pictures  and 

You'll  be  a  Paramount  Fan  for  Life! 


*** 


ADOLPHE  MENJOU 

mA  Social  Celebrity 

With  Chester  Conklin  and  Louise 
Brooks.  Story  by  Monte  Katter- 
john.  Malcolm  St.  Clair  Production. 

The  screen's  perfect  lover  has  found  his 
perfect  plot  at  last,  beginning  as  Vil- 
lage Barber  and  leading  to  Tonsorial 
Dictator  to  the  Four  Hundred — ladies, 
ladies  all  the  way !  Every  girl  who  ever 
had  her  hair  bobbed  will  admire 
Adolphe's  technique  with  the  scissors 
and  learn  some  new  tricks  from  the 
most  up-to-date  beauty  parlor  she  ever 
saw! 


Harold  Lloyd 

in 

"For  Heaven's  Sake" 

Directed  by  Sam  Taylor.  Here  is  the 
prize  surprise  package  of  the  season, 
laughter,  laughter  all  the  way!  This  star's 
pictures  are  produced  by  the  Harold  Lloyd 
Corporation  and  released  by  Paramount. 


Douglas  MacLean 
in 


Thomas  Meighan 

in 
'TheTSIewKlo 


mdike"  j£  j^ 


'That's  My  Baby" 


Directed  by  William  Beaudine.  Imagine 
riding  in  an  aeroplane  with  a  mischievous 
kid  on  each  side  of  you  trying  to  make  you 
loop  the  loop!  That's  just  one  high  spot 
among  hundreds  in  Doug  MacLean's  lat- 
est and  best. 


Bebe  Daniels  in 
"Miss  Brewster's 


With  Lila  Lee,  Directed  by  Lewis  Mile- 
stone. From  the  comic  story  about  Flor- 
ida by  Ring  Lardner.  Baseball  1  Sudden 
riches!   Sudden  laughs! 


Gloria  Swanson  in 

"The 

Untamed  Lady" 

With  Lawrence  Gray.  Directed  by  Frank 
Tuttle.  Story  by  Fannie  Hurst  author  of 
*' Mannequin,"  the  $50,000  prize  story. 
The  untamed  lady  has  a  pretty  face, 
twenty  million  dollars  and  an  ungovern- 
able temper.   Picture  Gloria  in  that  plot! 


Richard  Dix 


in 


Millions" 


A  Clarence  Badger  Production  with 
Warner  Baxter  and  Ford  Sterling.  From 
George  Barr  McCutcheon's  "Brewster's 
Millions."  Bebe  Daniels  inherits  one  mil- 
lion dollars  with  the  promise  of  another 
seven  millions  if  she  spends  the  first  mil- 
lion within  one  year! 


'Let's  Qet  Married 


■a 


With  Lois  Wilson.  Adapted  by  Luther 
Reed.  From  "The  Man  from  Mexico,"  by 
H.  A.  Du  Souchet.  Directed  by  Gregory 
La  Cava.  The  fastest,  funniest  Dix  farce 
yet.  If  you  saw  "  Womanhandled  "  you 
know  what  that  means. 


^Paramount  zrictur&s 

Produced  by  FAMOUS  PLAYERS-LASKY  CORP.,  Adolph  Zukor,  Pres.,  New  York  City 


"If    it's    a    Paramount    Picture    it's    the    best    show    in   town/ 


J 


PRIZES  TO  BE  AWAkDI-.n   FOR    REST    LETTERS 


MOTIOM    />/('/<    A'/ 


'IL^y 


OCD 


Vol.  XXIII 


MAY,   1926 


No.  3 


Notable  Features  in   This  Issue: 

FAMOUS  BLUNDERS 

Immortal  acreen  ">|tn>|"—  and  theli  costl)  dan 
HAS  THE  GREAT  LOVER  BECOME  JUST  A  CELEBRITY? 

rhc  problem  ol  Rudolph  Valentino  and  all  mum     Drawing    bj  K.  k.  t  bamberlaiu 

MEN 

pkina  Joy<  •■  dl*  Unity  and  matrimonj 

MAKING  "THE  BIG  PARADE" 

King  Vidoi  tella  the  Inside  facta  behind  the  big  production 
HOW  FAIRBANKS  TOOK  THE  COLOR  OUT  OF  COLOR 

Minn  Parker,  the  director,  telli  how  "The  Ui.uk  Pirate"  wai  made 
MORE  IMPRESSIONS  OF  HOLLYWOOD 

ditor-ln-chiel  lella  his  experience*  In  the  capital  ol  celluloldia 
THE  MOTION  PICTURE  IN  JAPAN 

A  Famous  Japanese  critic  Leila  how  the  screen  baa  won  cherry-blossom  land 


I. mi. a  I. .mi-  l'i 

Don  Ryun  20 

'.i  Redway  22 

Froderii  h  /antH  Smith  26 

Dunham  Thorp  28 

Eugene  V.  Brewster  32 

Kimpei  Sheba  34 


11-15 
Heinrich  Fraenkel  18 
H.  W.  Hanemann     24 


The  Classic  Gallery     .  

■l.i  Negri,  George  O'Brien,  Vilma  Banky  and  Ronald  i  olman 
The  Toast  of  Berlin 

l.y.i  de  1'iiiii.  famoua  Hungarian  screen  beauty,  is  now  in  America 

Silverscreen:   The  Model  Movie  Community 

ell-known  humorist  discusses  the  Ideal  film  colony     Drawings  by  Khz 

"So's  Her  Old  Man!"  27 

A  new  stud)  ol  Dolores  Costello 
Cella  Puts  the  Foreign  Vamp  in  Her  Place John  Held,  Jr.     30 

The  further  adventures  ol  Mr.  Held 'a  bathing-girl  heroine 
Moana:  A  Poem  of  the  Cinema. Matthew  Josephson     37 

A  critical  discussion  ol  Robert  Flaherty  a  S.imoan  classic 
Joby  from  the  Tennessee  Hills Alice  L.  Tildesley     38 

Jobyna  Ralston  has  been  Harold  Lloyd's  leading  woman  lor  four  yean 

New  Styles  in  Screen  Girls Harry  Carr     40 

-iiion  in  film  heroines  changes  often — Drawings  by  Eldon  Kelly  « 

Pauline  Starke  (Portrait) 42 

The  Nation  of  the  Happy  Ending Francis  L.  Perrett     43 

S    Ernest  Vadja,  Hungarian  dramatist  now  in  Hollywood,  describes  America 
Corinne  Griffith  (Portrait) •. t 49 

The  Northern  Star  Alice  L.  Tildesley     52 

reen'a  newest  meteor,  Greta  Garbo,  is  a  moody  daughter  of  Sweden 

Old  Pictures  in  New  Frames Sara  Redway     54 

Hayakawa  Bays  screen  dramas  .ire  bigger  now  but  they  aren't  any  bettei 

Came  Spring 56 

The  minds  of  tilmdom  turn  lightly  to  thoughts  of  golf  and  tennis 

Meet  La  Cava Dunham  Thorp     62 

liiny  Richard  Dix's  new  director,  the  latest  film  sensation 


The  CLASSIC'S  Famous  Departments 

Flash  Backs F.  J.  S.     44 

Be  sure  to  read  this  much-talked-aboul  department  in  its  enlarged  form 

Our  Own  News  Camera 46 

The  incidents  of  the  film  world  told  in  pictures 

The  Celluloid  Critic Frederick  James  Smith      50 

The  new  screen  plays  in  review 

Letters  to  King  Dodo Don  Ryan  and  Frederick  James  Smith     58 

An  amusing  series  .it  letters  upon  the  gossip  of  celluloid ia 

The  Answer  Man 63 

Cover  Portrait  of  Colleen  Moore  by  Don  Reed 


FREDERICK  JAMES  SMITH,  Editor  and  Managing  Editor 

Alice  L.  Tildesley,  Western  Editorial  Representative  Colin  Cruikshank,  Art  Director 

Classic  comes  out  on  the  12th  of  every  month,  Motion   Picture  Magazine  the  1st,  Movie  Monthly  the-  15th 

Snbscription   $-'.50    per    year,    in   advance,   including    postage,    in    the    United    Mates.   Cuba,    Mexico   and   Philippine   Islands.      In   Canada   $3.00;    Foreign 
Countries   $3.50   per   year.      Single   copies    J5    cents    postage    prepaid.      United    States    Government    stamps    accepted.       Subscribers    must    notify    us    at 

once   of  any  change   in  address,  giving  both   old   and   new  address. 


Published  Monthly  by  Brewster  Publications.  Inc.,  at  18410  Jamaica  Ave.,  Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica.  N.    >'..  as  second-class  matter,   under  the  act   0/  March  3rd.   1879.      Printed  in    V.  S.  A. 

Eugene    V.    Brewster,    President    and    Editor-in-Chief ;    Duncan    A.    Dobie.   Jr..    J'ice-President   and   Business    Manager; 

L.    G.    Conlon,     Treasurer ;     K.     M.    Heinemann,    Secretary. 

EXECUTIVE   and   EDITORIAL   OFFICES.   175    DUFFIELD    ST.,    BROOKLYN,   N.   Y. 

Hollywood    Office.    6064    Selma     Avenue.      Phone    Gladstone    3564 
Copyright,  1926,  by  Brewster  Publications    Inc.,  in  the  United  States  and  Great  Britain. 


CLASSIC'S  Late  News  PAGE 


JOSEPH  SCHENCK  signs  John  Barrymore  for 
United  Artists. 
Reported  that  James  Cruze  is  going  to  United 
Artists    after    completing    "Old    Ironsides,"    now 
under  way,  for  Famous  Players. 

Plans  for  Gloria  Swanson  to  do  "The  Miracle" 
appear  to  be  off.  Morris  Gest  is  asking  $200,000 
for  the  screen  rights  to  the  spectacle  and  the 
interests  behind  Miss  Swanson's  coming  United 
Artists  activities  look   upon  this  as  too  high. 

George  Bancroft  playing  prominent  role  in 
"Old  Ironsides."     Esther  Ralston  has  lead. 

Dorothy  Gish  returns  from  California  visit  with 
her  sister  and  departs  for  England  to  begin  con- 
tract with  British  National  Pictures,  Ltd. 

Eleanor  Boardman  playing  opposite  Jack  Gil- 
bert in  Rafael  Sabatini's  "Bardelys  the  Magni- 
ficent," now  being  directed  by  King  Vidor  in 
California. 

Sally  O'Neil  playing  opposite  Ramon  Novarro 
in  "The  Heart  Breakers,"  directed  by  Hobart 
Henley. 

Mary  Pickford  has  changed  the  name  of  Mary 
Pickford  Forrest,  daughter  of  her  sister,  Lottie, 
to  Gwynne  Pickford.  Gwynne  was  adopted  some 
time  ago  by  her  grandmother,  Mrs.  Charlotte 
Pickford.  Little  Gwynne  went  to  Europe  re- 
cently with  her  illustrious  aunt  and  uncle. 

Jobyna  Ralston,  subject  of  an  interview  in  this 
issue,  was  loaned  to  the  M.  C.  Levee-First  National 
production.  She  plays  the  leading  role  opposite 
Jack  Mulhall  in  "Sweet  Daddies." , 

George  Sidney  selected  for  David  Warfield's 
role  of  Simon  Levi  in  William  Fox  production  of 
"The  Auctioneer."  Frank  Borzage  directing  and 
Madge  Bellamy  playing  the  femitiine  lead,  done 
years  ago  behind  the  footlights  by  Antionette 
Walker. 

Work  started  by 
Director  Mauritz 
Stiller  on  Ibanez's 
"The  Temptress," 
starring  the  highly 
promising  Greta 
Gar  bo.  Antonio 
Moreno  plays  op- 
posite Miss  Garbo. 

Josef  von  Stern- 
berg, the  maker  of 
the  ill-fated  "Sal- 
vation Hunters," 
is  back  at  work 
again.  He  went  to 
Europe  after  his 
break  with  Metro- 
Goldwyn  and  now 
has  returned  to 
work,  making  "The 
Sea  Gull,"  starring 
Edna  Purviance, 
for  Charlie  Chap- 
lin. Chaplin,  it 
would  seem,  still 
believes  in  the 
erratic  von  Stern- 
berg. 

Alia  Nazimova 
returning  to  stage. 


LAST  MINUTE  REVIEW 

"The  Black  Pirate" 

"Fifteen  men  on  a  dead  man's  chest, 
Yo-ho,  and  a  bottle  of  rum." 

Buccaneers,  cut-throats,  desert  islands,  black  flags,  captive 
princesses  in  despair,  boats  scuttled  on  lonely  seas,  prisoners 
walking  the  plank — they're  all  in  Doug  Fairbanks'  newest  effort, 
"The  Black  Pirate." 

There  is  a  fine  boyish  spirit  to  "The  Black  Pirate."  Here 
is  a  rampantly  wild  tale  told  with  a  superb  sense  of  youthful 
exaggeration.  It  is  the  great  imaginary  adventure  of  boyhood — 
the  sort  of  thing  that  for  generations  has  set  boys  building 
rafts  on  old  mill  ponds.  "The  Black  Pirate"  isn't  just  an  in- 
teresting experiment  in  subdued  color  photography.  Actually, 
it  is  a  much  finer  thing.  It  is  a  roystering  adventure  pictured 
thru  the  eyes  of  a  boy. 

The  black  pirate  sets  out  to  avenge  his  father's  death  at 
the  hands  of  sea  marauders.  He  masquerades  as  a  pirate — and, 
of  course,  outwits  the  whole  brood.  There  is  a  superb  incident 
where  the  black  pirate,  in  his  false  role,  demonstrates  how  he 
can  capture  a  merchantman  single-handed.  He  puts  the  rudder 
out  of  commission  and  slides  down  the  sails,  ripping  them  to 
bits  with  his  sheath-knife. 

Doug  never  had  a  better  role  than  the  Black  Pirate.  In 
fact,  he  never  had  a  better  picture.  A  great  deal  of  the  credit 
should  go  to  the  director,  Albert  Parker.  Here  is  direction 
superb  in  its  directness  and  simplicity,  capturing  and  retaining 
the  fine  spirit  of  youth.  It  ought  to  put  Parker  at  the  top  of 
the  directorial  heap.  F.  J.  S. 


Cecil  De  Mille  planning  big  million-and-a-half 
dollar  special  to  be  made  during  the  coming  year. 
Announced  this  during  New  York  visit.  Believes 
he  has  biggest  bet  of  the  screen  in  William  Boyd. 
Report  that  Mary  Pickford  may  make  a  picture 
during  her  European  trip  with  Doug.  Said  to 
have  negotiated  with  Ernst  Lubitsch  to  make  the 
picture  in  Germany. 

Mae  Murray  signed  again   by  Metro-Goldwyn. 
Sam    Taylor    has    ended    five   years   directorial 
association  with  Harold  Lloyd.     His  last  comedy 
for  Lloyd  was  "For  Heaven's  Sake." 

Buster  Keaton  has  completed  his  Metro-Gold- 
wyn contract  and  all  future  comedies  will  be  re- 
leased thru  United  Artists. 

Doug  Fairbanks'  "The  Black  Pirate"  is  a  big 
New  York  hit.  Biggest  advance  sale  of  any  Fair- 
banks picture  yet  produced.  Apparently  a  London 
hit,  too,  judging  from  the  critical  notices  of  the 
English  press. 

W.  C.  Fields'  first  Paramount  starring  comedy, 
"The  Old  Army  Game,"  filmed  at  Ocala,  Florida, 
with  Eddie  Sutherland  directing. 

Charles  Brabin  signed  by  First  National  to 
direct  Doris  Kenyon  in  "Mismates"  for  First 
National.  Picture  now  being  made  in  New  York. 
D.  W.  Griffith's  "Sorrows  of  Satan"  under  way 
at  last  with  Adolphe  Menjou,  Carol  Dempster, 
Lya  de  Putti,  Ricardo  Cortez  and  Marcia  Harris 
in  cast. 

Fred  Niblo  returns  from  European  trip.  Re- 
ported that  he  will  direct  Norma  Talmadge  in 
her  revival  of  "The  Garden  of  Allah." 

Ann  Nichols,  author  and  producer  of  the  stage 
success,  "Abie's  Irish  Rose,"  announces  suit 
against  Universal  Pictures  claiming  that  "The 
Cohens  and  Kellys"  strongly  resembles  her  play. 

Clarence  Brown 
selecting  his  cast 
for  the  Metro- 
Goldwyn  specta- 
cle, "The  Trail  of 
'98." 

Harry  Langdon 
visits  New  York. 

Victor  McLag- 
len  gets  coveted 
role  of  Captain 
Flagg  in  Fox  pro- 
duction of  "What 
Price  Glory." 

Conrad  Nagel 
and  William 
Haines  renew  con- 
tracts with  Metro- 
Goldwyn. 

Jean  Hersholt  to 
play  in  new  von 
Stroheim  picture 
and  then  to  go  to 
Fox  for  a  David 
War  held  role. 

Harold  Lloyd  in 
New  York  for  rest. 
Has  called  off  plans 
for  building  elabo- 
rate Beverly  Hills 
residence. 


6 


\?{ameless  -homeless  ~Kiki! 

^nothing  could  stop  herf 


|UT  of  the  dust  of  the  gutters — into  Paris'  frenzied    whirl  <>( 
riches  anil  romance  ....  all  in  one  daz/lmg  hound! 

Yesterday  nobody  ....  today  KIKI — darling 
of  a  delighted  audiemi . 

Then  luxury  and  love  almost  within  her 
grasp!  ....  Can  Kiki  reach  them — and  keep  bet 
impish  child-heart  happy  and  unstained? 

It's  a  breath-taking  gamble  — that  last 
desperate  ruse  of  Kilci's.  Your  eyes  won't 
leave  the  screen  —  you'll  forget  the  folks 
around  you  — as  you  follow  plucky,  ador- 
able Kiki's  amazing  fortunes  to  their 
climax  of  cleverness. 

Norma  Talmadge's  t 
greatest   success^ 

A  brilliant  screen  production  of  the 
famous  Belasco  play  which  ran  two 
years  on  Broadway.  Great  supporting 
cast  including  Ronald  Colman. 

"No  other  actress  on  the  cinema 
today  cou  Id  play  this  character  with 
the  artistry  and  faithfulness  of  in- 
terpretation that  Norma  has  put 
into  the  role.*' 

David  Betatco 

"I  never  made  a  picture 
I  like  better." 

'Norma  Talmadge 


fjl  l  I  l*  I  I  I* J 


q)  Picture 


THEY  SAY 


San  Francisco,  California. 
Editor,  Classic  : 

In  a  recent  issue  of  The  Classic  you 
have  an  article :  "What  Counts  at  the 
Box  Office."  In  this  article  you  call 
attention  to  the  fact  that  "There  are  a 
lot  of  players  of  mysterious  popularity, 
difficult  to  define."  Particular  mention  is 
made  of  Milton  Sills  and  by  inference 
Conway  Tearle  and  Thomas  Meighan  are 
included  in  the  same  category. 

Then  in  another  part  of  the  magazine 
is  an  article,  "Simplicity  Is  Being  Paged." 
Does  not  this  article  explain  and  define  the 
question  propounded  in  the  former  article. 
Dont  you  think,  just  as  the  public  is  de- 
manding more  simplicity  and  realism  in  their 
pictures,  they  are  also  demanding  the  same 
thing  in  those  who  interpret  the  pictures? 

Once  upon  a  time  not  so  long  ago  moving 
pictures  as  a  form  of  entertainment  were 
almost  the  exclusive  prerogative  of  women 
and  more  particularly  the  very  young 
women  or  the  older  and  more  disillusioned 
ones. 

Times  have  changed.  The  saloon  is  gone. 
So  is  the  cafe.  Only  the  man  of  wealth 
can  afford  clubs.  Therefore  the  ordinary 
man,  the  everyday  fellow  in  the  street,  has 
had  to  find  some  way  to  pass  his  evenings. 
Some  have  found  the  radio  a  means  of 
passing  their  evenings.  Still  more,  and  of 
these  I  am  one,  and  I  believe  a  typical 
one,  have  become  movie   fans. 

This  trend  of  men  toward  the  movie 
theaters  has  been  evolutionary.  The  movies, 
however,  have  not  exactly  kept  up  with 
these  changing  times  and  changing  class 
of  audience.  That  is,  not  until  lately.  Now 
the  change  is  beginning  to  work  almost 
without  their  knowledge  and  they  do  not 
seem  to  realize  what  it  means. 

Well,  to  me  it  seems  simple.  Sills, 
Meighan,  Tearle,  Wallace  Beery  and  such 
players  are  just  every-day  sort  of  men — 
that  is,  men  such  as  you  and  I.  Possibly 
I  take  a  liberty  in  classing  you  with  the 
rest  of  us,  but  you  are  a  newspaperman 
even  as  I,  and  I  have  found  that  news- 
papermen the  world  over  are  pretty  much 
the  same. 

Now  look  about  you.  Have  you  any 
friends  that  look  like  or  act  like  Valentino, 
Novarro,  Cortez,  Lou  Tellegen,  Charles 
De  Roche  or  any  of  the  other  Mexican, 
Spanish,  Italian  or  metamorphosed 
Jewish  boys  who  for  so  long  have 
been  the  "heroes"  and  sheiks  of 
the  films  ? 

But  surely  among  the  doctors, 
lawyers,  businessmen  and  other 
ordinary  mortals  whom  you  know 
you  can  recall  a  double  of  either 
Sills,  Meighan  or  Tearle.  Tearle, 
during  my  work  as  a  newspaper- 
man, I  have  met.  I  found  him 
just  a  regular  unaffected  human 
being.  Sills  and  Meighan  I  have 
never  met  personally. 

Now  as  for  the  acting  of  these 
players.  Stop  and  think.  Take 
the  man  whom  you  know  who  is 
the  double  of  any  of  these  players. 
Does  he  not  in  a  given  situation 
act  just  about  as  they  do  on  the 
screen.  In  other  words,  does  it 
not  occur  that  their  unaffected, 
natural  way  of  carrying  them- 
selves— they  do  not  act — carries  a 


greater  semblance  of  reality  to  grown  men 
than  does  the  sheik  stuff  that  the  Latin 
"actors"  try  to  foist  upon  a  too  credulous 
world  ? 

Dont  you  think  that  possibly  movie  maga- 
zines give  too  much  credit  to  the  gushing 
letters  which  they  receive  from  the  flapper 
admirers  of  these  so-called  sheiks?  Do 
you  really  believe  that  young  girls  are  in 
the  preponderance  among  movie  audiences? 
Of  course,  I  never  have  the  opportunity 
to  go  to  a  movie  in  the  afternoon,  but  I 
do  attend  at  least  two  evening  performances 
a  week. 

And  what  do  I  find  ?  That  the  audience 
is  about  evenly  divided  as  between  men  and 
women  and  that  the  flapper  type  is  greatly 
in  the  minority.  In  fact,  such  as  I  see 
of  them  there,  judging  by  their  interest  in 
the  various  acts  of  the  program,  are  more 
interested  in  the  contortions  of  the  so-called 
director  of  the  "Super-Jazz  Soloists"  who 
stands  with  his  back  to  the  audience  and 
beats  time  with  his  hips  and  knees  than 
they  are  in  the  feature  picture. 

Therefore,  do  not  overlook  the  fact  that 
men  have  become  a  real  factor  in  the  popu- 
larity of  any  given  picture  or  actor.  After 
dinner  the  wife  or  the  sweetheart  suggests 
a  movie.  She  wants,  in  many  instances,  to 
go  and  see  one  of  the  sheiks  because  he 
has  such  languishing  eyes  and  they  just 
thrill  you  thru  when  he  gives  the  heroine 
a  hypnotic  glare. 

Hubby,  however,  is  all  fed  up  on  this 
stuff.  He  is  not  jealous,  as  some  people 
think.  He  just  is  a  realist.  He  never  saw 
any  sheiks  in  actual  life.  He  thinks  sheiks 
are  the  bunk.  He  prefers  to  see  Tommy 
Meighan,  Conway  Tearle  or  Milton  Sills 
win  the  loved  one  in  the  real  old-fashioned 
ordinary  way.  Dont  forget,  men  are  just 
as  romantic,  if  not  more  so,  than  women. 
They,  however,  want  realism  with  their 
romance.  They  want  the  kind  of  romance 
they  can  believe  in.  They  want  to  forget 
their  humdrum  business  cares  and  the  lack 
of  joy  in  this  blue,  dry  land.  But  it  de- 
stroys their  sense  of  romance  to  unreel 
before  them  an  impossibly  pretty  boy 
taking  the  world  and  the  hearts  of  all  the 
ladies  by  storm  with  such  action  and  such 
a  manner  of  making  love  as  was  never  seen 
either  on  land  or  sea. 


THE  MOTION  PICTURE  CLASSIC  is 
going  to  devote  a  page  each  month  to  the 
best  letters  from  its  readers. 

Fifteen  dollars  will  be  paid  each  month 
for  the  best  letter,  ten  dollars  for  the  second 
and  five  dollars  for  the  third.  If  two  or 
more  letters  are  found  of  equal  merit,  the 
full  prize  will  go  to  each  writer. 

Letters  must  be  constructive  and  inter- 
esting. They  must  deal  with  pictures  or 
screen  personalities.  And — please  note — 
they  should  be  typewritten. 


So  please  give  us  ordinary,  every-day 
men  a  little  consideration  also  in  the  future. 
We  like  the  movies,  we  want  to  be  enter- 
tained, but  we  want  life  to  be  depicted 
somewhere  near  as  it  is — that  is,  real  life 
just  smeared  over  with  sufficient  romance 
to  make  it  interesting  and  real  men  to 
portray  it  for  us. 

As  for  the  women,  I  have  little  to  say. 
Leave  them,  with  the  exception  of  Mae 
Murray,  as  they  are,  God  Bless  Them.  We 
want  them  to  be  exotic,  different,  strange 
and  mysterious.  In  other  words,  just  the 
opposite  of  the  men  and  with  all  of  those 
attributes  which  we  do  not  want  in  the 
men. 

As  for  Miss  Murray,  cannot  you  use 
your  influence  to  have  her  stop  pouting 
her  lips  and  posing  all  over  the  scene  like 
a  dressed-up  doll  ?  Because  she  is,  for 
some  unexplained  reason,  sometimes  cast 
in  real  pictures,  we  have  to  see  her.  Voicing 
the  opinion  of  all  of  my  men  friends,  it 
is  painful  to  say  the  least. 

Sincerely, 

Edwin  Myers. 

San  Francisco  Bulletin, 
San  Francisco,  California. 

1467  Sixth  Avenue, 
San  Francisco,  California. 
Editor,  Classic  : 

I  have  just  read  an  article  in  the  Classic 
for  February.  The  article  closes  with  the 
following  sentence : 

"The  Classic  is  in  favor  of  the  old- 
fashioned  film  theater  at  decent  admission 
prices.  We  would  like  to  know  what  our 
readers  think  about   it." 

I  have  not  been  appointed  by  many  of 
my  friends  to  tell  their  opinions,  but  I 
know  what  they  are,  nevertheless.  We 
most  emphatically  are  in  favor  of  a  theater 
where  FILMS  are  shown;  not  a  higgledy- 
piggledyr  combination  of  cheap  vaudeville 
and  a  picture,  cut  in  half  or  three-quarters, 
separated  by  an  hour's  parade  of  cheap 
singing  or  worse  dancing,  so  that  one  com- 
pletely loses  the  thread  of  the  story,  all 
interest. 
Our  big  theaters  have  been  getting  worse 
and  worse,  to  our  way  of  thinking. 
Admission  is  fifty  cents.  The  fea- 
ture picture  is  just  an  hour  long. 
There  are  screeching  females,  al- 
most bare;  there  are  child  WON- 
DERS, singing  "I'm  the  Hottest 
Baby  in  Town"  ;  there  are  dancers 
who  leap  around  the  stage  with 
no  clothes  on,  and  no  art,  not 
even  talent.  We  sit  thru  all  this. 
Then  we  decide  that  "this  week 
we  wont  go  down-town.  We'll 
go  to  the  neighborhood  thea- 
ter." 

Ye  gods,  they're  bitten,  too. 
Either  it  is  a  grocery-store  night, 
and  we  have  to  wait  one-half 
hour  while  sugar  and  rolled  oats 
are  handed  to  the  winner  of  the 
door  prizes;  or  the  KIDDIES' 
REVUE  tortures  us  for  another 
half  hour.  We  want  a  picture 
house.    Yes. 

Ed.  Blakey. 


8 


CECIL  BDeMILLES 


PRODUCTION 


%eVOLGA 
BOATMAN 


By  LENORE  J.  COFFEE 
Adapted  from  Konrad  Bercovici's  novel 
w,THWILLIAMBOYD,  ELINOR  FAIR, 
VICTOR VARCON I,  JULIA  FAYE. 
and    THEODORE    KOSLOFFn 


CECIL  B.  DeMlLLE 

the  Master  'Qenius 
who  thrilled  the  world 
with  "The  Ten  Com- 
mandments" surpasses 
himself  in  this  inspired 
production. 


AGAIN  the  master  magician  De  Mille  has  waved 
the  magic  wand  of  his  directorial  genius  and 
brought  to  life  on  the  screen  a  mighty,  epochal 
drama  that  sounds  a  new  and  triumphant  note  in 
the  history  of  motion  picture  entertainment. 

Brushing  aside  the  cobwebs  of  motion  picture  tradition,  he  has 
approached  the  subject  of  the  Russian  reign  of  terror  with  a  sympa- 
thetic and  human  understanding.  In  "The  Volga  Boatman"  is 
depicted  the  heart-beat  of  a  nation  in  revolt— pulsating— human- 
dramatic— irresistible. 

And  from  this  maelstrom  of  flame  and  strife  emerges  a  heroic  and 
sublime  story  of  love  and  devotion  involving  a  Prince,  a  Princess 
and  a  Volga  Boatman.  Never  in  the  history  of  the  cinema  has 
there  been  depicted  a  more  fascinating,  thrilling  and  never-to-be- 
forgotten  theme— A  Veritable  Achievement. 

RELEASED   BY 


PRODUCERS  DISTRIBUTING  CORPORATION 

F.  C.  WLNROE.  Prt.J.m       RAYMOND  PA WUY.  Vkc-Frndml  u«l  Tm«um       JOHN  C.  FUNN.  Vlc-F™kl<m  .~J  Ckotril  M.i>«rt 


IBANEZ' 


TO  R  R  F 


Ibanez'   Torrent!    Rushing  flood   of  mighty   emotion 
Sweeping  us  on — ever  on — breathless  . . . 
Ricardo  Cortez — dashing — gallant— torrid  .... 
Greta  Garbo — Perfection! 

Discovered  by  Metro-Goldwyn-Mayer  in  stark  Sweden- 
She  is  setting  the  heart  of  America  aflame!. 
Monta  Bell  is  the  director. 
You  positively  musn't  miss  Ibanez'  Torrent! 

A  Cosmopolitan  Production 

Scenario  by  Dorothy  Farnu?n,from  the  novel  by  Vicente  Blasco 
Ibanez.     Titles  by   Katherine  Hilliker  and  H.  H.  Caldwell. 

"More  Stars  Than  There  Are  In  Heaven" 


10 


Ruth  Harriet  Louise 


GRETA    GARBO 


MOTION   PICTURE 


MAY,   1926 


POLA    NEGRI 


Harisook 


GEORGE   O'BRIEN 


£ 


VILMA  BANKY 


Melbourne  Spurr    ' 


Melbourne  Spurr 


RONALD    COLMAN 


Hoover 

The  most  famous  of  early  blunders  was 
made  by  the  Biograph  Company  when  it 
gave  the  wizard,  D.  W.  Griffith,  his  re- 
lease, rather  than  grant  him  a  small 
increase  in  salary 


BY  Their  Blunders  Ye  Shall  Know  Them." 
These  few  words,  paraphrasing  a  well- 
known  proverb,  sum  up  to  a  large  degree 
the  successes  and  failures  of  most  of  our  film 
personages  and  companies. 

The  Blunder  Mile-Stones 

o  blunder  is  human,  and  the  careers  of  nearly 
all  of  our  famous  stars,  directors  and  produc- 
ers are  marked  with  blunders  of  one  sort  or  an- 
other that  have  played  an  important  part  in  their 
professional  lives. 

In  many  cases  it  has  not  been  the  blunder  itself 
which  has  had  such  a  disastrous  effect  upon  their 


T 


William  S.  Hart  made  the  mistake 
of  quitting  the  screen  at  an  inoppor- 
tune time.  In  his  absence  Tom  Mix 
and  others  stepped  into  the  limelight 


Famous 


By  Tamar  Lane 


careers,  but  the  celebrity's  failure  to  perceive  quickly  the  effects 
of  his  blunder  and  take  drastic  steps  to  offset  it  by  corrective 
measures. 

Blunders  have  been  in  vogue  with  the  motion  picture  world 
almost  from  the  very  inception  of  the  industry.  In  fact,  hardly 
a  year  passes  that  one  or  two  of  our  most  prominent  film  person- 
ages do  not  commit  a  faux  pas  of  some  kind  which  does  them 
great  and  lasting  damage.  This  is  but  natural  with  such  institu- 
tions as  the  screen  or  stage,  catering  as  they  do  to  the  fickle  public. 

The  Griffith  Blunder 

Ane  of  the  most  famous  of  early  blunders  was  that  made  by  the 
Biograph  Company  when  it  gave  the  wizard,  D.  W.  Griffith, 
his  release,  rather  than  grant  him  a  small  increase  in  salary. 
Griffith  was  then  in  the  heyday  of  his  career  and  had  built  the 
Biograph  Company  into  the  greatest  film  organization  of  its  time. 

The  advance  in  salary  which  Griffith  had  demanded  would  have 
amounted  to  a  few  thousand  dollars  in  the  course  of  a  year.  By 
not  granting  it  to  him  Biograph  Company  eventually  lost  millions. 
When  Griffith  left  the  concern,  along  with  him  went  not  only  most 
of  the  firm's  most  popular  players,  but  the.  master  mind  which 
had  been  really  responsible  for  the  company's  success.  After 
"D.  W.'s"  departure,  Biograph  went  rapidly  into  decline  until 
finally  it  passed  entirely  out  of  existence. 

Vitagraph  was  another  of  the  old  companies  whose  successful 
career  was  vitally  affected  by  lack  of  foresight  and  poor  business 
judgment.  At  one  time  Vitagraph  had  what  many  consider  the 
greatest  aggregation  of  screen  favorites  the  film  industry  has  ever 
known.    This  was  in  the  day  of  the  one-  and  two-reeler. 

Vitagraph's  decline  came  with  the  arrival  of  the  feature-length 
photoplay.  The  Famous  Players-Lasky  had  just  come  into  exist- 
ence and  were  presenting  famous  Broadway  stars  in  films  pro- 
duced on  a  more  lavish  scale.  The  five-  and  six- reel  pictures 
featuring  famous  stage  stars  quickly  became  the  vogue.  Vita- 
graph failed  to  see 
the  importance  in 
the  new  trend  of  af- 
fairs and  stuck  to 
its  old  policies. 

Vitagraph's  Error 

"The  company's 
*■  films  soon  lost 
their  popularity 
with  exhibitors,  be- 
cause they  could  not 
compete  with  the 
elaborate  produc- 
tions being  pre- 
sented by  Famous 
Players-Lasky  and 
other  new  com- 
panies that  had 
rushed  in  to  offei 
features.  Vitagraph 
finally  saw  its  mis- 
take and  took  hasty 
steps  to  get  into  the 
swim.  But  it  had 
waited  too  long  and 
never  regained  its 
lost  prestige.     Vita- 


Rudolph  Valentino's  mistake  was 
in  allowing  the  term  of  "sheik"  to 
become  too  firmly  attached  to  him. 
He  is  still  suffering  from  this  term 


16 


Blunders 


Immortal  Screen  Mistakes 


graph  also  erred  in  releasing  several  of  its  best  players,  rather 

than  raise  their  salaries. 

Other  Company  Mistakes 

"The  other  famous  film  concerns  of  bygone  days,  Edison,  Lubin, 
'  Essanaj .  Selig,  Kalem,  etc.,  all  fell  by  the  wayside  thru  the  mis- 
take of  adhering  to  ancient  policy,  instead  of  keeping  abreast  of 
changing  conditions. 

Generally  speaking,  film  concerns  rise  or  fall  upon  the  strength 
or  weakness  of  the  personalities  in  their  organization.  Producers 
must  know  just  what  stars  and  directors  to  hold  onto,  and  just 
which  ones  to  release.  This  requires  both  analytical  powers  and 
foresight,  two  qualities  which  are  noticeably  lacking  in  most  pro- 
duction outfits. 

Conversely,  stars  and  players,  rise  or  fall  thru  their  ability  to 
perceive  what  companies  to  remain  with  and  what  companies  to 
abandon,  when  a  contract  terminates.  Many  players  have  made 
the  fatal  mistake  of  quitting  a  company  or  producer  merely  be- 
cause a  little  "more  money  was  in  immediate  sight,  when  they 
would  have  profited  more  in  the  long  run  by  remaining  with  the 
outfit  that  could  have  carried  them  to  greater  success. 

Ray's  Famous  Blunder 

Charles  Ray's  quitting  of  Thomas  Ince  is  marked  down  in 
film  history  as  one  of  the  greatest  blunders  ever  made  by  a 
star.  At  the  very  height  of  his  career,  Ray  deserted  the  Ince 
guiding  hand  to  shift  for  himself.  In  spite  of  his  tremendous 
popularity  and  talent  which  amounted  almost  to  genius,  Ray  was 
never  able  to  make  a  go  of  it  on  his  own  hook.  One  or  two  of 
his  independent  efforts  were  successful,  but  slowly  and  surely  he 
slipped  farther  and  farther  down  the  ladder,  until  finally  he  was 
forced  to  return  to  the  Ince  banner.  Misfortune  continued  to 
dog  his  footsteps  however ;  Thomas  Ince  died,  and  his  company 
also  passed   out   of   existence.      Ray   is   now   trying   to    stage   a 

comeback     with 
M-G-M. 

Dorothy  Dalton 
was  another  noted 
star  who  tried  to 
leave  Ince's  guiding 
hand,  and  failed. 
Dorothy  maintained 
her  popularity  for  a 
short  time  after 
leaving  Ince,  due  to 
the  prestige  she  had 
gained  while  work- 
ing under  the  Ince 
banner,  but  a  year 
or  two  later  she 
passed  off  the  screen 
entirely. 

The  Case  of  Mae 

Marsh 

Ceveral  players 
made  the  blunder 
of  leaving  D.  \V. 
Griffith.  Mae  Marsh 
is  the  most  noted 
case.  Under  Grif- 
fith's  direction   Mae 


Carsey 

Nazimova   blundered   into    the   idea 

that  she  was  not  only  a  great  actress 

but  a   great   producer,   director   and 

business  woman  combined 


Spurr 

Many  are  of  the  opinion  that  the  greatest 
blunder  in  recent  years  was  Cecil  B.  De 
Mille's  cutting  loose  from  Paramount — in 
taking  so  much  responsibility  upon  his 
own   shoulders 


Marsh  gave  performances  that  were  rated  among 
the  finest  in  the  annals  of  the  silent  drama. 
Away  from  his  megaphone  her  portrayals  were 
but  mediocre.  There  were  many  who  predicted 
that  Lillian  Gish  would  rapidly  decline  after 
leaving  "'D.  W."  While  Lillian  by  no  means  has 
done  as  fine  work  in  the  past  two  years  as  with 
Griffith,  nevertheless,  she  has  succeeded  in  hold- 
ing her  popularity  to  a  great  extent.  It  will  take 
one  or  two  more  films  to  ascertain  definitely 
whether  Lillian  has  blundered  or  not. 

Richard  Barthelmess,  another  Griffith  protege, 
is  one  of  those  who  set  out  for  himself  and  made 
(Continued  on  page  79) 


Charlie    Ray's    quitting    of    Thomas 

Ince  is  marked  down  in  film  history 

as  one  of  the  greatest  blunders  ever 

made  by  a  star 


17 


The 

TOAST 

of 

BERLIN 

By 

Heinrich  Fraenkel, 
of  Berlin 


Lya  de  Putti  really  comes  of  the  Hungarian  aristocracy.     Her 

father  was  the  Baron  Hoyos  von  Biixenstein,  and  she  herself 

was  married  to  a  Hungarian  baron 


A  LTHO   not  yet   twenty-five   years   of   age, 
A-\     Lya    de    Putti    can    boast    of    being    the 
most     fiofiular     of     aJJ     European     film 
actresses  at  the  present  moment. 

Hers  has  been  an  adventurous  and  interesting 
career.  To  begin  with,  Lya  de  Putti  is  her  real 
name,  ahho  most  fieoftle  consider  it  far  too  well 
sounding  to  be  real.  But  it  cant  be  helped.  It 
is  so.  And  she  can  firove  it  documentarily  if 
you  would  dare  to  doubt  it  to  her  face  —  which 
I  am  sure  you  wouldn't. 

As  a  matter  of  fact,  she  comes  from  one  of  the 
best  families  of 
Hungarian  aris- 
tocracy. Her 
father  was  the 
Baron  Hoyos 
von  Biixenstein, 
and  young  Lya 
was  married  to 
Baron  de  Putti, 
Colonel  in  the 
Hungarian 
army,     just     be- 

18 


Dunky,  Fivertlc 


The    earliest    existing    picture    of    tne    fair    Lya 
(right),  taken  with  a  playmate  in  Hungary 


Lya  de  Putti  is  not  yet  twenty-five. 

Her  father  was  a  Hungarian  baron.  At  the  age  of  sixteen 
she  married  the  Baron  de  Putti,  a  colonel  in  the  Hungarian 
army.  Her  married  life  was  brief.  At  eighteen  she  married 
again — an  attache  of  the  Norwegian  embassy  in  Berlin.  Her 
husband  died  two  years  ago. 

She  was  discovered  by  Joe  May,  the  German  director,  while 
dancing  in  a  Berlin  music-hall. 


fore  her  sixteenth  birthday.  She  was  not  mar- 
ried for  a  Jong  time,  however,  and,  ahho  her 
family  kicked  uj>  a  considerable  row  about  it, 
she  insisted   on  going  in  for  a  dancing  career 

on  the  stage. 
In  her  eight- 
eenth year  she 
lived  in  Berlin 
and  married  an 
attache  at  the 
Norwegian  em- 
b  a  s  s  y.  Inci- 
dentally, this 
was  more  or  less 
responsible  for 
her      future 


LyadePutti, 
the  Famous 
Hungarian 
Screen 
Beauty,  Is 
N  o  w  i  n 
America 


At  the  right,  an  interest- 
ing study  of  the  Hun- 
garian star  as  she  ap- 
pears in  "Vaudeville" 
with  Emil  Jannings.  Be- 
low, as  Manon  Lescaut  in 
the  recently  completed 
German  film  production 
of  that  name 


Photos  by  Binder,  Berlin 

screen  career.  She  wished  to  join  her 
husband,  who  was  staying  in  Norway  at 
the  time.  In  view  of  the  Hungarian 
revolution,  however,  she  could  not  go 
back  to  Budapest  to  get  her  vise  and, 
having  to  stay  in  Berlin  much  longer 
than  she  had  expected,  young  Lya  ac- 
cented an  offer  to  dance  at  a  leading 
Berlin  music-hall. 

Here  she  was  "discovered"  by  Joe 
May,  the  famous  German  film  producer. 
He  instantly  recognized  the  immense 
screen  value  of  her  beautiful  face  and 
gave  her  a  good  f>art  in  the  picture  he 
was  just  embarking  on:  "Das  Indische 
Grabmahl,"  which  has  also  been  shown 
in  other  fiarts  of  the  world  under  the 
title  "The  Indian  Tomb." 

It  was  a  tremendous  success  for  the 
young  debutante  and  offers  to  star  in 
■pictures  were  virtually  showered  ujion 
the  youngster,  who  had  hardly  dreamed 
of  going  in  for  screen  work. 

An  Amazing  Career 

AS  a  matter  of  fact,  she  was  launched 
•£*•  now  ufion  her  amazing  career. 
Since  "The  Indian  Tomb,"  she  has 
worked  in  at  least  three  or  four  pictures 
a  year  and,  as  befits  her  strong  energy 
and  restless  temperament,  has  hardly 
ever  had  any  sjtare  time  except  a  week 
or  two  in  between  her  films;  especially 
{Continued  on  page  73) 


19 


Has  the 

GREAT 

LOVER 


A 


By  Don  Ryan 


ND  yet,  Rudolph   Valentino,  ne  Gug- 
lielmi,  is  a  very  creditable  actor. 


Rudy  is  going  to 
resurrect  the  sheik 
in  the  hope  of  again 
climbing  back  to 
public  favor 


Audiences  are  strange  birds,  as  Valentino 
has  found.  America  will  fondle  a  movie 
actor,  but  its  embrace  is  half  mockery,  like 
that  of  the  grubby  little  cash-girl  of  the 
department  store,  who  gives  herself  gig- 
gling into  your  arms. 

She  is  kidding.  America  is  always  kid- 
ding like  that.  Valentino  acts  for  it,  but 
America  doesn't  care  for  any.  It  craves 
him  for  a  public  character. 

And  yet,  Valentino  is  really  a  very 
creditable  actor. 

Rudy  and  American  Men 

Oe   used   to   be,   if   we   may   believe   the 
various  stories,  a  bus  boy  in  a  hotel. 
He  was  earning  his  living  in  a  new  country, 
having  come   from  Italy  to  make  his  for- 
tune   in    America.      Many    compatriots   of 
high  and  low  degree  have  been  bus  boys  and 
bootblacks  in   America.     Why  not  ?     I   know  a 
count,  who  drives  a  laundry  wagon. 

But  the  men  of  America  dislike  Valentino. 
They  like  to  say,  when  they  are 
compelled  to  sit  beside  their 
dames  and  see  the  fire  and  grace 
of  Valentino  as  a  lover  —  they 
like  to  say,  "Once  a  bus  boy,  al- 
ways a  bus  boy." 

They  also  like  to  sneer  at  Val- 
entino as  "Vaselino."     Then  they 
sneak  home  and  rub  more  grease  into  their  own 
stubborn    cowlicks    in    futile    emulation    of    the 
shining  sheik. 

It  is  Valentino's  misfortune  to  have  been  the 
innocent  cause  of  more  fads  than  any  man  since 
Volstead.    Sideboards  (miscalled  side- 
burns),   peon    pants    (the    wide-bot- 
tomed corduroys  since  supplanted  by 
those  that  are  wide  all  the  way  up), 
the  very  word  sheik,  applied  to  pubes- 
cent   lovers — such    are    his    contribu- 
tions   to    the    transient 
foibles    of    youth.      As 
these    fads    go    out    of 
fashion,   Valentino   like- 
wise goes  out.     He  has 
to    swim    hard    against 


20 


Become 

Just  a 

CELEBRITY? 


Drawings  by  K.  R.  Chamberlain 


the  current  to  keep   abreast  of  his  public,  which  is 
more  interested  in  his  divorce  cases  than  in  his  screen 
performances. 
And  yet,  Valentino  is  quite  a  good  actor. 


It  is  no  longer  smart  to  live  in  Hollywood.  I  sup- 
pose  you  know  that  ?  So  Valentino  lives  in  a  stucco 
house  on  a  minor  peak  of  the  Beverly  Hills,  sur- 
rounded, for  his  immediate  neighbors,  by  Jack  Gilbert 
and  Frances  Marion. 

The  place  is  approached  by  a  winding  road  going  up, 
up,  till  it  seems  about  to  lose  itself  in  the  rain  clouds 
hanging  low  above  the  hills,  and  then  ends  within  the 
walled  enclosure  of  the  mansion. 

From  the  wide  window   of  Valentino's  library  the 
hills   are    seen    to    raise    their    backs    below — dark    and 
glistening  in  the  recent  deluge,  like  seals  just  risen  from 
the  sea.    Far  out,  on  the  plain,  the  lights  of  the  city  are 

warm,     yellow.       The 
red  roof  of  his  stables 


Wax  man 

Valentino  has  been  the  cause  of  more  fads  than  any  man 
since  Volstead 


is  straight  down  at  the  base  of  the  greater  eminence. 
In  the  stables  Valentino  has  quartered  five  horses  and 
about  the  same  number  of  dogs.  Most  of  his  leisure 
time  is  spent  with  them.  He  has  the  taste  of  a  country 
gentleman  in  these  things.  (Continued  on  page  69) 


What  good  was  it  that  he  could 
sell  more  autos  than  the  rest  of  the 
sales  force  put  together?  Beside 
this  sleek-hair  son  of  Satan  he  was 
an  oaf 


CWIa  u.,. 


21 


Peggy   Hopkins   Joyce  has  just  stepped   from   the 

newspaper    front    pages    to    the    screen    in    "The 

Skyrocket" 

(In  the  March  issue  of  The  Motion  Picture  Classic 
Adolphe  Menjou  told  what  he  thought  about  Women. 
Mr.  Menjou  spoke  as  an  authority,  at  least  cinematically 
speaking.  This  month  Peggy  Hopkins  Joyce  tells  what 
she  thinks  of  Men.  And  Miss  Joyce  may  be  considered 
an  authority!) 

THE  lecture  hall  is  crowded.     Professor  Ennelbesser 
has  just  finished  his  brilliant  lecture  on  ichthyology. 
"And  now  if  there  are  any  questions  you  wish  to  ask," 
he  adds  in  conclusion,  "I  will  be  glad  to  answer  them." 

Someone  helps  the  oldest  lady  to  her  feet.     "I  have  a 
question  to  ask,  Pro- 
fessor," she  says  in  a 
quavering  voice. 


The  Eternal 
Question 

The  professor  is 
1  flushed  with  pleas- 
ure. He  has  reached 
the  peak  of  his  career 
after  a  lifetime  of 
study.  He  has  fol- 
lowed fish  from 
North  Pole  to  South 
studying  them  care- 
fully, and  now  he 
feels  that  no  matter 
what  the  question  is, 
he  cannot  fail  to  know 
the  answer.  "Certain- 
ly, certainly,  my  dear 
Madame,"  is  his  kind- 
ly reply.  "What  do 
you  wish  to  know?" 
The  old  lady  ad- 
justs her  ear  trumpet  in  order  to  hear  more  clearly  what 
his  reply  will  be.  "Well,  I  want  to  know  just  what  you 
think  of  marriage  as  an  institution,"'  she  trembles.    "My 

22 


M  E 


nephew  has  been  going  to  see  a  young  lady  lately " 

But  there  is  a  sharp  retort.     The  professor  has  beaten 
himself  unconscious  with  the  jaw-bone  of  a  whale. 

And  so  it  goes.  If  a  banker  after  years  of  sacrifice  and 
toil,  years  of  wearing  rubbers  to  save  the  wear  and  tear 
on  his  shoes,  so  far  forgets  himself  as  to  talk  about  bank- 
ing at  a  dinner-party,  he  is  labeled  an  old  bore,  and  in  the 
future  is  left  severely  to  himself  to  eat  his  crackers,  milk 
and  a  baked  apple  in  the  gloomy  silence  of  his  own  dining- 
room.  But  let  him  talk  about  women,  brilliantly  or  stu- 
pidly, and  even  the  most  correct  salad  fork  will  pause  on 
its  way  to  the  mouth. 

Moving  pictures,  magazines  and  books  tell  us  how  to 
hold  our  husbands  or  our  wives.  But  they  dont  tell  us 
how  to  lose  them.  The  most  popular  column  in  the  news- 
paper begins,  "Dear  Miss  Banana  Oil :  For  two  years  I 
have  been  keeping  company  with  a  young  man  four  years 
my  senior.  He  seems  to  like  me,  but  whenever  we  go  out 
he  wears  a  false  mustache.  What  shall  I  do?"  And  the 
answer  always  comes,  "Keep  his  respect,  my  dear,  and  he 
will  tire  of  the  others  and  eventually  return  to  you." 

But  there  is  so  little  good  advice  on  men,  so  little  au- 
thentic news,  that  most  of  us  are  content  to  rely  on  a  good 
pack  of  fortune-telling  cards  to  tell  us,  "Be  true,  he  is  a 
good  friend." 

For  pretty  girls,  beautiful  women,  will  not  talk  about 
men.  They  leave  all  that  to  visiting  celebrities,  for  they 
are  too  busy  with  their  own  affairs  to  generalize,  too  much 
a  part  of  the  world's  romances  to  get  a  perspective  on  love. 
But  every  now  and  then,  there  is  a  famous  beauty  with 
intelligence,  and  she  will  have  a  few  ideas  on  what  is 
wrong  with  the  picture,  and  why  four  out  of  five  of  us 
are  psycho-analyzed  before  we  are  forty. 

Probably  most  of  you  have  not  seen  a  picture  called 
"The  Skyrocket"  yet,  and  therefore  you  have  not  seen  its 
star,  Peggy  Hopkins  Joyce.   Miss  Joyce  is  a  lovely  blonde, 

slender,  with  blue 
eyes,  and  a  large 
thickly  coated  aura  of 
romance  and  charm 
enveloping  her.  And 
having  reached  the 
heights  of  moving 
picture  stardom,  she 
must  be  submitted  to 
the  acid  test,  "What, 
Miss  Joyce,  do  you 
think  about  men?" 


Says  Peggy  Hopkins  Joyce : 

"I  think  it  is  very  obvious  that  men  have  changed. 

"Financially,  women  have  been  forced  from  the  home. 
Twenty-five  years  ago  a  girl  helped  about  the  house  spas- 
modically until  she  got  married.  Once  married,  her  role 
changed  only  slightly.    The  house  was  still  her  setting. 

"Now  a  girl  goes  to  work  at  seventeen  or  eighteen. 
She  is  thrown  with  all  sorts  of  men.  Her  judgment 
grows  sharper.  She  learns  the  value  of  money,  so  her 
demands  grow  larger. 

"I  believe  in  marriage.  It  is  absolutely  necessary,  of 
course.  It  is  the  world's  greatest  convention.  We  do 
it  to  please  our  mothers,  our  friends,  ourselves,  but  it 
seems  to  me  that  right  now  something  is  wrong  with  it." 


Men  Have  Changed 

"Of  course>  *  cant 

very  well  say 
anything  general 
about  them,"  Miss 
Joyce  replies.  "But  I 
think  it  is  very  obvi- 
ous that  men  have 
changed.  I  dont  mean 
in  your  time  or  in  my 
time  exactly,  but  it 
seems  to  me  that  with 

all  the  discussions  about  the  women  of  today,  there  ought 

to  be  at  least  one  word  said  about  the  man. 

"Recently  women  have  been  cast  into  a  part  formerly 


In  a  recent 
Classic, 
A d  ol p  he 
M  e  n  j  o  u 
talked 
about  Wom- 
en  Here 

Miss  Joyce 

answers 

him 

By 

Sara 
Redway 


e* 


Peggy  Hopkins  Joyce  is  a  lovely  blonde,  slender  with  blue  eyes  and  a  large,  thickly 
coated  aura  of  romance  and  charm  enveloping  her 


supported    pleasantly,    and    her    position    was    assured. 

"You  hear  a  good  deal  about  the  work  the  old-fashioned 
woman  had  to  do.  I  do  not  believe  it  was  so  bad.  There 
was  more  room  in  which  to  raise  a  family.  A  tiny  baby 
in  the  country  taking  its  air  on  a  sunny  veranda,  is  not 
the  care  and  responsibility  that  a  child  raised  in  the  city 
is,  one  who  must  be  taken  to  a  park  and  watched,  actually 
watched,  every  second  of  his  play  time  or  nap  time. 

"Then,  too,  there  were  more  servants  in  proportion  to 
the  population,  and  their  wages  were  cheaper.  Life  was 
not  so  exacting.  If  a  husband  or  so  strayed  away,  it  was 
usually  temporary,  he  returned  home  after  a  while,  the 
incident  was  ignored,  and  every  thing  ended  happily. 
Women  were  divided  into  two  classes,  good  and  bad. 
Think  then  of  the  irreproachable  position  of  a  good  wife 
and  mother.  She  was  where  she  was.  Her  stand  was 
as  strong  as  Gibraltar's.  The  rest  of  the  world  came 
around  to  her  way  of  thinking. 

(Continued  on  page  72) 


not  their  own.     Financially,  they 
have  been  forced  from  the  home. 
Twenty-five  years  ago,  a  girl  of 
eighteen  whose  parents  were  of 
moderate  means  lived  at  home, 
had    pretty    clothes,    beaux, 
gave     parties,     and     helped 
about   the    house   spasmodi- 
cally until  she  got  married. 
Once    married,    her   role 
changed  only  slightly.     The 
house  was  still  her  set- 
ting.    She  did  not  have 
to  look  about  for  new 
material.     She  did  not 
have  to  keep   up   with 
the   times.     She  could 
settle   back,   grow    fat, 
raise      children,     be 


23 


SILVERSCREEN: 


By  H.  W.  Hanemann 


COMPLETELY 
surrounded  by 
an  exact  repro- 
duction of  the  Great 
Wall  of  China,  Silver- 
screen —  the  Com- 
munity Super  -  Beauti- 
ful,  the  Home  of 
Cinema  Art  and  the 
Playground  of  the 
Public's  Darlings — 
nestles  against  vine- 
clad  hills,  drowsing  the 
while  to  the  murmur 
of    the    opalescent    sea 

fringing  its  palm-shot  shores.  Here  nature  conspires 
with  man  to  create  the  ultimate  in  beauty.  Fresh-water 
lakes  set  like  sparkling  sapphires  in  the  green  gold  of  the 
lush  foliage  that  leans  above  mossy  marges  to  kiss  (but 
only  in  the  most  Platonic  fashion)  each  sun-caught  rip- 
ple, reflect  the  glory  of  Switzerland.  The  cleanest  and 
purest  possible  are  filters  from  the  Formaminted  firma- 
ment to  assail  the  clear-cut  nostril  as  the  headiest  of  rare 
wines  ever  guaranteed  to  contain  less  than  one-half  of  one 
per  cent,  of  alcohol  by  volume.  At  night,  the  very  con- 
stellations lean  closer,  beguiled  from  their  places  in  the 
Heavens  by  this  Earth-Paradise.  Here  it  never  rains 
rain,  but  violets — and  frequently  orchids. 

Decorum  Plus 

Cuch,  then  is  Silverscreen.     Which  is  saying  absolutely 
^  nothing  of  its  shady,  broad  walks  and  its  orderly,  dig- 
nified business  district,   wherein  traffic  moves  with  the 
suavity  of  a  symphony  orchestra  under  the  baton  of  a 
super-maestro.     Decorum  is  more  than  perfectly  main- 
tained by  the  Sennett  comedy 
police  force  to  whom  is  given 
this     opportunity     for    serious 
work  toward   which   the  heart 
of  every  true  comedian  secretly 
yearns.     In  the   realization   of 
this   opportunity,   the   police 
may  be  strict,  but  they  a're 
ever  just.    Boot- 
legging,    drug- 
running   and 
husband  -  shoot- 
ing are  unknown 
to    Silver- 
screen. 


A  new  arrival 
from  the  farms 
of  Iowa  is  ar- 
rested while  the 
Sennett  beauties 
register  "Shock- 
ing!" 


Sponsored  by  Will  Hays,  arbiter  of  the  cinema,  a 
model  movie  community  has  been  on  the  celluloid 
horizon  for  a  long  time.  Most  reports  have  placed  its 
probable  location  on  Long  Island. 

Mr.  Hanemann  has  taken  Mr.  Hays'  idea  and  devel- 
oped it  along  practical — and  humorous — lines. 

Here,  then,  is  Silverscreen,  the  Community  Super- 
Beautiful  and  Super-Moral. 


Accommodations,  and 
Manner  of  Living 

I  ife,  in  Silverscreen, 
is  based  on  the  old 
patriarchal  system  of 
"we  are  all  just  one 
happy  family"  upon 
which  has  been  super- 
imposed the  guiding 
principle  of  the  Mar- 
shal Stillman  Move- 
ment— "give  the  movie 
artist  a  square  deal." 
The  girls  and  boys  are 
housed  in  separate  dormitories,  situated  at  the  opposite 
ends  of  the  community  and  further  safeguarded  by  wide 
moats  filled  with  broken  glass  and  sulphuric  acid.  Each 
"dorm,"  however,  has  a  large,  well-ventilated  and  sunny 
community  room,  where,  under  proper  supervision,  girls 
and  boys  may  on  occasion  gather  to  sing  hymns,  pull 

taffy  or  indulge  in  such 
stimulating  games  as  "Logo- 
machy," "Clap  in  and  Qap 
out"  or  "Going  to  William 
Fox's."  Further  classifica- 
tion is  made  by  housing 
those    actors    and    actresses 


24 


The  Model  Movie  Community 


Drawings  by  KHz 


ulio-o  similar  types  give  them  interests  in  common.  Thus 
we  find  the  sinister  sisters  living  happily  together  along 
the  "Avenue  des  Vampires,"  while  gay  girlish   giggles 

may  be  heard  at  almost  any  time  of  day  emanating  from 
the  rose-clad  purlieus  of  'Flapper  Terrace."  Over  on 
the  boys'  side,  all  the  Western  types  listen  in  to  the  radio 
at  "The  Ranch  1  louse."  while  the  fan  mail  of  the  Sheiks 
may  he  addressed  care  of  "The  Mosque"  on  the  corner 
iHigan  Street  and  Mae  Murray  Avenue. 
With  the  curfew-hell  ringing  regularly  at  ten  o'clock, 
it  is  readily  seen  how  easily  any  particular  member  of  the 
community  may  he  located,  when  wanted.  Furthermore, 
there  is  no  marriage  or  giving  in  marriage  in  Silver- 
screen.  The  major  portion  of  the  success  of  the  com- 
munity has  been  ascribed  to  this  admirable  precept.  True, 
many  of  the  Supervisors  are  married,  and  live  in  pretty 
little  cottages  dotted  about  the  landscape.  But  the  Super- 
visors are  in  reality  beings  apart, 
busy  with  the  administration  of  the 
community  and  like  the  gods  on 
high  Olympus  rarely  mingle  with 
the  less  exalted  inhabitants.  And 
when  they  do,  you  can  jolly  well 


rest  assured  that  they  arc  as  closely  watched  as  anybody 
else. 

Places  of   Interest,    Buildings 

/■""«. \kkii:i>  out  to  the  smallest  detail  in  the  finest  example 

^  of  Cecil  B.  De  Mille  architecture,  each  building  in 
Silverscreen  is  a  veritable  "thing  of  beauty."  Space 
scarce  permits  detailed  description  of  the-  many  studios 
and  permanent  sets  which,  as  Mine.  De  Montespan  said 
of  the  Grand  Canon  of  Arizona,  "need  to  be  seen  to  be 
appreciated."  One  might  mention,  however,  the  gigantic 
cafeteria-automat  where  all  of  Silverscreen  takes  its  sim- 
ple but  wholesome  meals.  The  exterior  of  the  cafeteria  is 
patterned  after  Mont  St.  Michel  (with  improvements  and 
additions),  while  the  interior  blends  the  best  features  of 
the  Blue  Grotto  at  Capri,  the  grand  ballroom  at  Ver- 
sailles and  the  lobby  of  the  Pennsylvania  Hotel.  Another 
building  of  note  is  the  Silverscreen  Museum,  which  con- 
tains (among  other  things)  a  collection  of  canes  loaned 
by  Mr.  Charles  Spencer  Chaplin,  a  curl  shorn  from  the 
infant  head  of  Mary  Pickford,  the  original  illuminated 
subtitle,  "Came  the  Dawn,"  and  the  first  pair  of  puttees 
ever  worn  by  David  Wark  Griffith.  The  Administration 
Committee  is  now  negotiating  for  the  purchase  of  the 
1920  Robert  E.  Sherwood  derby,  which,  if  secured,  will 
be  encrusted  with  a  quarter-inch  layer  of  twenty-two- 
carat  gold-leaf  and  mounted  on  the  head  of  a  Milesean 
Venus,  sculptured  by  Mr.  Ferdinand  Pinney  Earle  and 
posed  by  Miss  Bebe  Daniels. 

Even  of  greater  interest,  perhaps,  is  the  Artcrafts 
Building  hard  by,  which  contains  the  Play- 
time exhibition  of  the  actors  and  actresses. 
Here  may  be  seen  the  beautifully  wrought 

samplers  and 
knitted  woolen 
goods,  done  by 
the  girls  in 
their  spare  mo- 
ments, while 
the  boys  show 
their  ingenuity 
in  examples  of 
chip  carving, 
model  boat 
building  and 
pottery.  A 
handsome  med- 
a 1  is  g  i  v  e  n 
every  year  for 
the  best  work, 
and  competi- 
tion is  always 
at  a  feverish 
heat. 

Recreation 

and 

Amusements 

J\io  little  at- 
tention is 
paid  to  the 
{Continued  on 
,     page  77) 


25 


Making  "THE  BIG  PARADE" 

By  Frederick  James  Smith 


SAYS  KING  VIDOR: 

"The  motion  picture  play  must  have  a  rhythmic  flow, 
a  steady  movement,  a  genuine  musical  beat. 

"Every  scene  of  'The  Big  Parade'  was  filmed  to  the 
music  of  the  doughboy  song,  'You're  in  the  Army  Now.' 

"It  isn't  possible  to  achieve  complete  realism  on  the 
screen.  In  fact,  the  photoplay  can  never  become  an  art 
if  it  tries  to." 


KING  VIDOR  believes  the  motion  picture  comes 
nearer  music  than  any  of  the  other  arts.  He  sees 
the  photoplay  as  breaking  away  steadily  from  the 
drama  and  literature.  Whether  or  not  you  believe  this, 
you  will  find  Vidor's  theories  to  be  highly  interesting. 

"The  motion  picture  play  must  have  a  rhythmic  flow, 
a  steady  movement,  a 

genuine    musical 

beat,"  he  says.  "I 
believe  that  The  Big 
Parade'  is  successful 
largely  because  we 
kept  to  this  idea. 

"Every  scene  of 
'The  Big  Parade'  was 
done  to  the  music  of 
the  doughboy  song, 
'You're  in  the  Army 
Now.'  There  is,  in- 
deed, a  very  real  rea- 
son for  its  use  in  the 
subtitles. 

The  Belleau  March 

"To  most  audiences,  the  big  moment  of  'The  Big 
Parade'  is  the  march  thru  Belleau  Woods  in  the  face 
of  German  machine-gun  fire.  That  march  evolved  in  an 
unusual  way.  Before  we  started  shooting  'The  Big 
Parade'  I  had  studied  a  mass  of  official  war  film  made  at 
the  front.  Each  time  this  mass  of  film  was  projected, 
one  brief  stretch  of  celluloid  hit  me  between  the  eyes.  It 
shows  the  burial  of  a  young  officer  in  a  small  French 
town. 

"Now  there  was  nothing  particularly  gruesome  about 
that  scene  and  yet  it  chilled  me  each  time  it  flashed  upon 
the  screen.  In  fact,  it  annoyed  me  so  much  that  I  told 
my  assistant  to  cut  it  from  the  film  before  running  it  off 
again. 

"Then  I  began  to  wonder  why  that  bit  of  film  got  to 
me.  I  had  it  projected — and  suddenly  I  realized  it  was 
the  slow  march  of 
the  soldiers  that 
chilled  me.  The 
doughboys  were 
schooled,  of 
course,  to  move  at 
a  normal  drill  time 
and  the  funeral 
march  slowed 
them  down  to  half 
that.  Each  time  a 
man  lifted  his  foot 
there  was  an  odd, 
hesitating,  grue- 
some second.  It 
symbolized  the 
doubt  of  death. 

"I'll  try  that  on 
the  march  thru  the 
woods,"  I  thought. 
"So  when  the 
march  was  filmed 
— and  it  was  the 
first  episode  we 
mad  e — I    had    a 

26 


drummer  beat  the  slow  time.  Involuntarily,  the  men 
moved  thru  the  woods  with  the  slow  shambling  yet  steady 
march  that  stands  out  so  strongly  as  picturing  the  de- 
struction, terror  and  mental  drunkenness  of  war. 

"The  first  day  we  tried  the  drum  the  military  experts 
rushed  up  to  me.    'That's  all  wrong,'  they  protested.    'It's 

impossible.'     'I  know 
it,'  I  said,  'but  we're 

going    to    do    it    that 

way.' 


KING    VIDOR 


Complete  Realism 
Impossible 

"It    isn't   possible   to 
achieve  complete 
realism  on  the  screen. 
In  fact,  the  photoplay 
can  never  become  an 
art  if  it  tries  to.    The 
films    must    translate 
life,  even  idealize  and 
temper  it.   They  must 
give  the  feeling  rather  than  the  photograph  of  a  scene. 
"Suppose,"  said  Vidor,  pointing  to  a  table  in  the  Am- 
bassador dining-room,  "suppose  John  Gilbert  were  sit- 
ting there.     Suppose  he  looked  out  the  hotel  window  and 
saw  the  girl  he  loved.     In  real  life  he  would  mask  his 
feelings  and  go  on  with  his  bread  and  butter.     On  the 
screen  he  would  have  to  mirror  a  half-dozen  emotions.    It 
is  the  same  way  with  the  picture  of  any  happening." 

Vidor  returned  to  his  description  of  the  making  of 
"The  Big  Parade."  "After  the  march  sequence,"  he  went 
on,  "we  realized  we  were  right.  We  shot  every  scene 
to  march  music.  In  fact,  we  went  thru  the  continuity 
and,  with  the  aid  of  a  metronome,  marked  the  time  of 
every  scene. 

"The  parting  of  the  lovers  was  filmed  to  this  march. 
When  the  drama  speeded  up  and  the  men  were  sweeping 
away  to  the  front,  the  action  speeded  up  to  double  time. 
The  beat   doubled — and  you   unconsciously   feel   that  in 

watching  the  boy 
torn  away  from 
his  French  sweet- 
heart. Thru  all 
those  scenes  of 
Renee  Adoree 
seeking  for  Gil- 
bert, a  squad  of 
soldiers  ran  up  and 
down  at  double 
time." 

Pictures  Plus 
Music 

\7idor  continued. 
"You  are  going 
to  find  a  steady 
movement  toward 
the  blending  of 
pictures  and 
music.  Every  suc- 
cessful picture 
must  have  its 
rhythm.  I  am 
(Con.  on  page  71) 


Apeda 


Melbourne  Spnrr 


"SOS   HER   OLD   MAN!" 

Dolores  Costello  has  been  pronounced  a  fine  artist  of  the  screen,  proving  that  she  is  following  in  the  footsteps 

of  her  father,  Maurice   Costello,   the   first  idol   oi  the  films.     Dolores   played   child  roles  at   old   Vitagraph. 

Today,  critics  declare  that  she  is  the  most  promising  young  actress  in  all  celluloidia 


27 


How  Fairbanks  Took 


Doug  Fairbanks,  as  the  adventurous  hero  of  "The  Black  Pirate,"  watches  the  buccaneers  on  their  lonely  treasure  island 


THE  motto :  "Take  color  out  of  color"  would  hardly 
seem  an  apt  choice  for  a  picture  in  which  there  is 
not  one  single  foot  of  black  and  white ;  yet  Albert 
Parker,  the  "director  of  Douglas  Fairbanks'  latest  picture, 
swears  this  was  "The  Black  Pirate"  slogan  from  six 
months  before  the 
first  scene  was  shot 
until  the  last  scene  of 
the  last  print  was  dry. 
An  incessant  battle 
was  fought  from  the 
beginning  to  the  end; 
and  the  enemy  was — 
color! 

If  you  and  I  were 
to  speculate  upon  the 
making  of  a  colored 
picture,  our  first 
thought  would  most 
likely  be  to  push  to 
the  furthest  extreme 
what  we  considered 
its  most  obvious  po- 
tentialities.  A  thought 

somewhat  like  the  following  would  undoubtedly  be  the 
first    to    enter    our    minds:      "Color? — ah,    sunsets    and 


Doug  Fairbanks  experimented  for  six  months  before 
he  started  shooting  "The  Black  Pirate"  in  color. 

First  a  definite  color  scheme  was  worked  out,  green 
and  brown.  Costumes,  make-up,  even  wigs,  harmonize 
to  this  color  scheme. 


rainbows  !  Brilliance  ! — play  it  to  the  limit !"  But  what 
would  we  find  as  our  result  ?  In  all  probability  a  product 
that  could  only  be  fittingly  described  by  some  such  bur- 
lesque title  as  "The  Cullud  Buccahneah."  But  it  was 
not  so  with  these  pioneers  in  the  field  of  what  we  might 

well  call  "controlled" 
color — after  the  first 
they  took  the  precau- 
tion to  have  a  second 
thought. 

But    I'm    getting 
ahead  of  my  story. 


Fairbanks  followed  the  precepts  of  art  in  idealizing 
nature.  His  skies  are  almost  white,  with  a  tinge  of 
warm  brown. 

It  was  found  that  twice  as  much  light  was  needed 
as   in   black-and-white   photography. 


'The  inescapable  im- 
pression     made    by 
Mr.  Parker  when  one 
first  met  "him — an  im- 
pression  strengthened 
by     each     succeeding 
moment — was     of     a 
man     bursting     with 
enthusiasm     for    this 
new   idea,   but  trying 
hard  to  control  it   for   fear  that,  being  so  close  to  his 
subject,    he    could    not    focus    sharply,    nor    get    a    true 


The  Color   Idea 


the  Color  Out  of  Color 


The  Man  who  made  "The 

Black  Pirate"  explains  how 

the  Menace  of  Color  was  met 

and  overcome 


By  Dunham  Thorp 


perspective.      But,   before  even   a    very    few  mo- 
ments   had    passed,    a    second    enthusiasm,    of    a 
ngth   sufficient    to   wage   lusty   battle   with   the 
first,  appeared  and  made  itself  observed.     And  this 
enthusiasm    focused    sharply   in   the   person   of   one 
man:  Douglas  Fairbanks. 

"It's  a  revelation  to  work  with  him.     For  a  director, 
even  one  who  thinks  he  has  a  thoro  knowledge  of  the 
industry,    it's    like   going   to   college   after   completing 
school !" 

And  the  reason  for  this  interesting  statement  is  un- 
doubtedly   admiration     for    the    thoroness     with     which 
everything  is  undertaken — the  "second  thought"  alluded 
above  being  an  excellent  example. 

"Mr.  Fairbanks'  first  reaction  to  the  mention  of  colo 
"Would  you  rouge  the 
lips  of  the  Venus  de 
Milo?'  But  then  he 
had  a  second,  and  that 
was  to  find  out  why 
color  should  seem  to 
be  an  unnecessary 
'painting  of  the  lily.'  ' 

Six   Months' 
Preparation 

And  this  simple  sec- 
ond thought  meant 
work,  and  plenty  of  it. 
In  fact,  it  was  six 
months  before  the  la- 
bor entailed  by  this 
little  "why"  was 
considered  sufficiently 
advanced  for  them  to 
feel  justified  in  start- 
ing work  upon  the  first 
scene.  Six  months  ! — 
how  many  of  the  usual 
"feature"  pictures 
could  they  have  made 
in  this  time  spent  in 
preparation  for  just 
one?  But,  also,  which 
would  we  rather  see? 
This  six  months' 
period  was  spent  in 
searching  new  and  en- 
tirely unexplored 
fields'  At  first,  all  the 
fields  explored  seemed 
barren  deserts  ;  not  one 
yielded  a  single  kernel 


Fairbanks    holds    off    the    villainous    pirate    crew    in 
"The  Black  Pirate"  to  protect  the  heroine,  Billie  Dove 


Albert     Parker,     who     di- 
rected Doug  Fairbanks  in 
"The   Black    Pirate" 


of  even  the  poorest  grain. 
But,  at  last,  one  was  found 
that  seemed  to  hold  mag- 
nificent promise  of  a  fruit- 
ful harvest — and  this  was  a 
study  of  the  Old  Masters. 

Mr.  Parker's  enthusiasm 
grew  beyond  all  bounds  as 
he  started  to  illustrate  the 
reason. 

"If  I  show  you  a  Rem- 
brandt, then  take  it  away 
and  ask  you  the  color 
scheme,  what  would  you 
say?  'Black  and  white.' 
most  likely." 

"Yes — or  'light  and 
shade.'  " 

"Exactly  !  But  it  isn't ! 
It's  simply  that  the  whole 
composition  is  in  harmony. 
There  may  be  reds,  blues, 
and  greens  in  it — but  they 
are  so  harmonized  it  is  the 
picture,  and  not  a  spot  here 
and  there,  that  impresses  it- 
self on  your  mind. 

The  Color  Scheme 

"Qf  course,  we  had  to  deal 

with  movement  as  well, 

so  we  found  it  necessary  to 

(Continued  on  page  87) 

29 


CELL  A    Puts    the    Foreign 


By 
JOHN 
HELD, 

Jr. 


WHAT'S  GONE  ON 
BEFORE: 

Cella  Lloyd,  who  used  to 
star  behind  a  counter  in 
Blatz's  Emporium  back 
home,  is  now  a  Hollywood 
luminary,  thanks  to  a  bath- 
ing-girl contest  and  her 
own  snappy  one-piece  suit. 
Cella  has  achieved  leading 
role  in  the  great  Horace 
De  Grind's  boudoir  super- 
specials  and  she  has  a 
Hollywood  bungalow  of 
her  own.  Indeed,  Mama 
and  Papa  Lloyd  are  now 
sharing  the  bungalow. 
Now  read  on! 


Scene  I 
Max  Epic,  the  pro- 
ducer, introduces  Cella 
to  his  newest  foreign 
star,  Mile.  Hebe  Jebie, 
the  Mary  Pickford  of 
Czecho-Slovakia.  Is 
Cella  pleased!  She  is 
NOT 


Scene  II 
Mile.  Hebe  Jebie  begins 
to  demonstrate  some  of 
the  wiles  that  make  her 
the  talk  of  the  boule- 
vard tables  of  Czakli- 
azarkiz.  She  vamps 
Cella's  cameraman! 


30 


VAMP    in    her 


PLACE/ 


Scene  III 
The  limit  is  reached,  how- 
ever, when  the  foreign 
devil  rolls  her  Czecho- 
slovakia orbs  at  Cella'a 
press-agent.  Is  zat  so? 
■ays   Cella   to    herself 


Scene  IV 
Cella  rushes  to  her  dressing- 
room  and  dons  the  one-piece 
suit  that  made  her  famous. 
The  vamped  ones  all  come 
flocking  back.  Forgotten  is 
Mile.  Hebe  Jebie.  What  will 
Hebe  do?  See  The  Classic 
next  month 


31 


MORE  IMPRESSIONS 


WE  arrived  at  noon  and  Mary  Pickford  welcomed 
us  cordially.  They  were  setting  the  table  in  a 
little  white  cottage  on  the  Fairbanks-Pickford 
studio  lot,  and  Mary  took  us  across  the  lawn  to  her 
beautiful  bungalow.  She  showed  us  thru  with  some 
pride,  and  well  she  might,  because  it  was  a  completely  and 
elegantly  furnished  little  home  with  every  convenience, 
including  bedrooms,  kitchen,  baths,  etc.  After  that,  Doug 
came  up  and  shook  hands  with  Corliss  Palmer  and  me, 
then  introduced  Joseph  Schenck  and  another  man,  all 
dressed  in  athletic  clothes.  Doug  looked  very  fit,  but  Mr. 
Schenck  looked  quite  undertrained  and  a  trifle  overfed. 
Doug  announced  that  they  must  have  their  daily  dozens 
before  luncheon,  which  consists  of  a  mile  and  a  half 
canter  around  the  course  which  bordered  the  lawn. 
Doug  led  them  a  merry  chase,  but  Joe  Schenck  was  right 
there  with  the  goods.  At  our  backs  were  some  of  the 
walls  used  in  "Robin  Hood,"  the  huge  ship  used  in  "The 
Thief  of  Bagdad,"  and  other  massive  "props"  that  figured 
in  recent  productions,  including  "The  Black  Pirate," 
which  had  just  been  finished. 

"Now  that  the  United  Artists  are  to  use  this  studio," 
Mary  said,  "I  think  we  should  change  the  name  of 
the  studio,  because  it  would  not  be  fair  to  the  other 
producers." 

"No,"  I  said,  "you  and  Mr.  Fairbanks  are  the  pioneers, 
and  the  others  should  honor  you  by  recognizing  that  fact      Mary  is  very  proud  of  Douglas  Fairbanks,  Jr.,  and  is 
and  letting  the  name  Fairbanks-Pickford  Studio  remain         *  anxious  for  him  to  make  good.     "How   fortunate," 
as  a  landmark  for  all  time."  she  said,  "that  he  can  sit  here  and  listen  to  all  you  learned 

men.    These  boys  will  be  the  men  of  the  future  who  will 
shape  and  guide  the  destinies  of  the  future  movies." 


manner,  because  he  is  just  as  democratic,  good-natured, 
and  unassuming  as  a  man  could  be.  "Ah,  liver  and 
bacon !"  shouted  Doug  joyfully,  and  the  way  he  sailed 
into  it  indicated  that  it  was  a  favorite  dish  in  the  Fair- 
banks-Pickford family.  And  we  all  enjoyed  it,  also  the 
many  delicacies  that  Mary  had  provided. 


Then  for  three  hours  we  talked.  If  you  think  that 
Doug  is  merely  an  acrobat,  you  are  very  much  in  error. 
He  is  a  highly  educated,  thoughtful  man  and  his  com- 
mand of  language  is  remarkable.  They  say  that  he  is 
the  best  "showman"  in  the  business,  but  this  word  should 
never  be  applied  to  a  gentleman  and  a  scholar  of  the 
attainments  of  Douglas  Fairbanks.  And  Little  Mary  is 
in  the  same  class.  She  is  a  far-seeing,  wise,  thoughtful 
little  woman  with  high  ideals,  and  her  principal  worry 
just  now  is  about  the  way  they  are  destroying  beautiful 
Hollywood  by  cutting  down  so  many  trees  in  order  to 
widen  the  streets,  and  because  people  are  allowed  to 
build  houses  that  are  not  in  keeping  with  the  character  of 
the  community.  But — more  about  this  later.  Also,  more 
about  the  several  other  topics  of  conversation,  which 
proved  to  be  very  enlightening. 


1 


T  is  quite  obvious  to  any  visitor  that  Mary  is  very  fond 
and  proud  of  her  husband.  As  Doug  and  the  others 
were  cantering  around  the  running  course,  she  pointed 
out  to  us  the  youthfulness  of  his  figure  and  the  splendid- 
ness of  his  muscles.  "You  know,"  she  said,  "I  never 
noticed  muscles  until  I  married  Doug." 


\A7hen  the  run- 
'  ners  had  com- 
pleted their  mile 
and  a  half,  and 
taken  their  shower 
and  donned  citi- 
zen's clothes,  we 
sat  down  to 
luncheon.  The 
table  was  wide 
enough  to  permit 
the  host  and  host- 
ess to  sit  at  one 
end  of  it,  side  by 
side.  I  sat  at 
Mary's  right,  on 
the  side,  and  Miss 
Palmer  at  Doug's 
left,  opposite ;  next 
to  me  sat  Mr. 
Schenck,  who  is 
per  ha  p  s  the 
wealthiest  and 
most  prominent 
picture  magnate  in 
the  world,  but  one 
would  never  sus- 
pect   it    from    his 


Mr.    Brewster    visits    Norma    Talmadge,    Ronald    Colman   and 
Director  Clarence  Brown 


Pvouglas  Fairbanks  is  the  champion  perfume  collector 
and  consumer  of  Hollywood.  He  has  fifty-seven 
varieties  and  then  some,  and  he  is  a  connoisseur.  I  told 
him  that  I  was  glad  to  know  at  least  one  he-man  who 
had  the  nerve  to  defy  the  conventions,  and  he  said  that 
he  did  not  intend  to  deprive  himself  of  the  luxury  of 

cultivating  one  of 
his  senses  simply 
because  somebody 
once  said  "They're 
not  doing  it." 
There  is  a  wonder- 
ful fragrance  in 
the  atmosphere 
in  residential 
Hollywood,  par- 
ticularly in  the 
evening,  due  to  the 
orange-trees  and 
every  variety  of 
flowers  that  bloom 
winter  and  sum- 
mer, but  Doug 
likes  to  have  his 
fragrance  all  the 
time — at  home  and 
at  work.  Shall 
we  call  it  aesthetic 
taste,  or  one  of  the 
eccentricities  of 
genius  ?  And  Doug 
certainly  is  a  genius, 
and  from  many 
different   angles. 


32 


of  HOLLYWOOD 


By  Eugene 

V.  Brewster 


r\sv  peculiarity   about   Doug  ia  thai  he  seldom  weara 
^  jewelry      Perhaps  he  can!  afford  it.     He  carriea  hii 
rets  loose  in  his  pockets,  there  is  no  stick-pin  in  nil 
i  and  no  rin^s  on  Ins  ringers  except  a  tiny  wedding- 
ring.     Instead   of   an   elaborate,  gold,   diamond-studded 
f-clasp  such  as  most  men  of  wealth  wear,  he  uses  an 
ordinary,  common  pin. 

*        *        * 


I    w  \s  curious  to  know  it"  Mary  was  like  most  wives 
*  permitted  her  husband  to  manage  her  business.     I  s 


and 
soon. 
found  that  she  was  not.  She  manages  her  own  produc- 
tions and  Doug  manages  his.  And  they  even  have 
quarrels  about  them,  but  in  a  perfectly  good-natured 
I  even  imagine  that  Mary  is  a  wee  bit  jealous 
of  Doug's  successful  methods  of  exploiting  a  picture, 
altho  she  refuses  to  copy  them.  However,  she  thinks 
she  lias  a  masterpiece  in  "Sparrows,"  her  latest  pic- 
ture, just  finished,  which  deserves  a  "premiere"  on 
Broadway  commensurate  with  its  importance,  and  I 
think  she  intends  to  hold  it  back  until  late  summer  and 
put  it  on  in  a  big  way  for  a  limited  run  before  it  is 
released  generally. 

*         *         * 

[  fear,"  said  Mary,  "that  my  public  is  not  the  same  as 
Doug's.  He  appeals  to  the  people  of  all  classes,  par- 
ticularly the  boys,  while  I  appeal  to  the  poorer  classes 
such  as  those  we  see  in  'Little  Annie  Rooney.'  "  We  all 
assured  her  that  this  was  not  true,  that  her  appeal  is  uni- 
versal.   And  it  is. 


I  wish  that  I  had  had  a  stenographer  present  taking 
notes  at  this  remarkable  luncheon.  Mary,  Doug  and 
Joe  Schenck  are  about  the  wisest  trio  I  ever  encountered, 
and  a  report  of  their  remarks  would  make  an  interesting 
and  valuable  book.  I  shall  try  to  give  the  gist  of  it  to 
our  readers  in  later  issues. 


At  the  Metro- 
Goldwyn-Mayer 
Studio  they 
showed  me  a  few 
reels  of  Greta 
Garbo's  unfinished 
picture.  This  strik- 
ing young  Swedish 
actress  will  doubt- 
less appeal  to 
many,  but  some- 
how I  could  not 
see  the  great  com- 
ing star  in  her  that 
her  company  ex- 
pects. 


want  all  the 
young  ladies 
and  young  men 
everywhere  to 
know  that,  just  be- 
cause they  can  get 
a  photographer  to 
pose    and     light 


them  so  that  a  good  photograph  will   result,  tins  docs  not 

mean  that  ihcy  will  icreen  well     The  photographei 

spend  hours  in  getting  just  the  righl  angle,  lighting  and 
expression  to  show  the  subject  at  his  or  hut  this 

is  quite  different  from  appearing  before  a  movie  cat 

which   sees   all    the   had   angles   and   expreSSIOl  I]   SJ 

the  good.     It  is  a  hard  game,  my  d(  and  girls,  as  you 

would  soon  believe  if  yOU  could  he  here  with  me  and  seethe 
thousands  who  cant  break  in,  in  spite  of  the  wonderful 
photographs  that  they  have  had  made  in  a  photo  gal: 


T'here  are  several  large  studios  well  outside  the  limit 

Hollywood,  such  as  Metro-(  ioldwvn-Mayer  and  De 
M die's  at  Culver  City  and  Universal  at  Universal  City. 
Real  estate  is  getting  too  valuable  in  Hollywood  for  a 
company  to  own  several  acres  right  in  the  heart  of  the 
city.  First  National  is  moving  out  near  Universal  City 
between  Burbauk  and  Lankershim,  and  several  other 
movie  magnates  including  Harold  Lloyd  and  Cecil  De 
Mille  are  buying  acreage  out  that  way,  indicating  that 
this  locality  may  perhaps  be  the  studio  center  of  the 
future.  Famous  Players-Lasky  have  already  arranged  to 
vacate  Hollywood's  business  center,  but  they  are  moving 
only  about  half  a  mile  away.  Fox  is  contemplating  mov- 
ing from  Western  Avenue,  which  is  another  crowded 
business  street  where  real  estate  is  high.  But  Hollywood 
will  always  be  the  residential  center  for  movie  people 
of  all  kinds. 

*         *         * 

'They  have  all  sorts  of  research  experts  in  Hollywood 
who  are  prepared  to  tell  what  color  Caesar's  eyes  were, 
what  size  sandals  Cleopatra  wore  and  the  height  of  Joan 
of  Arc's  horse,  etc.,  and  they  will  show  you  photographs 
of  houses,  streets  and  people  in  the  Fiji  Islands  or  in 
any  part  of  the  world.  But  with  all  this,  the  directors 
sometimes  make  mistakes,  and  sometimes  it  is  not  their 
fault,  because  once  in  a  while  the  star  will  refuse  to  wear 
a  certain  kind  of  head-dress  or  body-gear  just  be- 
cause it  is  not  be- 
coming. 


[and     in 
around 


Brewster  drops  in  to  call  on  Buster  Keaton 
and   interrupts  a  boxing  bout 


and 
Los 

Angeles  seems  to 
be  almost  as  high- 
priced  as  it  is  on 
Broadway,  New 
York,  and  yet  the 
Universal  lot  com- 
prises no  less  than 
six  hundred  acres 
of  it — and  a  mile 
across  it. 


Dight  near  the 
Universal  lot  at 
Burbank  will  soon 
be  the  new  First 
National.  They 
have  already  started 
building,  and  it  will 
cost  about  a  mil- 
lion and  a  half. 


33 


K  o  m  a  k  o 

Sunada,     of 
Nikkatsu,    a 
popular  Japan- 
ese   screen 
actress,  as  she 
appears    in 
O  cciden  tal 

garb 


Miss  Sunada 
in  a  scene  of 
a     Japanese 


H  Wl   I 


Aiko  Takash- 
ima,  another 
Japanese  fa- 
vorite, in  a 
scene  of 
"Queen  of  the 
World" 


The 
MOTION 
PICTURE 


in 


—      ■   >■   ■ in  ■■—'-   ■<  ■ 


-2 


JAPAN 


THO  subjected  to  every  species  of  police 
restriction  and  censorship  during  the  last 
half  a  dozen  years,  the  motion  picture 
industry  has,  nevertheless,  made  such  tremen- 
dous headway  in  the  land  of  chrysanthemums 
and  cherry  blossoms  that  today  the  movie  is 
by  far  and  away  the  most  popular  national 
amusement  in  the  country. 

Three-fourths  of  the  number  of  the  popula- 
tion of  the  empire  go  to  the  picture  theaters 
every  thirty  days,  altho  most  productions  are 
scissored  mercilessly  by  the  censors,  rendering 
the  stories  in  some  instances  almost  incompre- 
hensible. 

When  one  considers  that  the  average 
Japanese  fan  is  unable  to  read  English,  he  .be- 
gins to  understand  the  subtleness  of  the 
Oriental  mind,  which  is  trained  to  perceive  in 
mere  suggestions  the  hidden  meaning  of 
things  and  the  added  complication  he  en- 
counters. 

The  fans  of  staid  Pennsylvania  are  well  off 
compared  with  those  in  Japan.  Kissing  scenes 
have  long  been  taboo.  Hold-ups  and  ardent 
love  scenes  very  often  do  not  get  by  the  cen- 
sors, who  consider  such  acts  injurious  to 
public  peace  and  morality.  Views  of  revolu- 
tions, especially  those  of  the  overthrow  of  a 
crowned  ruler,  are  frowned  upon  by  the 
police. 

Yet,  with  all  the  limitations  and  obstacles  in 
its  path,  the  popularity  of  the  movies  grows 
rather  than  declines.  Scarcely  a  month 
passes  in  any  of  the  larger  cities  in  which  a 
new  playhouse  is  not  opened.  There  are  six 
hundred  theaters  today  showing  motion  pic- 
tures exclusively  in  the  tiny  island  empire. 
Fifteen  years  ago  there  was  none.  The  the- 
aters are,  however,  with  a  few  exceptions,  tiny 
affairs. 

Every  motion  picture  house  is  divided  into 
three  sections — one  for  men  and  boys,  another 
for  women  and  girls,  and  a  third  for  married 
couples.  Police  officers  are  assigned  to  each 
theater  to  see  that  the  regulations  are  observed. 
Regardless  of  how  crowded  the  men's  section 
may  be  and  how  vacant  the  women's  is,  no 
male  is  permitted  to  sit  in  the  enclosure  re- 
served for  ladies.  This  was  done  some  years 
ago  to  safeguard  public  morals,  when  it  was 


34 


The  Screen  Drama 

Has  Won  Cherry 

Blossom  Land 

By 

Kimpei  Sheba 

Theater  Editor  of 
The  Japan  Times 


discovered  that  love  scenes  on  the  screen 
caused  the  more  emotional  among  the  audi- 
ence to  behave  improperly. 

A  Japanese  generally  sees  at  least  twice  the 
number  of  photoplays  that  an  American  does, 
for  the  reason  that  whenever  he  goes  to  a 
show  he  views  a  "double  bill."  Two  or  three 
feature  pictures,  besides  a  newsreel  and  a 
comedy,  are  run  by  practically  all  houses. 
Recently,  in  an  effort  to  safeguard  the  eyesight 
of  the  people,  the  police  have  issued  a  regula- 
tion to  playhouses  forbidding  them  to  exhibit 
more  than  thirty  reels  of  film  at  a  per- 
formance. 

A  thirty-reel  performance,  however,  is  a 
comparatively  short  program  for  a  Japanese 
theatergoer  who  is  a  habitual  viewer  of  stage 
plays,  for  that  person  has  been  in  the  custom 
of  entering  a  playhouse  at  four  o'clock  in  the 
afternoon  and  remaining  until  eleven  at  night. 
In  fact,  until  comparatively  recently,  it  re- 
quired three  days  to  stage  certain  lengthy 
spoken  plays,  the  performers  acting  several 
hours  a  day,  and  the  audience  bringing  along 
dinners  with  them.  Even  at  present  every 
stage  theater  has  a  cafe,  where  meals  are 
served  during  the  intermissions,  while  in  prac- 
tically every  playhouse  hawkers  carry  candies 
and  soft  drinks  up  and  down  the  aisles. 

In  America  the  loud  subtitle  reader  is  a 
menace.  In  Japan  he  is  a  blessing.  Subtitle 
readers  are  hired  by  the  dozen  by  each  theater 
to  translate  the  titles  as  they  appear,  and  to 
shout  their  translations  to  the  audience.  There 
are  more  than  eight  thousand  regularly  paid 
subtitle  readers  in  the  country,  and  a  skilful 
interpreter  increases  the  value  of  a  picture  to 
a  great  extent.  Imagination  is  employed  by 
some  of  the  men,  who  succeed  frequently  in 
altering  a  weak  story. 

Photoplays  were  first  produced  in  Japan 
about  twelve  years  ago.  Shortly  thereafter,  an 
ingenious  stage  director  chanced  on  the  idea 
of  taking  close-ups  and  long  shots  of  stage 
scenes  in  studios  and  out  on  location.  His 
actors  and  actresses  would  begin  a  perform- 
ance on  the  stage,  but  as  the  story  progressed 
and  necessitated  a  broader  field  of  action,  or  the 
registering  of  emotion  by  the  players,  that  par- 
ticular scene  would  be  flashed  on  the  screen. 


Sumiko  Kuru- 
shima,  star  of 
the  Kimiti 
Studios,  re- 
ceive! the 
largest  film 
salary  in 
Japan,  a  thou- 
>  a  n  d  yen 
(about  $430) 
a  month 


Yukiko  Tsukuba, 
of  Shochiku, 
playing  a  Japan- 
ese housewife  of 
the  lower  class, 
indicated  by  the 
black  kimono 
collar 


Miss  Tsukuba, 
again,  this 
time  as  she 
appears  in  a 
Japanese  Mack 
S  e  n  n  e  t  t 
comedy 


35 


y-s~. 


Kayoko  Saijo,  another  popular  Japanese  actress,  in  American  and  native  dress 


This,  however,  while  still  occasionally  seen,  is  gradually 
disappearing,  for  the  reason  that  many  of  the  stage  celeb- 
rities do  not  photograph  well,  and  those  that  do  register 
satisfactorily  become  movie  actors  and  actresses. 

While  on  the  stage,  the  majority  of  feminine  roles  are 
played  by  men,  women  have  from  the  very  beginning 
established  themselves  firmly  in  motion  pictures.  At  the 
Kabuki-za,  the  largest  theater  in  Tokyo,  no  actresses  are 
employed.  On  the  other  hand,  while  there  are  only  a 
handful  of  male  film  stars,  all  studios  are  crowded  with 
actresses. 

Love,  such  as  is  known  in  the  West,  was  something 
little  known  in  the  Far 
East  until  the  advent  of 
the  photoplay.  Marriages 
were  invariably  arranged 
by  parents  and  friends. 
This  system  was  agree- 
able until  American 
movies  were  introduced. 
Then,  the  Japanese,  being 
great  imitators,  decided  to 
give  Cupid  a  tryout.  He 
turned  out  to  be  a  com- 
parative success. 

Unlike  in  the  Occident,  hawever,  the  happy  ending  of 
Western  love  in  Japan  seems  to  be  death,  and  as  an  indi- 
cation of  the  rapid  spread  of  this  variety  of  "love,"  one 
has  but  to  note  the  tremendous  increase  in  the  number  of 


Motion  picture  theaters  in  Japan  are  divided  into 
three  parts:  one  for  women,  one  for  men  and  a  third 
for  married  couples. 

The   average   program   numbers   thirty  reels. 

Since  few  can  read  English,  subtitle  readers  are 
employed  by  the  theaters.  There  are  eight  thousand 
regularly  paid  subtitle  readers  in  Japan. 

Film  kisses  are  now  permitted  in  Japan  for  the  first 
time. 


"double  suicides,"  in  which  a  couple  binds  itself,  the  man 
and  woman  facing  each  other,  with  a  rope  or  sash,  and 
jumps  into  the  ocean,  the  pit  of  a  waterfall  or  into  a  lake. 
Thus,  a  certain  percentage  of  photoplays  end  with  a 
double  suicide  scene,  for  it  is  difficult  to  produce  a  pic- 
ture that  is  not  based  on  love,  while  it  is  difficult  to  por- 
tray a  "happy  ending"  on  the  screen  in  Japan  owing  to 
the  censorship  ban  on  kissing  and  embracing. 

Recently  the  censors  lifted  the  ban  on  kissing,  so  far 
as  American  and  European  actors  and  actresses  were 
concerned,  to  see  the  effect  this  move  towards  Westerni- 
zation would  have  on  public  morals.     Should  the  result 

be  satisfactory,  it  is  likely 
greater  freedom  will  be 
permitted  Japanese  actors. 
Today  special  scenarios 
are  being  written  for  Ori- 
ental players,  and  it  is  a 
question  of  time  when 
Japan  will  produce  a 
"Passion,"  bring  forth  a 
Pola  Negri,  or  perhaps 
another  Sessue  Haya- 
kawa,  who,  by  the  way. 
with  Madame  Miura  of 
operatic  fame,  is  extremely  unpopular  in  his  native 
country  because  of  the  parts  he  and  Madame 
Miura  have  played  in  stage  and  motion  picture  produc- 
tions. 


36 


MOANA: 

A  Poem  of  the 

Cinema 

By  Matthew  Josephson 

OX  certain  notable  occasions  the  cinema,  but 
recently  elevated  to  a  place  among  the  Seven 
Lively  Arts,  has  positively  suggested  the 
strongest  claims  for  a  place  in  the  major  arts,  where 
"liveliness"  is  utterly  beside  the  point. 

Such  a  case  is  Robert  Flaherty's  poetic  film  of  the 
South  Seas,  "Moana."  In  the  unique  hour  of  beauty. 
understanding   of    life,    peaee-with-one- 
self,  that  it  gave,   this   film  rivaled 
some  of   the   highest   flights   of 
any  human  arts. 

Unique  Production 

after    all,    the    supreme 
™  quality  of  any   art   is 
to  create   so   powerfully 
the  illusion  of  your  liv- 
ing   another's     life,     or 
within     another     man's 
vision  of  the  world,  that 
you    swiftly     forget    the 
disagreeable     breakfast 
only     this     morning,     the 
day's  quarrel,  the  bills  at  the 
end   of    the    month  —  in    your 
own    complete     ab- 
sorption    or    merg- 
ing with  what  is  go- 
ing on  before   you. 
"Moana"    will 
probably  remain  the 
unique     picture     of 
this    season.     There 
was   no    plot !      No 
Hollywood    stars! 
Only  beautiful  sav- 
ages   living    their 
simple  lives  in  a  far- 
off    tropical     island 
that  might  very  well 
have  been  the  Gar- 
den of  Eden.  ...  I 
do   not    propose    to 
review    it    here.      I 
should  like  only  to 
extract,    if    I     can, 
some  of  its  magnifi- 
cent  hints   of   what 
can  be  done  on  the 
screen.      Men    have 
progressed    only 
thru   great    gambles 
or  experiments  with 
the  unknown.     The 
cinema  perhaps  may 
read    its    future 

greatness     in     such  Fwn-ga-se,  the  heroine  of  "Moana 

things  as   "Moana."  the  South  Seas" 


Bros. 


Robert  J.   Flaherty 


"Moana"  begins  in   the   upper   branches  of 
two    kava-trees,    weird,    feathery,    luxuriant 


Well,  what  is  it  that  Flaherty  tried  to  do 
— he  who  had  given  us  something  so  differ- 
ent from  the  usual  Hollywood  product  in 
"Xanook."  Different  and  yet  universal  in 
its  appeal. 

"The  art  of-  life,"  Flaherty  said  to  me, 
"interests  people  everywhere,  more  than 
anything  else — how  people  live,  fight,  suf- 
fer, worship  God,  anywhere  in  the  world, 
Alaska,  Xew  York,  or  the  South  Seas." 

I  think  Flaherty  has  touched  the  heart 
of  it  all  right  here.  This  is  evidently  what 
"Moana"  had  that  made  it  so  thrilling  to 
watch,  altho  lacking  in  more  obvious  tricks 
of  the  screen  or  the  stage. 

Study  in  Physical  Beauty 

In  every  film  you  feel  the  style  of  the  di- 
rector dominating  players,  sets,  sequence, 
photography ;  you  feel  whether  he  is  senti- 
mental or  cynical,  intelligent  or  frivolous  or 
sensitive.  Flaherty,  then,  seems  more  than 
anybody  else  to  respond  to  the  physical 
beauty  of  trees,  human  figures,  water,  sky. 
He  dwells  on  these  things  lovingly ;  they 
have  meaning  for  him,  and  he  goes  from 
one  to  another  in  such  wise  that  they  take 
meaning  for  us.  He  is  a  poet,  and  in  Samoa 
he  found  and  brought  back  almost  more 
beauty  than  a  single  film  could  hold. 

But  above  all  he  is  a  thinker — how  few 
directors  are  that! — and  in  "Moana"  he  has 
touched  on  certain  ideas  which  at  this 
moment  concern  us  all  very  deeply. 

If    the    public    flocked    to    "Moana.''    1 
ascribe  it  to  the  Florida  boom  and  the  rage 
for  the  Charleston.     These  things  seem  to 
{Continued  on  page  84) 

87 


Gene  Kornman 

Jobyna  Ralston  grew  up  on  a  little  farm  in  the  Tennessee  hills. 
Five  years  ago  she  went  to  Hollywood 

WHEN  Jobyna  Ralston  has  all  the  money  she  wants  and  needn't 
worry  about  parts  in  pictures,  she  knows  what  she  is  going 
to  do. 
"There's  a  woman  who  drives  around  Hollywood  in  a  perfect 
wreck  of  a  car,  wearing  a  man's  battered  hat  and  a  flannel  shirt.  The 
car  has  a  peach  of  an  engine,  and  the  woman  always  looks  comfortable 
and  seems  absolutely  happy.  Whenever  I  see  her,  I  say  to  myself : 
'There  /  go — some  day  !'    Wouldn't  it  be  fun  ? 

"She's  terribly  attractive  and  so  free!  Makes  me  remember  when 
I  was  a  little  girl  on  our  Tennessee  farm  going  coon-hunting  in  the 
dark  of  the  moon.  I  never  wore  anything  but  overalls  then.  My 
brother  was  no  more  of  a  boy  than  I  was.  He's  a  year  younger  but 
we  were  about  the  same  size. 


I 


Back  in  Tennessee 

went  back  last  summer.  Everything  here  is  clean  and  new  and 
beautiful,  and  in  five  years  I'd  forgotten  how  old  and  dirty  and 
ugly  it  is  back  there — only  what  God  made  was  lovely.  California 
spoils  you ! 

"When  I  came  here,  I  was  very  much  of  a  kid  and  I  didn't  want 
to  be.     I  saw  important  stars  at  Cocoanut 
Grove,  sitting  back — not  dancing — but  wear- 
ing terribly  smart,  sophisticated  clothes,  and 
I  yearned  to  be  like  them. 

"After  I'd  been  working  awhile  and  had 
some  money,  I  went  to  town  one  day  and 


In  Harold's  new  pic- 
ture, "For  Heaven's 
Sake,"  Miss  Ralston 
plays  a  little  settlement 
worker 


JOBY 

From  the 
Tennessee 

HILLS 


By 

Alice  L.  Tildesley 


38 


Miss  Ralston 
has  been  Harold 
Lloyd's  leading 
Woman  for  four 
Years 


bought  a  gown.  Not  a  dress,  but 
a  gown  minus  a  back  and  with 
practically  no  front.  I  looked 
like  the  Queen  of  Sheba  or 
rheda  Bara  before  she  went  into 
comedies.  Hut  before  I  could 
get  out  of  the  house  I  had  to  pass 
inspection  by  my  mother,  and  by 
the  time  I  got  away  from  her,  1 
bod  bibs  and  shawls  and  guimpes 
tacked  in  the  gown  and  nothing 
could  have  persuaded  me  to  go 
out  in  it ! 

'Oont  I  look  the  perfect 
ingenue  today?" 

Beneath  her  black  poke  bonnet 
with  its  shell-pink  lining,  her  face 
looked  out  demurely,  chestnut 
curls  framing  its  pink  and  wrhite. 
blue  eyes  starry,  lips  a  Cupid's 
bow.  A  rose  caught  the  fichu  of 
shell  pink  above  the  black  satin 
skirt.  She  might  have  stepped 
from  an  1830  painting. 

Clothes   Make   the   Girl 

"O  lothes  give  me  a  different 
feeling.  In  these,  I'm  al- 
most useless.  Somebody  has  to 
pick  up  the  things  I  drop.  That's 
why  I  brought  him." 

The  pronoun  referred  to  Roy 
Brooks,  one-time  comedian  on 
the  Roach  lot,  now  making  him- 
self invaluable  with  Harold 
Lloyd. 

"I  like  sports  things.  If  I  had 
on  a  sports  dress  that  I  felt  right 
in,  I  could  meet  the  Prince  of 
Wales  and  never  quiver.  .  .  . 
There  goes  something  else,  Roy.'' 

"Your  purse Oh,  wait — here's  your  handkerchief  ! 

The  trouble  with  you  is  you  have  too  many  props,"  com- 
plained Mr.  Brooks,  as  we  entered  the  dining-room. 
"Count  'em  and  I'll  gather  'em  up  when  we  leave.  I  warn 
you  I  wont  go  bouncing  back  after  anything.  Four. 
Sure  that's  all  ?" 

"I  make  five,"  observed  Jobyna.  Her  mind  returned  to 
wearing  apparel. 

"The  second  part  I  had  after  I  arrived  in  Hollywood, 
was  leading  lady  to  Max  Linder  in  a  burlesque  of  "The 
Three  Musketeers.'  I  wore  the  wide  skirts  Marguerite  de 
la  Motte  wore  with  Douglas  Fairbanks,  but  I  was  so  very 
flat  in  the  tight  bodice  that  I  looked  like  a  broom-handle 
sticking  ud  out  of  a  straw  stack.    I  was  just  a  kid. 

"Take    Her— and    Pad    Her!" 

Max  Linder  took  one  look  at  me,  tore  his  hair  and 

cried:     'Am  I  to  make  love  to  a  child?     Take  her 

away  and  pad  her!'     They  did — rolls  of  it — I  swear  I 


Gene  Kornman 
Jobyna    Ralston's    second    part    after    coming    to    Hollywood    was    leading 
woman  for  poor  Max  Linder  in  his  burlesque  of  "The  Three  Musketeers" 


was  like  a  sausage  tied  in  the  middle,  or  a  washwoman 
out  on  a  holiday ! 

"After  that,  I  went  to  the  Hal  Roach  lot  and  did  one 
reelers  for  a  year.  One  a  week.  Every  Saturday  we'd 
finish  the  current  picture  at  two  or  four  or  six  o'clock,  and 
dash  down  to  the  wardrobe  rental  house  to  get  fitted  out 
for  next  week. 

"Great  training — this  week  a  South  Sea  islander,  next 
week  a  Quakeress,  the  week  after  a  Turkish  princess  and 
then  a  circus  girl  with  a  trained  seal." 

"Remember  the  Arab  picture  and  how  nobody  knew 
how  to  put  on  the  costumes?"  broke  in  Roy  Brooks. 
"They  were  mostly  pieces  of  cloth  and  we  hung  them 
around  our  waists  or  over  our  heads  or  wherever  seemed 
likeliest." 

"Remember  how  the  lion  got  away  in  the  African  pic- 
ture? What  was  I  that  day?  Something  with  a  lot  of 
heavy  clothes,  I  know,  for  I  could  hardly  run !"  laughed 
(Continued  on  page  74) 


39 


The  tender  flower  with 

the    curls   finds   herself 

disappearing    over    the 

"horizon 


New  STYLES 


Drawings  by  Eldon  Kelley 


MOVIE  weather  inch 
cations  are  for  less  ice 
'  Especially  in  heroines. 
Fashions  in  girls  change  just  about 
as  often  as   fashions  in   shoes  and  skirts 

And  they  are  on  the  edge  of  another  change. 
And  two  girls  have  made  the  change. 
Dolores  Costello  and  Renee  Adoree. 
The    tender    flower    with    the    little    corkscrew    curls 
dangling  like  Christmas  tree  decorations  over  her  shoul- 
ders finds  herself  disappearing  over  the  horizon. 

The  Girl  Cycles 

A  nd  the  extreme  haughty  and  distant  young  icicle  has 
■**  an  uncomfortable  premonition  that  moving  day  is 
coming  for  her  also. 

I  have  seen  all  the  girl  cycles  come  and  go ;  and  this 
was  the  order  of  their  coming  and  going : 

Mary  Pickford  started  the  first  spasm.  She  created 
a  cult — an  order  of  movie  sisterhood,  so  to  speak.  This 
was  so  well  recognized  that  the  producers  were  entirely 
frank  about  it.  For  years,  no  producer  ever  said  that  he 
had  found  a  new  star.  He  said  that  he  "found  another 
Mary  Pickford." 

Good  heavens,  they  used  to  drop  in  from  everywhere. 
They  came  not  only  from  Chicago,  Montreal  and  way 
stations  ;  but  there  also 
were  Swedish,  Nor- 
wegian, Argentine, 
Greek  and  Chinese 
Mary  Pickfords. 

That  none  of  them 
ever  completely  suc- 
ceeded in  being  a 
Mary  Pickford  is  an- 
other matter.  But  they 
were  Mary  Pickfords 
in  so  far  as  they  had 
curls  and  round  faces 
and  innocent  eyes — 
relatively  innocent, 
anyhow. 

There  was  a  reason  for  them.  When  Mary  Pickford 
first  blossomed  forth,  all  movie  lighting  was  extremely 
crude.  It  was  so  raw  and  unrestrained  that  only  the 
youngest  face,  with  the  rounded  contours  of  babyhood 

40 


Then  came 
the  vogue  of 
ritzy  stars 
with  the  air 
of  "You  can 
look  but  you 
mustn't  touch" 


Harry  Carr  says  that  the  fashions  in  film  heroines 
have  changed  as  often  as  the  vogue  in  shoes  and 
gowns. .  Mr.  Carr  divides  the  girl  cycles  as  follows : 

1.  The  Mary  Pickford. 

2.  The  Lillian  Gish. 

3.  The  Pola  Negri. 

4.  The  Gloria  Swanson. 

5.  The  peppy,  unrestrained  type  of  1926. 


could 
stand     the'"1* 
fierce    glare.      The 
slightest  suspicion  of  a 
line  or  a  wrinkle  looked  like 
the  moat  of  a  castle.    As  a  con 
sequence,  a  movie  actress  at  twenty 
years   looked   like  an   old   hag  tottering 
on   the   edge   of   eternity.     • 

The  Mary  Pickfords  faded  away  in  herds  for 
two  reasons.    One  was  better  lights. 

It  was  discovered  that  the  real  Mary  Pickford  had  the 
soul  of  a  great  actress  under  the  dangling  curls ;  and 
most  of  the  imitation  Marys  were  just  sappy.  They 
were  nothing  but  corkscrew  curls  to  their  backbones — 
and  beyond.    They  affected  baby  stares  and  canines. 

But  nevertheless, 
Mary  started  a  cult 
that  lasted  a  long 
time.  This  was,  in 
fact,    the    first    movie 


species. 
Came   Lillian   Gish 


'The  next  raging  sen- 
*■  sation  of  the  screen 
was  the  Lillian  Gish 
kind. 

She      didn't      really 
start  a  cult  like  Mary. 
But    she    started    a 
technique. 
Even  to  this  day,  I  very  rarely  see  a  big  emotional  pic- 
ture that  I  do  not  trace  back  some  of  the  stuff  to  this  or 
that  play  of  Lillian  Gish. 

That  futile  beating  of  the  hands  on  the  locked  door. 


in   SCREEN   GIRLS 


By  Harry  Carr 


That  spasmodic  clutching  of  the  throat. 

That  maimed  twitching  of  the  lips.  Perhaps  it 
unconscious  on  Miss  Murray's  part;  hut  the 
pitiful  movement  of  the  corners  of  her  mouth  as 
she  lav  broken  hearted  on  the  bed  in  "The  Merry 
Widow''  was  taken  directly  from  Lillian  Gish's 
death  scene  in  "Broken  Blossoms."  It  was  so 
like  it  that  I  half  expected  to  see  Dick  Barthelmess 
come  in,  dressed  in  Chinese  clothes. 

Some  girls  have  tried  to  copy  Lillian's   funny 
of  running  around  in  circles;  but  nobody  has 
ever  been  able  to  get  away  with  that  except  Lillian  her- 
self;  and  even  she  doesn't  always.     She  says  she  got  the 
idea  from  the  fact  that  animals,  when  overjoyed,  all  run 
around  in  furious  circles  to  show  their  joy. 

Lillian  did  not  start  a  cult  because  there  weren't  any- 
more Lillians. 

Now  that  I  think  of  it,  however,  I  observe  that  three 
of  the  most  popular 
women  ever  seen  on 
the  screen  have  had  no 
imitators.  They  stand 
alone. 

They  are  Pola  Negri, 
Gloria  Swanson  and 
Lillian  Gish. 

Oddly  enough,  it  hap- 
pens that  these  three 
are  devotedly  admired 
by  other  actresses.  The 
most  passionate  "fans" 
I  have  ever  known  are 
movie  girls  themselves. 
They     follow     Mary 


The  recent  popular  hits  of  the  screen  have  not  been 
scored  by  flappers,  says  Mr.  Carr. 

Witness  Irene  Rich  in  "Lady  Windermere's  Fan." 
And  Louise  Dresser  in  "The  Goose  Woman." 
And  Pauline    Frederick   in   "Slumbering   Fires." 
Audiences  today  want  acting. 


Pickford 
around    the 
street   and    step    on 
each  other's  feet  stand- 
ing in  the  lobbies  at  her  pre- 
views— just  like  other  girls. 

Three  Stars  With  No  Imitators 

They  are  little  Pola  Negri  gangs;  little  Swan- 
sons  gangs  and  Gish  gangs. 
They  burn  incense  before  one  or  the  other  of  these ; 

but  they  do  not  try  to  imitate  them. 
You  might  as  well  try  to  imitate  Yosemite  Valley  or  a 

storm  at  sea  as  Pola.     She  is  as  much  a  thing  apart  as 


the  smell  of  mountain  sage,  or   the  flash  of  sea  phos- 
phorus.    She  is  just  Pola;  that's  all. 

It  is  impossible  for  anyone  to  be  like  Gloria ;  because 
Gloria  is  a  strange  combination  of  the  exotic  with  the 
downright  practical.  Just  when  you  decide  that  Gloria 
is  a  cafeteria  cashier  stepping  out,  you  suddenly  change 
your  mind  and  decide  she  is  the  Queen  of  Sheba  come 
back  to  life.  No  one  knows  well  enough  where  one  be- 
gins and  the  other  ends  ever  to  make  as  much  as  an 
attempt  to  imitate  the  lady. 

Just  so,  nobody  knows  what  the  real  Lillian  Gish  be- 
hind the  technique  is  like,  well  enough  to  imitate  her. 
So  none  of  these  ever  created  a  cult. 
The    next    cults    that    came    along    were    the    Norma 
Shearers  and  the  Corinne  Griffiths.    They  brought  a  new- 
note.     The -aristocratic  air.     They   frankly  upstaged  us; 

they  ritzed  us.  They 
had  a  little  the  air 
of  "You  can  look ; 
but  mustn't  touch." 
And  how  we 
loved  it! 

The  Ritzy 
Cult 

They  were 
a     relief 
from    the 
P  o  1 1  y  a  n  n  a 
girls  who  tried  to 
look  like   Mary. 
These     Polly- 
anna     young 
ladies  were  per- 
petually making 
round     eyes    at 
the    world  —  oh 
so     wistfully. 
And     the  y 
thought    that 
{Continued     on 
page  90) 


<e^L£r 


41 


% 


Melbourne  Spurr 


42 


PAULINE  STARKE 

Next  to  be  seen  in  an  Elinor  Glyn  study  in  regal  passions,  "Love's  Blindness" 


.a 


J 


The  NATION 
of  the  Happy 

ENDING 

So  Ernest  Vajda  describes 
America 

By  Francis  L.  Perrett 


Hollywood  is  the  only  city  in  America  whets  kiss- 
is  properly  done. 

It  is  also  the  city  of  "too  many  too  beautiful  girls" ; 
they  {"all  on  one. 

American  life  makes  up  in  "rigor  and  enthusiasm 
what  it  lacks  in  sophistication  and  intrigue. 

American  women  dress  better  and  hair  mors  social 
ambition  than  the  women  of  any  other  nation,  but  they 
dont  know  liow  to  WEAR  their  clothes. 

The  most  interesting  woman  in  Hollywood  is  a  homely 
one.   (Unnamed) 

The  stage  perpetuates  the  author;  the  screen,  the  actor. 
If  movies  had  existed  in  Shakespeare's  time,  the  Bard  of 
n    wouldn't    be    known    today,    but    the   actors    and 
actresses  who  played  Romeo  and  Juliet,  Portia  and  Ham- 
let, would  have  been  immortalized  instead. 

WHOA!  Just  a  minute!     Shall   Ernest   Vajda  be 
shot  at  sunrise  for  heresy,  or  shall  he  be   feted 
in  the  drawing-rooms  of  fashionable  society   for 
his  "novel  view-point"? 


Ernest  Vajda 

Hollywood  hasn't  decided  yet,  but  it  is  still  getting  a 
tremendous  kick  out  of  the  opinions  of  Mr.  Vajda.  (Pro- 
nounced Voya — no  one  knows  why.) 

Mr.  Vajda  is  the  Hungarian  dramatist  who  set  Europe 
on  fire  not  so  long  ago  with  a  number  of  extremely  bril- 
liant plays.  "Fata  Morgana"  was  foremost  among  them. 
It  has  played  for  long  runs  in  most  American  citit> 
recently. 

Furthermore,  it  appears  that  the  classic  line — "I  used 
to  be  a  newspaper  man  once  myself" — isn't  confined  to 
the  United  States.    Mr.  Vajda  used  to  be  a  newspaper 
man  once  himself — he  tells  you — in  Budapest,  the  capi- 
tal of  Hungary.    Being  a  newspaper  man — 
or  journalist  as  he  calls  it — in  Hungary  is 
merely  another  way  of  saying  that  one  has 
starved  in  one's  day. 

On   to   Hollywood 

Ceveral  months  ago  Ernest  Vajda  came 
to  New  York  where  he  had  three  plays 
successfully  running  on  Broadway.  His 
idea  was  to  write  another,  one  particularly 
suited  to  American  life.  He  took  up  the 
study  of  English  and  progressed  rapidly. 
Meanwhile,  Brother  Victor,  his  business 
manager,  was  always  at  his  elbow.  Brother 
Victor  doesn't  write  plays.  But  he  does 
know  English. 

Paramount    had    purchased    the    picture 
rights  to  one  of  his  plays,   "Grounds  For 
Divorce."     Soon  after  his  arrival   in   Xew 
York,  Jesse  L.  Lasky  had  a  talk  with  him  at 
lunch.    Jesse  has  a  poker  face,  you  know, 
so  Mr.  Vajda  thought 
nothing  of  the  conver- 
sation.     It  was  just  a 
nice  social  chat. 

About  three  days 
later  Mr.  Lasky  re- 
quested that  Mr. 
(Cont'd    on    page    64) 


Ernest  Vajda, 
Betty  Bronson 
and  Ricardo 
Cortez  between 
scenes  of  Mr. 
Vajda's  "The 
Cat's    Pajamas" 


43 


H 


AVE  the  films  changed  in  the 
last    year?"    said    Irving 


Thalberg,  the  little  czar  of 
the  Metro-Goldwyn  organization,  re- 
peating my  question.  "I'll  say  they 
have.  The  photoplay  has  been  to- 
tally transformed  during  the  last 
twelve  months. 

"A  year  ago  our  best  stars,  direc- 
tors and  players  were  moving  along 
in  a  mass.  Today  a  few  stars,  directors  and 
players  are  galloping  ahead.  The  rest  of  the 
army  is  straggling  behind.  Feature  pictures  to- 
day are  really  feature  pictures,  with  better 
acting  and  better  direction  than  was  visible  any- 
where on  the  screen  a  year  ago.  And,  when  I 
say  acting,  I  mean  acting  all  the  way  thru  a 
picture,  to  the  smallest  role. 

"Audiences  are  no  longer  content  with  the 
average  program  picture  of  yesterday,  con- 
tinued Mr.  Thalberg,  in  paying  his  tribute  to 
the  present  tendency,  in  many  film  theaters,  to 
subordinate  the  film  to  cheap  vaudeville.  "That 
seems  to  me  a  confession  of  weakness  in  picture 
making,"  he  said.  "It  can  not  last.  It  is  just  a 
passing  incident,  an  attempt  to  substitute  some- 
thing a  theater  manager  can  get  easily  for 
something  he  cant  get.  Pictures  are  here  to 
stay.     Nothing  can  stop  their  progress. 


FLASH 


By  F.  J.  S. 


We  hasten  to  add  Miss  Garbo  to  our  list. 
Since  Pola  Negri  flashed  her  smile  over  Louis 
XVs  boudoir  screen,  the  films  have  had  no  one 
so  vivid  as  Miss  Garbo  promises  to  be. 


Thalberg's  belief  in  the  progress  of  pictures 
seems  to  he  proved,  on  Broadway  at  least,  by 
the  presence  at  this  writing  of  a  number  of 
highly  successful  features:  "The  Big  Parade, 
"Stella  Dallas,"  "The  Black  Pirate,"  "Ben-Hur" 
and    "The    Merry    Widow." 

The  weakness  of  Rex 
Ingram's  "Mare  Nostrum" 
is  another  jtroof  of  Thal- 
berg's  argument .  The 
Ibanez  tragedy  seems  four 
or  five  years  behind  current 
productions  in  directorial 
technique.  Yet  Ingram  has 
Ipeen  away  from  America 
hardly  two  years.  In  those 
two  years,  however,  the 
cinema  has  burst  its  bonds, 
as    Mr.    Thalberg    contends. 


Again  the  American  films  seem  to  have  safely 
disposed  of  the  German  menace.  Once  before 
German  productions  frightened  our  native 
screen  strongholds.  We  can  recall  when 
Hollywood  threatened  to  arm  itself  against 
"Passion,"  "Dr.  Cahgart"  and  kindred  decadent 
films. 

However,  screendom  solved  the  problem  by 
engaging  Pola  Negri  and  Herr  Lubitsch. 

Now,  with  another  German  advance  on  the 
horizon,  our  film  fathers  have  signed  Emil 
Jannings,  Lya  de  Putti,  F.  W.  Murnau  and 
other  threatening  figures  of  celluloidia. 

Herr  Jannings  will  be  flaying  Bebe  Daniels' 
father  before  long,  Miss  de  Putti  will  be  getting 
engaged  to  Rudolph  Valentino,  and  Murnau  will 
be  directing  Tom  Mix.  Screendom  is  like  the 
ancient  Chinese  empire.  It  swallows  uj>  its 
enemies  and  never  loses  its  bland  and  guileless 
smile. 


Last  month  we  named  the 
sex  best  sellers  of  the 
screen.  At  that  moment  of 
mental  stress  we  had  not  ob- 
served Greta  Garbo,  who 
makes  her  American  debut 
in  "The  Torrent,"  by  the 
Spanish  Elinor  Glyn,  Senor 
Ibanez. 


Douglas    MacLean 
An  Impression  by  Major 


Last  month  we  modestly 
mentioned  the  fact  that,  in 
the  August,  1925,  Classic,  we 
had  selected  twenty  pictures 
out  of  the  years  950  produc- 
tions as  the  probable  hits  for 
the  next  twelve  months.  Out 
of  the  twenty  selections,  we 
hit  ten  positive  hits,  "La 
Boheme,"  having  romped 
home  a  box-ofnce  success 
since  last  month.  Thus  our 
guessing  average  advanced 
to  .500.  We  missed  just  one 
hit  of  the  year,  "Stella 
Dallas." 

For  next  year,  we  re  go- 
ings to  select  twenty-five,  of 
which  fourteen  are  here 
given : 

James  Cruze's  "Old  Iron- 
sides. 


44 


BACKS 


About  Pictures  and  People 


Clarence  Brown  s  "The  Trail  of    98. 

Von  Stroheim's   "The   Wedding  March." 

"Old  Heidelberg,"  if  Ramon  Novarro  plays 
the  lead  and  if  John  Robertson  directs  it. 

Harold  Lloyds  "For  Heavens  Sake. 

John  Barrymore's  "Don  Juan. 

Lillian  Gish's  "The  Scarlet  Letter." 

Greta  Garbo's  next,  "The  Temptress. 

Chaplin's  circus  comedy. 

D.  W.  Griffith's  "The  Sorrows  of  Satan." 

Emil  Jannings'  "Variety,"  made  in  Berlin. 

Henry   King's   "Winning  of   Barbara   Worth, 
with  Ronald  Colman  and  Vilma  Banky. 

John    Gilbert's    "Bardelys    the    Magnificent." 

Fritz    Lang's    German    special,    "Metropolis. 

We'll  add  the  rest  next  month — when  the 
next  special  of  King  Vidor,  whatever  it  is,  will 
be  included. 


tion     of     an     experienced     put- 
wearer,  Sam  Wood. 

One     thing     is     proved    clearly  :     it 
isn't  possible  to  turn  out  players  this 
way.      The    first    class    of    the    school 
reveals    one    boy   of    promise.    Buddy 
Rogers.        But     almost     any     set     of 
twenty    aspirants    selected    with    any 
sort     of     care     would     disclose     one 
possibility. 
The  truth  is,  as  we  have  said,  you  cant  make 
actors   this   way.      The    right    sort   of   experience 
can  only  be  gained  in  actual  studio  work.     True, 
the  students  are  taught  etiquette,  proper  deport- 
ment,  swimming,   fencing,   dancing,    how    to   fall 
gracefully,  and  other  of  the  finer  arts. 

We  cant  help  being  reminded  of  the  remark 
made  by  Richard  Dix  when  he  glanced  over  the 
school's  graduation  program.  "Why,  I  wouldn  t 
have  lasted  a  week  at  the  school,  he  sighed, 
can  swim  but  I  cant  fall  down  with  any  sort  of 
grace.  I  cant  fence,  I'm  a  rotten  dancer  and 
what  I  dont  know  about  etiquette  would  nil  a 
book.  I  certainly  was  lucky  to  land  in  pictures 
before  they  started  schools  ! 


We  base  our  selections,  as  you  may  note, 
largely  uj>on  directors'  ■past  performances. 
Making  a  Jist  of  possible  hits,  consequently, 
gives  an  interesting  insight  into  the  shortage  of 
good  directors.  It  is  possible  almost  to  name 
them  on  the  fingers  of  your  hands. 

Of  native  directors,  we 
would  name  King  Vidor,  D. 
W.  Griffith,  Henry  King, 
John  Robertson,  James 
Cruze,  Clarence  Brown, 
Malcolm  St.  Claire  and  pos- 
sibly Gregory  La  Cava. 

Of  the  foreign  contingent: 
Erich  von  Stroheim,  Ernst 
Lubitsch,  F.  W.  Murnau, 
Fritz  Lang  and  possibly 
Ewald  Dupont. 

Gone  are  the  Dwans  and 
Neilans.  The  list  seems  to 
shrink  each  year. 


Now  that  the  first  pupils 
of  the  Paramount  School 
have  been  graduated,  it  is 
possible  to  take  stock  of 
actual  results.  We  have 
even  viewed  a  complete 
motion  picture  play  made  by 
the  students  under  the  direc- 


Since  this  Page  is  largely  devoted  to  Predic- 
tions,  let's   venture   another. 

John  Robertson  has  just  joined  the  Metro- 
Goldwyn  directorial  staff.  Robertson  has  made 
at  least  two  pictures  hovering  on  the  edge  of 
greatness:  "Sentimental  Tommy'  and  The 
Enchanted  Cottage!'  Thalberg,  who  helped  lift 
the  promising  King  Vidor  to  Practical  leadership 
of  our  films,  will  be  able  to  bring  out  the  best  in 
Robertson. 

Robertson  is  one  of  our 
best  screen  stylists.  He  has 
charm,  singular  appreciation 
of  beauty  and  a  whimsical 
imagination.  He  has  been 
handicapped  by  having  to 
make  star  Pictures.  Now  he 
is  going  to  do  something 
really  big — or  we  11  miss  our 
guess. 


John   Gilbert 
An  Impression  by  Major 


'Here  is  a  bit  of  fresh  com- 
ment by  George  Bernard 
Shaw  upon  the  movies  : 

The  danger  of  the  cin- 
ema is  not  the  danger  of 
immorality  but  the  danger 
of  morality.  People  like  my- 
self who  frequent  the  movies 
testify  to  their  desolating, 
romantic  morality.  There 
is  no  criticism  of  morals  by 
(Continued  on  Page  70) 

45 


Left: 
Lillian  Gish  being 
fitted  with  a  set  of 
stocks  for  a  moment 
of  "The  Scarlet 
L  e  1 1  e  r."  Director 
Victor  Seastrom  is 
giving  Miss  Gish  and 
Lars  Hanson  final  in- 
structions for  their 
scene  in  Nathaniel 
Hawthorne's     famous 

story 


Belotv: 
Bill  Hart,  Jr.,  snapped  for  The  Classic  at 
Thomasina  Mix's  party,  pictured  on  the  opposite 
page.  The  glint  in  the  eyes  of  Bill,  St.,  is  re- 
flected in  the  son's  eyes.  Perhaps  Bill,  Jr.,  may 
grow  up  to  be  a  screen  two-gun  man,  too 
l'acific  &  Atlantic 


Just  a  playful  moment 
between  scenes  of 
Metro  -  Goldwyn's 
"Monte  Carlo,"  di- 
rected by  Christy 
C  a  b  a  n  n  e.  Evelyn 
Atkinson,  otherwise 
"Miss  Seattle,"  is  sup- 
porting   Diana    Morris 


46 


J 


Oun 
OWN 

NEWS 

CAMERA 


Charlie  Chaplin's  new  comedy,  "The 
Circus,"  is  going  to  bring  a  new  discovery 
to  the  screen.  She  is  Merna  Kennedy,  and 
she  is  now  playing  the  pretty  equestrienne 
of  the  comedy 


Thomasina  Mix, 
Tom's  little  daugh- 
ter, gave  a  birthday 
party  the  other  day 
in  Beverly  Hills 
and  all  juvenile 
Hollywood  was  in- 
vited. Thomasina 
may  be  observed 
acting  as  hostess  on 
the  pony,  while  Bill 
Hart,  Jr.,  is  holding 
the  near-bronco's 
head 


Pacific  &  Atlantic 


47 


The  CLASSIC'S  Own  News  Camera 


International  Newsrecl 


Gertrude  Olfnstead  and  Director  Robert  Leonard  have 

announced  their  engagement.    Mr.  Leonard,  you  know, 

is  the  former  husband  of  Mae  Murray 


Lya  de  Putti,  the  subject  of  an  in- 
teresting interview  in  this  issue  of 
The  Classic,  arrives  in  New  York 
from  Berlin.  The  pretty  Hungarian 
is  to  play  in  Famous  Players  pictures 
and  her  debut  will  be  in  D.  W. 
Griffith's  "Sorrows  of  Satan" 


International  New 


Farina,    the    dusky    star    of    the    "Our    Gang 

comedies,    is    growing    up.     Here    he    is,    sport 

sweater,  dapper  cane,  yellow  shoes  and  all 


48 


___________ 


f 


CORINNE  GRIFFITH 

Soon  to  be  seen  as  the  heroine  of  "Mile.  Modiste,"  once  sung  so  successfully   by   Fritzi    Scheff 


■  vilie 


49 


The  Celluloid  Critic 


THE  cinema  ides  of  March  have 
come  and  gone,  leaving  the  laurel 
wreath  more  than  slightly  askew  on 
the  brow  of  the  silverscreen  Duse, 
Lillian  Gish. 

The  histrionic  talents  of  Miss  Gish 
have  come  to  be  a  sort  of  film  tradition. 
We  have  been  told  of  her  genius  by 
everyone  from  George  Jean  Nathan 
(not  recently,  however)  to  Joseph  Her- 
gesheimer.  She  was  the  lily  maid  who 
walked  the  lonely  heights. 

At  various  times  I  have  been  im- 
pressed with  the  Gish  abilities.  How- 
ever, they  have  never  dazzled  me  since 
Miss  Gish  departed  from  the  Mamar- 
oneck  plantation  of  Marse  Griffith.  I 
looked  upon  both  "The  White  Sister" 
and  "Romola"  as  mediocre  tests  of 
genius. 

It  remained  for  "La  Boheme,"  built  from  the  Henri 
Murger  story  from  which  the  Puccini  opera  was  con- 
structed, to  disillusion  me  completely.  Not,  mind  you, 
that  "La  Boheme"  wont  be  a  box-office  smash.  But  it 
discloses  the  limitations  of  La  Gish  in  ghastly  fashion. 

Lillian  Gish's  Limitations 

IVAurger,  you  know,  was  the  first  to  write  of  the  Latin 
Quarter's  glamours.  Du  Maurier  and  others  followed, 
but  Murger  was  the  pioneer  in  exploiting  Bohemia,  with 
its  amours,  its  starving  artists,  its  beautiful  models  and 
its  gay  abandon. 

In  "La  Boheme"  Mimi  loves  the  poet,  Rodolphc,  she 
sacrifices  everything  for  her  love  and  she  dies — a  Camille 
of  the  Paris  garrets. 

My  complaint  about  Miss  Gish  is  that  she  does  not  fill 
the  role  of  Mimi.  She  is  pathetic,  she  is  wistful,  she  is 
a  Broken  Blossoms  waif,  but  she  is  never  the  little  sister 
of  the  four  Bohemians — Rodolphe,  Coline,  Marcel  and 
Schannard — who  gave  her  all  for  love.  She  has  good 
moments — Miss  Gish  is  too  good  a  technician  to  fail 
utterly — but  she  is  never  Mimi.  The  performance  sharply 
defines  her  limita- 
tions. She  can  play 
suffering,  broken 
heroines — but  genius 
seems  to  me  some- 
thing else  again. 

The  actual  honors 
of  "La  Boheme"  are 
captured  by  John 
Gilbert.  Here  is  an 
actor  with  three 
astonishing  charac- 
terizations in  a  row : 
the  prince  of  "The 
Merry  Widow,"  the 
doughboy  of  "The 
Big  Parade,"  and 
now  the  poet  of  "La 
Boheme."  Any  one 
of  these  would  make 
an  unknown  into  a 
star.  I  am  not  sure 
but  that  his  Rodolphe 
is  the  best  of  the  trio. 
It  has  more  breadth, 
swing  and  surety.    It 


Ball 


Frederick    James    Smith 


Adolphe  Menjou  and  Florence  Vidor  in  "The  Grand  Duchess 
and  the  Waiter" 


is  a  corking  performance.  Renee  Adoree 
is  a  delightful  Musetta  and  George  Has- 
sell,  ex-musical  comedy  comedian,  makes 
the  role  of  Schaunard  stand  out.  But 
the  major  credit  of  "La  Boheme"  must 
go  to  King  Vidor,  the  director. 

Vidor  has  now  pretty  definitely  proved 
himself  the  best  of  our  native  directors. 
He  injects  a  spirit  and  movement  into 
"La  Boheme."  The  tragic  romance 
has  both  color  and  verve.  Music 
lovers  are  likely  to  quarrel  with  the  cellu- 
loid "La  Boheme"  because  it  fumbles 
favorite  situations  of  the  opera.  This 
can  be  laid  to  the  scenarist,  Fred  de 
Gresac,  who  doubtless  was  endeavoring 
to  fit  the  romance  to  the  milk-and-water 
way  Miss  Gish  intended  to  interpret 
Mimi.  This  is  not  the  fault  of  Vidor, 
who  took  his  materials  and  achieved 
admirable  results. 

"La  Boheme"  will  doubtless  be  a  popular  picture.  But 
I  can  not  forget  the  Broadway  premiere  giggles  that 
greeted  Miss  Gish  when,  as  Mimi,  she  fled  thru  the 
woods  of  the  Bois  de  Boulogne  on  that  gay  spring  day 
with  her  passionate  Rodolphe  in  pursuit.  Mimi  was  just 
a  New  England  schoolma'am  fleeting  with  her  histrionic 
traditions.  Miss  Gish  will  have  to  do  a  lot  of  cinematic 
suffering  before  I  can  forget  that. 

Greta  Garbo  Arrives 

\A/hile  it  is  painful  to  detail  the  eclipse  of  Miss  Gish, 
"it  is  pleasant  to  report  the  appearance  of  a  new 
luminary  on  our  screen  horizon.  The  newcomer  is  a 
somber-eyed  Norsewoman,  one  Greta  Garbo,  who  seems 
to  me  to  have  more  possibilities  than  anyone  since  the 
Pola  Negri  of  "Passion."  This  Garbo  has  a  fine  abandon, 
a  splendid  fire,  a  surprising  sense  of  characterization. 
She  isn't  afraid  to  act.  That  she  was  able  to  stand  out 
of  an  inferior  story,  poorly  directed,  is  all  the  more  to 
her  credit. 
Miss  Garbo  makes  her  debut  in  Vicente  Blasco  Ibanez's 

"Torrent,"  directed 
by  Monta  Bell.  The 
Ibanez  story  is  a 
cumbersome  tale,  of 
a  Spanish  girl  tossed 
aside  by  a  young 
Castilian  dandy.  She 
goes  away,  becomes 
a  great  singer  and 
comes  back  to  the 
little  town,  drawn  by 
the  old  love.  But,  be- 
cause of  his  mother, 
Don  Rafael  Bridl  re- 
pulses her  again  and 
she  goes  back  to  her 
footlights  and  her 
high  notes.  So  La 
Brunno  goes  on  her 
glittering  way  and 
Don  Rafael  putters 
about  his  fireside  in 
carpet  slippers,  sigh- 
ing for  his  lost  ro- 
mance. Ibanez  points 
the     un-Haysian 


50 


Frederick  James  Smith   Reviews  the  New  Photoplays 


moral    that    one    should    seize    one'i 
moment  of  happiness  when  and 

where  one   can. 

The     [bafiez     story 
full  of  claptrap,   includ 
|H|     the     dam     that 
burst.-    without    hav 
anything    in 
ular     to     do 
with     the      story. 
Monta     Hell    lias 
ed    it    into 
film   form   with- 
out   taking    any 
apparent  interest. 
i  ust  a  medi- 
ocre production. 

Still,    as    I    have 
said,     it     has     Miss 
t  iarbo   as    La    Brunno 
Here  is  a  genuine  spark. 
Miss  Garbo  ought  to  burn 
up  the  screen  with  any  sort  of 
logical     role.      Ricardo 
Cortez   is   pretty    colorless 
as  the  drab  Don  Rafael. 

"The     Torrent"     wasn't 
the   only    Ibafiez   novel   to 

arrive  during  March.  "Mare  Nostrum,"  which  Rex 
Ingram  has  been  building  casually  between  sun-baths  on 
the  beach  at  Nice,  reached  Broadway  at  last. 

Another  Ibafiez  Story 

"Mare  Nostrum"  unfortunately  came  along  about  six 
years  too  late.  Translated,  "Mare  Nostrum"  means 
"Our  Sea,"  the  sea  in  question  being  the  Mediterranean. 
Its  story  deals  with  a  young  Spanish  sea-captain  who  for- 
gets his  wife  and  his  son  when  he  falls  in  love  with  a 
beautiful  German  spy.  He  becomes  a  tool  of  the  German 
U-boats  and,  when  he  comes  to  his  senses,  he  finds  that 
he  has  un- 
wittingly 
helped  kill  his 
own  son.  The 
spy  comes  to 
her  death  be- 
fore the  rifles 
of  a  French 
firing  squad 
and  Don  Este- 
ban  Ferragut 
himself  dies 
when  his  ves- 
sel  is  tor- 
pedoed by  a 
German  sub- 
marine. 

The  tragedy 
is  studded 
with  the  old 
war  hokum. 
Once  again 
German  spies 
rush  about 
with  satchels 
of  germs.  The 
story  itself  is 
pretty     in- 


Greta   Garbo   and   Ricardo   Cortez  in   Ibanez's   "Torrent" 


Lillian   Gish   and   John   Gilbert   in 
"La  Boheme" 


ferioi       [baflei  arrived  in  the  midst 
"i  tin-  war  hysteria,  ai 

third    rate     novelist      who 

wanted  to  achieve  pub- 
licity and  to  tone  his 
neutral  homeland  int.. 
the  world  war.  With 
the  return  of 
sanity,  it  is  pos- 
sible to  view 
Ibafiez  clearly. 
This  is,  of 
course,  beside 
the  point.  Our 
case  against 
"Mare  Nostrum" 
concerns  its  un- 
healthy note.  There 
is  an  extended  love 
scene  before  a  glass 
tank  in  an  Italian  aqua- 
rium. Here  the  passion  of 
the  heroine  is  awakened  by 
her  observance  of  the  way 
live  crabs  are  fed  to  an 
octopus.  The  heroine 
thruout  the  story  borders 
on  the  edge  of  being  a  case 
for  Dr.  Kraft-Ebbing.  The  director,  Mr.  Ingram,  takes 
a  left-handed  swing  at  religion  by  playing  upon  an 
ignorant  and  drunken  servant  and  his  faith  in  sacred 
emblems. 

I  credit  most  of  the  unsavory  nature  of  the  "Mare 
Nostrum"  to  Ingram.  I  doubt  if  any  picture  has  ever 
nauseated  me  as  did  this  production.  I  dont  think  the 
screen  is  the  place  for  even  a  long-distance  study  in  per- 
versions. True,  there  are  several  interludes  in  "Mare 
Nostrum"  that  are  very  well  done.  One  comes  when 
the  spy,  Frcya  Talberg,  faces  the  firing  squad.  The 
other   develops   in   the   bowels   of   the   German   U-boat. 

But  these  are 
off  balanced 
by  one  of  the 
worst  con- 
tinuities that 
has  ever 
reached  the 
screen  —  and 
by  Ingram's 
general  insist- 
ence  upon 
harping  upon 
a  n  unhealthy 
note. 

Miss  Terry- 
plays  Freya 
Talberg  rather 
well.  She  far 
overtops  An- 
tonio Moreno, 
who  plays 
Don  Esteban 
Ferragut.  I  n 
fact,  I  cannot 
u  n  d  e  rstand 
how  Moreno 
(Cont'd  on 
page  70) 


Antonio   Moreno  and  Alice  Terry 
in  "Mare  Nostrum" 


51 


The  NORTHERN  STAR 


By  Alice  L.  Tildesley 


"It  amazes  me," 
says  Greta  Garbo, 
"that  these  Amer- 
ican girls  can 
manage  so  many 
things  at  one 
time  —  pictures, 
society,  love.  Me 
— little  Sweden 
girl — can  do  one 
thing  on-ly. 
Some  day  I  shall 
leave  pictures  and 
give  all  to  this 
love!" 


Russell  Ball 
mmaa 


Sweden    girl- 


YOU  have  not  seen  Greta  Garbo  unless  you  have  seen 
her  in  a  storm. 
True  daughter  of  the  sea-kings — tall,  white- 
browed,  and  most  divinely  fair — her  face  lifted  to  the 
sweep  of  the  rain,  with  a  sort  of  exultation,  water  drip- 
ping from  her  yellow  curls,  lashes  impearled,  a  strange 
light  in  her  blue,  blue  eyes. 

But  you  may  not  walk  with  her  then.     She  walks  in  a 
storm  "a-lone." 

She  Loves  the  Sea 

c  he  lives  by  the  ocean,  and  spends  all  her  time  away 
"^  from  the  studio  beside  it. 

"I  love  the  sea,  yes.  It  understands  me,  I  think.  It 
is  like  the  Old  World,  it  is  not  happy,  it  is  always  yearn- 
ing for  something  that  it  cannot  have.  .  .  .  Here  you 
are  all  so  gay — you  laugh — you  talk,  always  very  high — 
you  run  about — you  live  in  lights  and  music,  this  jazz 
music — you  are  never  still 

"Me — poor  little 
come  from  a  leetle  con-tree  where  all 
things  do  not  make  for  happiness. 
You — you  would  go  mad  if  you  live 
there.  No  jazz — no  party — always 
quiet,  yes?    What  would  you  do? 

"American  girls,  they  are  wonder- 
ful !  They  can  do  everything.  They 
ride,  they  dance,  they  play  the  games, 
they  drive  the  car,  they  makt  their 
pictures,  they  run  to  parties,  and — 
they  fall  in  love.  So-o,  is  not  that 
am-azing? 

"Me — poor  little  Sweden  girl — can 
do  on-ly  one  thing  at  a  time.  Now, 
for  my  new  picture  I  must  learn  to 
dance  the  tango  and  to  rkle  the  horse." 
She  looked  down  at  her  trim  riding 
suit,  ruefully.  She  had  just  come  in 
from  riding  the  horse,  and  her  strong, 
slim  hands  turned  her  black  tricorne 
hat,  slowly. 

"That  horse !  He  is  so  beeg.  They 
bring  him  to  me,  and  I  look  at  him 
and  he  look  at  me.  'You  are  so  beeg, 
I  will  never  get  on  you,'  I  tell  him. 
They  put  me  on  him  and  he  stands 
still.  'How  do  you  make  him  go?'  I 
ask.  American  girls,  you  see,  they  do 
not  have  to  ask.  They  know.  Al- 
ways they  know. 

"A  Strange  Con-tree" 

"It  is  a  ver'  strange  con-tree  to  me. 
But  nize.  You  are  all  so  happy. 
Everybody  smiles  and  makes  a  joyful 
noise.  I  hear  mothers  say  to  their 
children:  'Are  you  happy,  dear?' 
That  is  what  is  to  you  important,  yes. 
Happiness.  In  the  Old  World,  we  do 
not  think  of  happiness  at  all." 

A  moody  young  thing,  Greta  Garbo, 
with  the  true  temperament  of  the 
artist  and  no  idea  that  the  present  fad 
in  Hollywood  is  to  be  "just  folks." 


52 


The 
Screen's 
Newest 
Meteor  Is 
a  Moody 
Daughter 
of  Sweden 


"T 


MIC. 


she 


suddenly,   reaching 
the    package    of 

rs   that    had    just 

thrust    into    her 

dressing-room,   "what 

is    tan    mail?      1 
do     not     understand. 
These     people, 
win  do  they  write  to 
\\  h)    do    they 
want      my      picture? 
They    do    not    know 
me.     In   Sweden,   we 
do    not    have    letters 
from     people     we     do 
not    know.      Tell    me. 
tell  me   what    1    must 
dor- 
She  is  so  helpless — 
90    charmingly    help- 

--when  she 
widen.-  those  almond- 
shaped    eyes    at    you  ! 

e  has  the  longest 
lashes  in  the  world  !" 
sighs  an  enamoured 
youth.) 

Seafaring   Family 

Che  does  not  come 
of  a  theatrical 
family.  Indeed,  so 
far  as  Greta  know-. 
not  one  of  the  Gar- 
bos  before  her  ever 
trod  the  boards  on 
any  stage.  They  were 
seafaring  men,  who 
must,  like  Greta,  have 
loved  "the  feel  of  the 
wind    in    their    hair." 

Greta  went  to  dramatic  school  in  her  native  city  of 
Stockholm.  Why?  She  cannot  tell  you,  altho  she  has 
learned  much  English  since  that  fatal  day  when  she 
appeared  on  the  set  of  "The  Torrent"  with  her  first 
American  word — and  so  proud  of  it — ''Hell.'" 

The  dramatic  school,  like  all  such  schools  in  Sweden, 
put  on  an  Ibsen  play.  Greta  was  cast  in  a  small  role. 
W  hile  she  waited  in  the  wings  for  her  cue,  she  could  see 
a  shadow  on  the  wall  back  of  the  boxes.  It  looked  like 
the  shadow  of  a  giant. 

"That's  Mauritz  Stiller !"  one  of  the  other  players 
hissed  in  her  ear. 

But  Greta  thought  mure  of  what  she  would  do  on  the 
stage  than  of  those  who  might  be  watching  her.  She  gave 
all  she  had  to  give.     The  tall  man  standing  in  the  door 


Ruth  Harriet  l.nuise 

Greta  Garbo  has  corn-colored  hair  and  somber  blue  eyes.     She  is  naive,  oblivious  yet 
of  her  success.     And  she  is  not  yet  twenty 


of  the  box  was  forgotten.  .    .   .     Until  the  next  day  when 
Greta  Garbo  was  summoned  to  his  office. 

In  Swedish  Films 

Drkskntly   the  school  was  electrified  at   the  announce- 
ment that  Mauritz  Stiller — the  great  Mauritz  Stiller — 
had  made  little  Greta  Garbo  the  ingenue  lead  in  "Gdsta 
Borling's  Saga." 

So  young  she  is — not  twenty — half-woman,  half-child. 
Naive.  Oblivious  of  the  sensation  of  her  passing.  Greta 
alone  fails  to  note  that  most  of  the  men  on  the  lot  have 
found  something  to  do  on  Stage  One  when  Greta  is 
called  there,  and  that  they  stay  there  long  after  that  some- 
thing is  done. 

(  Continued  on  page  71 ) 


53 


Manuel,  Paris 


Sessue  Hayakawa  has  just  returned  to  the  New  York  speaking 
stage  after  four  years  abroad.     He  may  return  to  the  screen 


IT  has  been  said  that,  when  a  tree  falls  in  the  absolute 
solitude  of  a  forest,  it  makes  no  sound.  And  a  sup- 
position such  as  this  undoubtedly  planted  the  devas- 
tating thought  in  the  human  brain  that  nothing  we  do  is 
important  unless  it  is  seen  or  heard  by  someone  else. 

When  we  are  very  small  and  rock  over  backwards  in  a 
rocking-chair,  we  cast  a  canny 
eye  about  to  see  whether  or  not 
mother  is  about  before  we  be- 
gin the  first  blood-curdling  yell. 
If  she  is  not  in  sight,  and  not 
in  hearing  distance,  we  get  up 
and  try  it  all  over  again.  As 
we  grow  older,  we  may  begin 
to  paint  what  we  honestly  be- 
lieve to  be  a  masterpiece.  And 
when  a  careless  circle  of  friends 
shouts  "raspberries,"  we  pre- 
tend we  were  only  fooling  all  along 
and  take  up  stenography. 

Eternal  Longing 

If  the  friends  do  happen  to  find  the 
painting  good,  our  desire  for 
praise  becomes  insatiable.  We  want 
the  critics,  the  world,  to  give  us  their 
attention,  too.  The  streets  of  New 
York,  St.  Louis  and  points  west 
may  be  filled  with  pretty  girls,  and 
we  may  know  it,  but  the  big  thrill 
doesn't  come  to  us  until  some  dusty 
English    lecturer    .who    has    never 


Old 

PICTURES 
In  New 

FRAMES 


looked  into  anything  except  thru  a  telescope, 
tells  us  that  American  women  are  the  prettiest 
women  in  the  world. 

Fortune-tellers  are  swamped  by  intelligent 
men  and  women  waiting  to  hear,  "You're  very 
sensitive,  aren't  you,  dearie?  And  you  brood 
too  much." 

The  docks  are  crowded  with  reporters  waiting 

to  ask  visiting  celebrities   who  have  never  set 

eyes  on  us  before  what  they  think  of  us.    Every 

now  and  then  a  prodigal  son  returns  to  the  old 

home  town  after  a  few  years'  stay  in  Paris  or 

London.    And  then  how  we  rush  to  ask,  because 

we  feel  pretty  sure  that  he,  knowing  the  native 

pulse,  will  find  it  in  his  heart  to  approve  of  us. 

Just  recently  Sessue  Hayakawa  landed  in  the 

United  States  after  three  or  four  years  abroad. 

He  has  been  touring  England  in  a  play  by  the 

late  William  Archer,  the  author  of  "The  Green 

Goddess,"   with  considerable  success.     He  has 

been  making  moving  pictures  in  France  with  a  French 

company.     "La  Bataille"  is  the  most  successful  one.     I 

have  proof  of  his  popularity  there,  for  one  night  when  I 

visited    that    ridiculously    expensive    and    aloof    resort, 

Chariot's  Rendezvous,  to  watch  Beatrice  Lille,  Gertrude 

Lawrence,  and  Jack  Buchanan  disport  before  the  merry 

villagers,    I    noticed    that    the    attentions    of 

the    entire    company    were    turned    toward 

the    enigmatic    Mr.    Hayakawa.      He    even 

had    songs    sung    in    his    direction.      That's 

fame. 


Hayakawa  decried  the  modern 
tendency  to  standardize  every- 
thing. Clothes,  houses,  even 
whole  towns  are  exactly  alike 
these  days 


54 


Screen  Dramas 
are  Bigger  and 
More  Expen- 
sive, says  Sessue 
Hayakawa,  but 
They  are  Not 
Different 

By 

Sara  Redway 


Mk.  HAYAKAWA  is  playing  in 
'"'  "The  Love  City"  at  present 
and  later,  I  hope,  he  intends  to 
start  west  to  make  more  pic- 
tures. And  he,  being  an  old 
hand  at  the  picture  business, 
must  surely,  I  thought,  be 
amazed  at  the  progress  made  by 
them  in  the  last  few  years. 

"Well,  what  do  you  think  of 

all    our    fine    new    movies?"    I 

asked,   "  'The    Big    Parade,' 

Stella     Dallas,'     'The     Merry 

Witlow, '  to  only  name  a  few." 

"Very  nice,  very,  very  nice," 
answered  the  imperturbable  Mr. 
Hayakawa,  "but  not  so  very 
different  from  anything  that  has 
been  done  before.  After  all,  the 
ideas  are  not  new  nor  startling." 

"But  the  productions  are 
different,"  I  protested. 

"Yes,  they  are  bigger  and 
more  expensive  than  they  used 
to  be.  But  to  make  my  meaning 
clear,  please  do  not  think  that  I 
take  an  aloof  and  haughty  tone 
of  these  undoubtedly  fine  pic- 
tures. I  merely  say  they  are 
not  different.     After  all,  there 

are  not  a  great  many  plots  in  the  world.  There  is  always 
a  heroine,  a  hero,  a  villain.  There  is  always  the  struggle 
between  good  and  evil.  The  hero  may  not  be  a  person,  it 
may  be  a  situation  ;  the  villain  may  be  a  war,  or  some  form 
of  treachery,  but  the  idea  of  the  conflict  must  be  present. 

Shakespeare  and  the  Danes 

'' V  EARS  ago.  when  Shakespeare  was  writing  his  immortal 
plays,  he  wrote  them  not  so  much  for  everyone  as  for 
a  selected  few.  The  queen  and  the  court  wanted  some- 
thing they  alone  could  understand  and  appreciate,  some- 
thing that  the  common  mind  would  find  tiresome  or 
baffling. 

"So  his  plays  were  not  written  to  make  money  by  get- 
ting it  from  the  multitude ;  they  were  not  written  to  please 
all  of  England,  they  were  written  to  please  a  chosen  few. 

"The  thing  then  was  to  have  something  that  no  one 
else  had.  A  house  that  was  different ;  a  gown  made  solely 
for  you ;  a  bit  of  music  or  a  poem  written  for  you  and 
to  you. 

"But  now  that  is  all  gone.     Everyone  now  must  be  like 


Muhkin 


Sessue  Hayakawa  believes  that  to  centralize  the  making   of  pictures  in  one 
place,  as  Hollywood,  is  dangerous.     To  form  a  community  is  death,  he  says 


everyone  else.  To  wear  a  long  dress  when  a  short  dress 
is  in  vogue  is  a  sacrilege,  all  tastes  must  be  alike.  A  man 
will  say,  'I  wish  I  had  a  house  like  So  and  SoY  ;  he  doesn't 
think  of  saying,  T  wish  I  had  my  house  to  my  own  taste 
and  of  my  own  design.'  With  the  result  that  many  of 
our  cities  look  as  tho  they  were  scattered  with  row 
after  row  of  match  boxes,  all  alike,  all  tiresome.  You 
find  your  way  to  your  house  by  its  number,  not  because 
it  is  different  in  design. 

"Before  the  war  in  France,  there  was  much  more  in- 
dividuality. Now  with  the  new  houses  being  built,  the 
reconstruction  going  on,  the  match  boxes  are  creeping  in 
everywhere. 

The  Match  Box  Rush 

'The  reason  for  this  is  simple.  French  taste  has  not 
changed,  but  the  French  are  suddenly  forced  to  face 
the  world  commercially.  They  have  not  time  to  play  with 
ideas  any  longer,  they  must  get  out  and  hustle.  And  to 
compete  with  the  rest  of  the  world  they  must  hurry,  hurry. 
(  Continued  on  page  78) 


55 


--         — -..  .   - *m»  it„i^ 


CAME 
SPRING! 


These  are  the  days  when  a  young  man's  fancy  turns  lightly  to 
the  golf-links  and  the  tennis-court.  Screen  folks  are  just  like 
everyone  else.  Besides,  they  have  to  be  systematic  about  their 
exercise  in  order  to  keep  in  trim.  Ramon  Novarro  (upper  left) 
likes  tennis  best — and  he  plays  a  scintillating  game.  Eddie 
Burns  (center)  is  a  fast  tennis-player,  too.  Rudolph  Valentino 
(left)  likes  boxing — and  finds  it  the  most  satisfactory  exercise 
to   protect   him   from    that   dread    enemy    of   the    cinema   star, 

avoirdupois 


56 


Tennis  and  Golf 

Are  the  Favorite 

Recreations  of 

the  Stars 


The  gent  on  the  fly- 
ing rings?  No  other 
than  John  Roche 
(above),  who  plays 
wicked  lounge 
lizards  so  well.  All 
of  which  shows  you 
never  can  tell 


Despite  the  riding 
habit,  Bebe  Daniels 
(right)  is  a  real — 
dyed  -  in  -  the  -  wool  — 
golf  nut.  Just  back 
from  a  ride,  Bebe  is 
trying  a  putt  on  the 
lawn    of    her    home 


The    Hollywood    method    of    putting — with 

the    hands    on    the    hips — demonstrated    by 

Vera  Reynolds  (right) 


57 


Don  Gillum 

Director  Jack  Conway  shooting  the  football  scenes  of  "Brown 

of     Harvard"     with-  William     Haines     as     the     Cambridge 

gridiron  hero 


International  Newsreel 

Constance    Talmadge    marries    Captain 

Alastair  Mackintosh,  an  Englishman,  and 

announces  she  will  leave  films 


Letters  to  King  Dodo 


HOLLYWOOD. 
Dear  Majesty: 
Obedient  to  your  request  to  be  kept  informed 
upon  the  march  of  progress  in  Hollywood,  I  am  writing 
to  apprize  Your  Majesty  that  our  immediate  craze  is  war 
pictures. 

Your  Majesty  well  knows  the  ovine  nature  of  movie 
producers,  who  all  follow  each  other  like  sheep  when 
some  bell-wether  happens  to  show  the  way.  It  was  in- 
evitable that  the  success  of  "The  Big  Parade"  should  set 
loose  an  avalanche  of  war  pictures,  altho  if  anybody  had 
shown  the  script  of  a  war  story  to  a  producer  six  months 
ago  the  unfortunate  author  would  have  been  thrown  out 
of  the  office. 

But  the  amazing  particular  of  this  situation  is  the  way 
in  which  the  various' arms  of  the  United  States  military 
organization  have  been  put  to  work  for  the  movies. 
Lasky  had  barely  completed  "Behind  the  Front,"  with 
Raymond  Hatton  and  Noah  Beery  co-featured ;  Warner 
Brothers  had  no  more  than  christened  their  war  baby, 
"The  Sap,"  featuring  Kenneth  Harlan,  than  William 
Fox  went  them  one  better  by  purchasing  the  original 
stage  play,  "What  Price  Glory?" — the  play  that  was  re- 
sponsible for  launching  the  craze  for  war-time  stuff. 

But  Metro-Goldwyn  had  been  quietly  preparing  for 
the  filming  of  a  leatherneck  epic  to  be  called  "Tell  It  To 
the  Marines."  And  M.-G.  had  a  contract  with  Major 
General  John  A.  Lejeune,  the  commandant,  giving  the 
exclusive  right  for  one  year  to  film  marines  for  photoplay 
purposes ! 

"What  Price  Glory?"  is  about  marines  at  the  front. 
Fox  expected  to  take  scenes  of  the  real  leathernecks  in 
camp,  on  the  drill  field,  at  combat  practice — thus  cutting 
the  cost  of  extra  talent.  So  Saul  E.  Roger,  his  lawyer, 
proposes  now  to  sue  the  United  States  Marine  Corps. 
He  will  allege  monopoly,  conspiracy  in  restraint  of  trade, 
and  so  on.    ' 


58 


Our  military  establishment  has  never  boasted  any  great 
dignity,  but  the  Marines  have  a  tradition  to  maintain.  The 
tie-up  with  the  studio  must  have  been  made  for  publicity 
purposes,  tho  why  General  Lejeune  desired  publicity  for 
his  leathernecks  when  there  are  more  applicants  than  can 
be  recruited  under  congressional  appropriation  is  puzzling 
to  decide. 

A  dreadful  thought  comes  to  me.  Suppose  it  should 
be  necessary  to  call  out  our  military  again,  to  make  the 
world  safe  for  democracy,  and  we  should  find  that  all 
our  forces  had  been  farmed  out  to  the  movies  and  were 
unavailable ! 

Hollywood. 
Dear  Majesty: 

I  am  happy  to  say  that  now  I  can  supply  Your  Majesty 
with  the  data  on  Elinor  Glyn  requested  in  your  gracious 
communication  of  recent  date. 

Your  Majesty  sought  to  know  why  Madame  Glyn's 
characters  so  rarely  die  with  their  boots  on,  as  is  the  usual 
fashion  in  movies,  but  endure  long,  lingering  death 
agonies  in  bed.  The  reason  is  explained,  I  think,  by  the 
circumstance  that  Madame  Glyn  receives  one  dollar  a 
word  for  her  scripts.  At  a  dollar  a  word  Madame's 
characters  can  well  afford  to  utter  an  ah,  an  oh  and  a 
couple  of  ughs  before  passing  into  the  great  beyond. 
Even  a  series  of  inarticulate  gurgles  just  at  the  end  will 
rate  a  dollar  a  gurgle. 

When  I  visited  Madame  Glyn  on  the  set,  it  was  her 
Tea  Hour.  Everybody  had  stopped  work  to  sip.  The 
electricians,  I  noted,  satisfied  themselves  with  an  extra 
chew  of  scrap. 

Your  Majesty  may  recall  my  mentioning  that  Madame 
Glyn  is  accustomed  to  select  potential  star  material  by 
means  of  a  subtle  quality  which  she  is  able  to  perceive 
and  which  she  calls  for  short — It.  In  "Love's  Blind- 
ness," the  film  on  which  she  was  engaged,  Madame  had 


International  Newsreet 

Ren6e  Adoree  holding  two  trophies  con- 
tested for  by  the  11th  United  States  Cav- 
alry at  the  Presidio,  Monterey,  California 


Director  Donald  Crisp  arrives  on  the  De  Mille  lot  and  is  kidded 

by  Directors  William  K.  Howard,  Rupert  Julian  and  Paul  Sloane. 

Crisp  has  just  been  signed  by  Mr.  De  Mille 


By  Don  Ryan  and  Frederick  James  Smith 


need  of  a  child  for  certain  scenes.  Before  her  in  review 
passed  the  infant  genius  of  Hollywood. 

Suddenly  Madame  exclaimed :  "That's  the  one !  She 
has  It!"  A  consultation  with  the  mother,  and  then  the 
little  girl,  who  had  been  instructed  to  "be  very  nice  to 
Madame  and  be  sure  and  thank  her,"  approached  the 
presence. 

"How  would  you  like  to  play  in  my  picture?"  inter- 
rogated  la  Glyn,  with  a  gracious  smile. 

Only  for  a  moment  did  the  child  hesitate.  Then — "I 
dont  think  I  care  so  much  about  it — thank  you !"  she 
replied  shrilly. 

Hollywood. 
Dear  Majesty  : 

Your  study  of  the  cinematic  art  has  already  made  Your 
Majesty  familiar  with  peculiar  slogans  which  rapidly  suc- 
ceed one  another  in  the  mouths  of  the  movie  publicity 
managers.  Your  Majesty  will  remember  how  in  times  past, 
various  parts  of  a  picture  have  been  acclaimed  "the 
thing."  First  it  was  "The  star's  the  thing!"  Then  story, 
director,  and  all  the  other  elements  were  so  lauded,  each 
in  turn. 

But  now  a  new  slogan  sweeps  the  boulevards.  With 
the  purchase  of  the  Ella  Cinders  series  from  Bill 
Counselman  and  Charles  Plumb  as  a  vehicle  for  Colleen 
Moore,  the  press-agents  have  raised  the  shout :  "The 
comic  strip's  the  thing!" 

Very  likely  they  are  right,  for  it  has  been  demonstrated 
that  more  Americans  read  the  comic  strips  of  the  news- 
papers than  any  other  literature.  In  fact,  they  are  the 
chief  intellectual  stimulation  of  our  population,  from  the 
Tiny  Tot  at  his  mother's  knee  to  the  Big  Business  Man 
at  his  flat-topped  desk  of  fumed  oak. 

One  astute  press-agent,  who  figured  slightly  in  the 
Ella  Cinders  deal — a  young  man  with  vision,  as  we  say 
in  our  country — hopped  a  train  for  New  York  and  pro- 


ceeded to  sew  up  the  sales  rights  on  all  available  comic 
strips.  The  Ella  Cinders  strip  will  be  utilized  by  I'irst 
National.  Andy  Gump,  the  popular  national  hero,  has 
already  been  immortalized  by  Universal.  In  a  short  time 
we  may  expect  to  see  Mutt  and  Jeff,  Jiggs,  Barney 
Google  and  other  hundred-per-cent.  Americans  imper- 
ishably  embalmed  in  celluloid. 

And  Your  Majesty  need  not  fear  that  any  evil  effect 
will  come  out  of  this  daring  excursion  into  the  realm  of 
fantasy.  For  the  young  press-agent — the  one  with  vision 
— has  eliminated  any  such  possibility.  Let  this  idealis* 
speak  for  himself. 

"I  have,"  he  says,  "eliminated  those  comic  strips  in 
which  the  sordid  and  disagreeable  predominate  and  re- 
tained only  those  that  possess  all  the  touching,  lovable  and 
human  things  so  dear  to  the  hearts  of  the  great  American 
public." 

Will  Hays  will  bestow  his  papal  blessing  on  that  young 
man. 

Hollywood. 
Dear  Majesty  : 

Suing  Harold  Lloyd  has  become  the  favorite  pastime 
of  American  authors — to  such  an  extent  that  the  popu- 
lar comedian  has  been  compelled  in  self-defense  to  issue 
a  decree.  Hereafter  no  stories,  published  or  unpublished, 
received  from  outsiders,  will  be  given  a  reading  at  the 
Harold  Lloyd  establishment. 

As  I  am  in  the  act  of  preparing  this  report  to  submit 
to  Your  Majesty,  the  news  comes  that  Lloyd  has  filed 
an  answer  to  the  suit  in  which  Owen  Davis  asks  for  two 
hundred  and  fifty  thousand  dollars  damages,  representing 
that  the  comedian  palmed  off  the  playwright's  "Xervou< 
Wreck"  as  a  movie  comedy  entitled  "Why  Worry?"  The 
suit  of  Mr.  Davis  is  based  chiefly  on  the  circumstance 
that  in  both  stories  the  hero  is  constantly  taking  pills — 
a    favorite   laugh-getting   device,    as    Your    Majesty    no 


CLASSIC 


Marie  Prevost  was  welcomed  at  the  Cecil  De  Mille  studio,  upon 

her  arrival  after  her  recent  illness,  by  Mr.  De  Mille  himself. 

Miss  Prevost  is  to  be  starred  in  Metropolitan  Pictures 


Pacific  &  Atlantic' 

Feodor  Chaliapin,  Russian  basso  of  the 

Metropolitan   Opera   House,  visits   Pola 

Negri  at  the  Lasky  studios 


doubt  recalls,  in  the  days  of  the  Elizabethan  dramatists. 

H.  C.  Witwer,  writer  of  sporting  tales,  has  also 
brought  suit  for  two  hundred  and  fifty  thousand  dollars, 
laying  claim  to  Lloyd's  comedy,  "The  Freshman,"  on  the 
ground  that  it  is  an  infringement  of  a  football  story  he  pub- 
lished in  1908  entitled,  "The  Emancipation  of  Rodney." 
Mr.  Witwer  bases  his  claim  chiefly  on  the  fact  that  in  both 
stories  the  fool  substitute  goes  in  and  wins  the  game. 

Now  if  Burt  L.  Standish  were  still  alive,  he  would  have 
sufficient  grounds  for  action.  For  Your  Majesty  will 
recall  in  the  Frank  Merriwell  stories,  which  were  read 
with  such  pleasure  in  your  boyhood,  that  the  substitute 
always  went  in  at  the  last  minute  of  play  and  saved  the 
game.  And  very  likely  the  only  reason  Cecil  De  Mille  is 
not  a  bankrupt  today  is  that  Moses  had  gone  to  his  re- 
ward long  before  the  Great  Director  filmed  "The  Ten 
Commandments." 

Lloyd  is  now  engaged  in  making  "For  Heaven's  Sake." 
in  which  he  is  probably  safe  from  legal  action,  because 
Anatole  France  died  last  year  and  so  far  as  is  known  the 
author  of  "The  Revolt  of  the  Angels"  left  no  heirs. 

Hollywood, 
•ear  Majesty : 

It  is  improbable  to  a  degree  that  the  fame  of  Horace 
Wade,  Hollywood's  youngest  scenarist,  should  have  pene- 
trated as  far  as  Your  Majesty's  distant  Island  of  Oz. 
But  in  America  we  are  prone  to  make  much  of  what 
Darwin  and  his  successors  designate  as  sports  —  any 
creature  divergent  from  the  norm.  Infant  prodigies  are 
our  especial  delight. 

Master  Horace,  who  is  just  turned  seventeen,  recently 
achieved  a  quantity  of  publicity  by  writing  for  the  news- 
papers. In  these  days  a  seventeen-year-old  who  can  put 
an  English  sentence  together  is  indeed  a  novelty — of  a 
piece  with  the  horse  that  can  count — altho  William 
Cullen  Bryant  composed  "Thanatopsis"  at  eighteen,  and 
(which  is  much  worse)  Conrad  Nagel  recited  it  last 
summer  in  the  Hollywood  Bowl. 

Pardon  this  digression,  Your  Majesty.  What  I  mean 
to    state    is   that    Metro-Goldwyn,    sensing   the    publicity 


value  accruing  to  his  name,  snapped  up  Master  Horace 
as  a  scenarist  and  put  him  under  long-term  contract — to 
the  envy,  it  may  well  be  imagined,  of  Joseph  Herges- 
heimer  and  others. 

Master  Horace  signed  the  contract  just  before 
luncheon.  At  1  P.  M.  he  received  the  assignment  for 
his  first  story.  He  was  to  do  a  script  for  Peter  the  Great, 
the  M.-G.-M.  dog-star,  and  bring  it  back  to  the  studio 
in  the  morning. 

I  must  crave  Your  Majesty's  pardon  again,  for,  in 
spite  of  most  assiduous  efforts,  I  have  as  yet  been  unable 
to  ascertain  whether  or  not  the  finished  story  received 
the  star's  O.  K. 

Hollywood. 
Dear  Majesty: 

I  have  the  honor  today  of  imparting  to  Your  Majesty 
a  piece  of  advance  information  that  has  not  yet  been 
promulgated  by  the  Paramount  press-agents,  but  which 
I  happen  to  know  is  well  authenticated. 

Mary  Brian  will  play  Mitzi,  the  persecuted  heroine  of 
"The  Wedding  March,"  the  story  which  Erich  (correct) 
von  Stroheim  will  soon  begin  making.  The  story  was 
written  by  von  Stroheim  and  he  will  play  in  it.  Mitzi  is 
his  wife,  the  unappreciated  spouse  of  a  philandering  scion 
of  the  Austrian  nobility. 

Needless  to  say,  if  she  plays  with  von  Stroheim,  this 
young  woman,  now  trembling  on  the  brink  of  stardom  or 
oblivion,  will  be  securely  tethered  and  Paramount  will 
cash  in  on  their  investment  in  Mary.  Mae  Busch.  Dale 
Fuller,  Mary  Philbin  and  Zasu  Pitts  all  are  von  Stro- 
heim discoveries.  The  truth  of  the  matter  is  that  von 
Stroheim  can  make  any  woman  act. 

Hollywood. 
Dear  Majesty : 

The  latest  mot  in  the  Montmartre  is  the  one  designat- 
ing Phyllis  Haver  as  the  eighty-thousand-dollar  baby.  It 
is  a  good  laugh  on  the  boulevard  and  a  startling  jolt  for 
those  benighted  beings  who  believe  that  movie  damsels 
are  beautiful  but  dumb. 


60 


Pacific  4  Atlantic 

Alma  Rubens  and  Ricardo  Cortez  arrive 

in  New  York  on  their  honeymoon.   They 

were  married  in  California 


Pauline    Starke    is    playing    the   leading    role    in    Elinor    Glyn's 

"Love's  Blindness."     Here  they  are  having  tea  between  scenes. 

Quite  English,  y'  know! 


Miss  Haver  outslicked  a  retired  Omaha  business 
man  in  a  real-estate  deal  so  badly  that  the  speculator 
from  the  hinterland  is  crawfishing  on  his  deal.  He 
has  brought  suit  against  the  bathing  beauty  for  the 
aforementioned  sum.  Miss  Haver,  having  long  since  laid 
aside  the  one-piece  suit,  is  struggling  towards  stardom 
in  dramatic  roles  and  investing  her  earnings  in  shrewd 
realty  transactions.  The  Hollywood  Chamber  of  Com- 
merce is  proud  of  her. 

There  is  another  indication  that  movie  beauties  are 
developing  intellectually.  One  of  them  recently  appeared 
on  the  speaking  stage  in  a  very  advanced  drama.  Leatrice 
Joy  it  was  who  made  her  stage  debut  in  a  production  of 
Karl  Schoenherr's  play,  "The  Children's  Tragedy," 
which,  for  bedtime  reasons,  was  retitled  "The  Candle." 
It  was  shown  with  some  success  at  the  Potboilers' 
Theater.  Miss  Joy  is  under  contract  to  Cecil  De  Mille 
and  the  press-agent  took  due  notice  of  her  excursion  into 
the  realms  of  art  for  art's  sake. 

I  hope  that  Your  Majesty  will  visit  us  soon  and  see  for 
yourself  the  wonders  of  Hollywood. 

Hollywood. 

Your  Majesty : 

Corinne  Griffith  is  in  line  for  a  big  contract  when  her 
existing  one  with  E.  M.  Ascher,  releasing  thru  First 
National,  expires  in  October,  and  it  is  known  that  she 
has  been  approached  already  with  several  big  offers. 

An  executive  of  the  Paramount  organization  offered 
her  a  cash  bonus  of  fifty  thousand  dollars  if  she  would 
permit  him  to  buy  up  the  existing  contract,  provided  it 
could  be  negotiated  with  Ascher,  and  the  signing  of  her 
services  for  a  period  of  years.  Miss  Griffith  rejected  this 
because  she  does  not  want  to  sign  for  more  than  one  or 
two  years.  Had  it  gone  thru,  she  would  have  had  her 
own  unit  releasing  probably  thru  Paramount. 

Warner  Brothers  made  her  an  offer  some  time  ago  of 
ten  thousand  a  week  on  a  contract  to  start  upon  the  ex- 
piration of  the  present  one.  As  Miss  Griffith's  husband, 
Walter  Morosco,  has  been  made  a  director  by  Warners 
recently,  it  is  thought  that  company  has  a  good  chance  of 
interesting,  altho  it  is  said  the  star  favors  an  independent 


unit  and  that  Joseph  Schenck  is  interested  in  her  as  an 
acquisition  for  United  Artists. 

Miss  Griffith's  pulling  power  has  steadily  developed  in 
about  as  bad  pictures  as  any  star  has  had.  With  "Classi- 
fied," a  real  box-office  attraction,  she  has  shown  what  she 
can  do  with  good  material.  She  has  completed  work  in 
"Mile.  Modiste"  for  First  National  and  is  starting  soon 
on  a  Russian  story,  "Into  Her  Kingdom."  She  has  two 
besides  this  to  make  before  the  termination  of  her 
contract. 

New  York. 
Dear  King: 

Doug  and  Mary  arrived  in  town  in  time  for  the  open- 
ing of  "The  Black  Pirate."  The  usual  mob  surged  about 
the  Selwyn  theater  to  watch  the  stars  enter,  while  police- 
men shoved,  pushed  and  punched  the  crowd  back. 
Patrons  with  first  night  tickets  literally  had  to  fight  their 
way  into  the  theater.  The  New  York  police  department 
seems  unable  to  handle  a  screen  opening. 

When  Cecil  De  Mille  had  to  jam  his  way  thru  the 
struggling  coppers  and- film  fans,  he  said:  "We  do  this 
much  better  in  Los  Angeles."  "Well,"  snarled  one  of 
Manhattan's  finest,  "why  don't  you  go  back  there  then!" 

Hollywood,  /ornia. 

Your  Majesty . 

I  know  your  regal  interest  in  Constance  Talmadge. 
Consequently,  I  know  you  will  be  interested  in  details 
of  her  sudden  marriage  to  Alastair  Mackintosh,  late 
captain  in  the  British  army. 

I  hear  reports  that  Connie  had  a  quarrel  with 
Willie  Collie.  Jr.  Willie  and  Connie,  you  know,  wen 
considered  to  be  hovering  on  the  edge  of  matrimom 
for  a  long  time.  Then  came  the  quarrel.  Connie  had 
met  the  Honorable  Alastair  but  a  week  before.  She 
married  him  abruptly. 

And  now  she  says  that  she's  going  to  give  up  mo- 
tion pictures  after  her  next  two  pictures  and  that 
she's  going  to  dear  old  Lunnon  to  live.  We  shall  see. 
we  shall  see. 

(Continued  on  page  70) 


61 


Gregory  La  Cava 

IN  early  youth  a  young  man's  fancy  lightly  turns  to 
thoughts  of  ART" — thus  might  we  well  start  an 
extra  verse  to  be  added  to  that  famous  song.  Thus 
also,  begins  the  story  of  Gregory  La  Cava,  the  director 
"found"  by  that  smiling  brute,  Richard  Dix.  Once  the 
young  artist  leaves  the  "ivory  tower"  and  enters  the 
turbulent  waters  of  the  sea  of  life,  the  lightness  of  his 
fancy  may  perhaps  be  seen — and  then  comes  that  groping 
for  firmer  and  more  concrete  foundations  upon  which  to 
build  the  structure  of  a  life.  So,  again,  it  was  with 
Gregory  La  Cava — the  man  who,  when  first  he  embarked 
upon  this  sea,  took  the  name  of  George  Gregory,  that  he 
might  not  hurt  that  other  Gregory  who 
dwelt  within  the  tower — but  more  of  this 
anon. 

The  place  was  the  basement  restaurant  of 
the  Famous  Players'  Astoria  studio ;  and 
the  time,  lunch  hour.  Richard  Dix  gave  his 
director  a  warning  outline  of  the  questions 
I  would  probably  ask  (birthplace  and  date, 
ideals,  scarlet  past,  ambition,  struggle  to 
win,  age,  weight,  pets,  etc)  ;  and  then,  with 
one  fell  sweeping  blow,  smote  me  mightily 
upon  the  back — undoubtedly  on  the  theory 
that  this  counter-irritant  would  take  my 
mind  from  any  possible  sting  his  words 
might  have  carried. 

Now  that  the  background  is  indicated,  let 
us  focus  our  attention  upon  that  central 
figure  who  is  our  subject. 

Starting  in  Rochester,  La  Cava  soon 
moved  to  Chicago,  and  there  entered  the 
schools  and  pursued  his  quest  with  great 
intentness.  And,  being  an  artist,  naturally 
with  great  poverty. 

"Three  of  us  lived  in 
a  room  we  rented  for 
eight  dollars  a  month ; 
with  housekeeping 
privileges  —  when  the 
landlady  was  absent." 


Meet 

La  CAVA 


With  Two  Richard  Dix 
Comedies  This  Young 
Director  Has  Estab- 
lished Himself 

By  Dunham  Thorp 


At  this  time  his  one  means  of  earning  a  livelihood- 

for,  of  course,  his  art  could  not  support  him — was 

job  as  usher  in  the  Garrick,  a  theater  owned  by  th 

Shuberts.    His  salary  was  the  truly  munificent  sum  o 

ten  dollars  a  week.     His  job  was,  under  all  circum 

stances,  to  bar  every  person  not  possessed  of  a  ticket  o 

the  proper  date,  size,  and  color.    One  day  a  man  entere< 

who  insisted  that  the  trivial  matter  of  a  missing  slip  o 

cardboard    should    not    bar    him — nevertheless,    he    ciu 

barred.     And  this  man  was  Jake  Shubert !     He  waxet 

wroth ;  and  then  gained  peace  in  contemplation  of  thi: 

magnificent  example  of  the  steadfast  devotion  of  a  lowh 

menial  to  his  duty.     The  usher  La  Cava's  salary  wa; 

raised  to  twelve  dollars  a  week !   He  was  now  the  wealthi 

est  member  of  his  circle ! 

Still    he    painted    on    ("I    believe    I    destroyed    mon 
{Continued  on  page  66) 


La  Cava,  Richard 
Dix  and  Esther 
Ralston  between 
scenes  of 
"Womanhandled" 


62 


The  Answer 
Man 

Replies  to  CLASSIC  Readers 


Mamik  S. — GreetinKs  to  thee, 
friend;  come  hither  and  I  will  con- 
duct thee  on  a  pleasant  journey, 
ne!  Let  us  reason  together. 
Ronald  Colman  is  married,  but  sep- 
arated, and  Norma  Shearer  was 
born  in  1903. 

Rfnkk  B.— Well,  you  know  what 
Shakespeare  said,  "  Tis  beauty  doth 
oft  make  woman  proud ;  'tis  virtue 
that  doth  make  them  most  admired ; 
'tis  modesty  that  makes  them  seem 
divine."  Jackie  Coogan's  first  was 
"The  Kid." 

Lois   M.    M. — Yes,    I   have   heard 
that,  but  music  is  the  language  of  the  soul ;  jazz  is  its  profanity. 
Bert    Lytell    was    David   in    "The    Eternal    City."      Yes,    George 
O'Brien  is  playing  in  "Rustlin'  for  Cupid"  with  Anita  Stewart. 

Pil. — You  can  write  the  UFA  films  at  1540  Broadway,  New 
York  City.     I  haven't  their   Berlin  address. 

Jeanne  M.  S. — Righto,  but  moving  day  comes  on  May  1st,  but 
every  day  in  the  year  is  movie  day.  Vilma  Banky  in  "The  Son 
of  the  Sheik."  Yes,  it  is  true  that  Harold  Shaw,  director  and 
husband  of  Edna  Flugrath,  was  killed  in  an  automobile  accident 
last  January.  He  was  a  brother-in-law  to  Viola  Dana  and  Shirley 
Mason.  The  husbands  of  all  three  sisters  have  died,  but  Viola 
remarried  recently  and   is  now   Mrs.   Maurice   B.    Flynn. 

Shorty. — So  you  think  I  am  getting  thinner.  I'm  on  a  diet, 
you  know.  Plenty  of  buttermilk,  but  no  butter  or  milk.  Bert 
Lytell  is  playing  on  the  stage  in  California.  Doris  Kenyon  in 
"Mismates." 

Accordion  W. — Well,  I  asked  that  player  how  old  he  was  once, 
and  this  is  what  he  said :  "As  old  as  my  tongue  and  a  little 
older  than  my  teeth."  Most  of  the  players  you  mentioned  are 
with  Famous  Players-Lasky,  1520  Vine  Street,  Los  Angeles, 
California. 

Una  S. — Well,  you  know  Harry  Carey's  father  was  a  judge 
and  Harry  came  near  being  one.  Henry  B.  Walthall  got  him 
to  go  with  him  and  see  Griffith  at  the  old  Biograph  and  that  was 
the  beginning  of  his  screen  career  some  fifteen  years  ago.  Yes, 
you  should  see  "Stella  Dallas."  Take  plenty  of  handkerchiefs 
with  ydu. 

Eva  R. — But  every  why  has  a  wherefore.  No,  Richard  Tal- 
madge is  not  related  to  the  Talmadge  sisters.  Georgia  Hale  and 
William   Collier,   Jr.,    in   "The    Rain   Maker." 

Elva. — Colorado  Springs  first  became  famous  by  having  Lon 
Chaney  born  there.  Ten  years  later  the  stage  claimed  him,  not 
as  an  actor,  but  as  a  stage-hand,  then  later  a  chorus  boy,  then 
a  comedian,  and  then  came  "The  Miracle  Man"  and  Lon  started 
on  his  way  up  the  screen  ladder  and  never  stopped  climbing. 

Just  S.  B.  T. — Yours  was  mighty  interesting.  Someday  I  will 
run  up  and  see  you.  Well,  Ronald  Colman,  who  recently  com- 
pleted "Kiki"  with  Norma  Talmadge,  is  to  play  the  leading  role 
in  "Beau  Geste."  Herbert  Brenon  is  directing  and  Alice  Joyce 
has  the  feminine  lead,  with  Neil  Hamilton,  Mary  Brian  and 
Wallace   Beery   in   the   cast. 

Julius  A.  P. — Gloria  Swanson  was  born  in  Chicago.  I  dont 
know  what  her  father  ever  did  for  a  living.  Richard  Barthelmess 
is  playing  in  "Ransom's  Folly." 

Lady  Violet. — That's  some  violet  correspondence  card  you  have. 
Claire  Windsor  and  not  Mae  Murray  in  "Dance  Madness."  Billie 
Dove,  Francis  X.  Bushman  and  Grace  Darmond  are  playing  in 
"The  Star  Maker." 

Juliet  J. — Please,  please  dont  send  me  any  more  chain  letters. 
I  have  all  I  can  do  to  answer  my  regular  correspondence.    HELP ! 


Hear  ye,  hear  yet  All  you  folki  who  have  queationa 
to  ask,  come  thii  way  and  you  ahall  be  heard — and 
answered.  I  have  learnt  a  lot  during  the  laat  eighty- 
two  years,  and  it's  all  yours  for  the  asking  Been 
answering  ???  (or  the  laat  fourteen  years,  and  still 
going  strong.  If  you  want  an  answer  by  mail,  encloae 
a  stamped  addresaed  envelope.  If  you  wish  the  an- 
swer to  appear  here,  write  at  the  top  of  your  letter 
the  name  you  want  printed,  and  at  the  bottom  your 
full  name  and  address,  and  mail  to  me.  The  Answer 
Man,  car*  of  Classic,  176  Duffield  Street,  Brook- 
lyn.  N.   Y, 


The  Prodigal  Daughter. — What's 
that  you  say  about  me — "You're 
darn,  dog-gone,  ding-busted  clev-ah." 
Thanks,  my  child.  No,  I  am  not 
related  to  George  Ade,  First  Aid 
or  Lemonade.  You  just  pronounce 
it  Give,  with  long  "I,"  as  in  hive. 

V.    S—  All    right,    win    your    $10. 
Lillian  Gish  is  not  and  never  has  been 
married.      Jackie    Coogan's    twelfth 
birthday    will   come   off   on    October 
26,   next.     He  started   his  career  at 
the   age   of    twenty    months,    but    it 
was    an-  accident.      His    father    was 
on  the  vaudeville  stage  dancing  and 
singing  when  the  youngster  walked  out  unexpectedly.     The  audi- 
ence laughed  and  so  daddy  made  him  do  his  bit  right  there  and 
then.     Charlie   Chaplin  made   him  a   screen   star  by   getting  him 
for  "The  Kid." 
Jean    M. — I    envy   your   going   to    California.      Best    wishes. 
Clarissa. — So  you  think  Percy  Marmont  is  a  great  actor  and 
has  a  beautiful  personality.     Madge  Bellamy  was  born  irr  Hills- 
boro,  Texas,  June  30,  1903,  so  now  you  know  her  birthday  and 
can  send  her  a  Rolls-Royce.    She  went  on  the  stage  in  New  York 
at  the  age  of  five. 

Ruth  L. — I  dont  see  why  it  takes  any  courage  to  write  to  me. 
You  want  Richard  Dix  to  choose  the  right  one  when  he  gets 
married.  How  can  he  do  that?  Gloria  Swanson  played  in  the 
following  for  1925 :  "Madame  Sans-Gene,"  "The  Coast  of  Folly" 
and  ."Stage  Struck." 

Sexora  de  A. — Your  letter  certainly  was  full  of  comment  for 
James  Kirkwood.  Norma  Shearer's  next  will  be  "The  Devil's 
Circus."  "Kathleen  Mavourneen"  was  written  by  Louise  Craw- 
ford, an  American  writer  of  the  nineteenth  century.  The  music 
was  written  by  F.   N.  Crouch. 

Quentin  F.,  Hong  Kong. — How  are  you?  So  you  think  Mary 
Astor  is  the  prettiest  woman  in  all  the  world?  To  begin  with, 
she  was  born  in  Quincy,  Illinois,  on  May  3,  1906,  and  is  playing 
in  "High  Steppers"  with  Lloyd  Hughes.  I  haven't  the  address  of 
Lucas   Kanarian. 

Dolores  19. — Thanks  for  the  gum.  You  know  you  can  no 
longer  put  a  man  in  jail  because  he  owes  money.  For  that  mat- 
ter, you  can  hardly  put  him  in  jail  if  he  has  money.  Your  letter 
was  very  interesting.     Write  me  again. 

Victorine  V. — Railroads  killed  only  149  persons  in  the  United 
States  during  1924,  while  automobiles  killed  more  than  10,000. 
So  take  your  foot  off  the  gas.  I  think  you  are  a  very'  good  type. 
But  try  and  get  in. 

Rose  A. — Well,  I  think  you  are  a  very  nice  girl  from  your  let- 
ter. When  girls  are  young  they  play  with  jacks,  and  when  they 
get  older  they  play  with  Jacks.  You  have  the  right  idea.  Yilma 
Banky  and  Ronald  Colman  in  "Beauty  and  the  Beast."  Betty 
Bronson  and   Ricardo   Cortez   in   "The   Cat's    Pajamas." 

Dot. — Does  that  end  it?  Thanks  for  all  you  say.  John  Barry- 
more  is  playing  in  "The  Tavern  Knight."  Yes,  they  do  say- 
that  Eddie  Cantor,  the  stage  comedian,  is  going  to  play  in  "Kid 
Boots"  in  the  movies.     Run  in  again  some  time. 

The  Cat. — Well,  are  you  that  curious?  No.  Lillian  Gish  is 
not  married,  and  she  never  played  opposite  Ramon  Novarro. 
That's  that. 

Alma,    England. — So    you    think    The    Classic    does    not    use 
enough  pictures  of    Pauline   Frederick  and   Alma   Rubens?     Mr. 
Smith,  N.  B.    Well,  I  guess  you  are  the  only  one  I've  heard  of 
who  didn't  like  John   Gilbert   in  "Tht   Merry   Widow."  * 
(Continued  on  page  66) 


63 


The  Nation  of  the  Happy  Ending 


Vajda  come  to  his  office  for  another  talk. 
It  was  a  nice  little  talk.  Mr.  Vajda  ex- 
plained that  he  had  come  to  New  York  to 
write  a  play  of  American  life,  and  was 
leaving  again  for  Europe. 

But  Mr.  Lasky  felt  that  travel  broadens 
one,  and  that  surely  Mr.  Vajda  shouldn't 
go  back  home  without  seeing  Hollywood. 
Anyhow,  the  upshot  of  the  pleasant  little 
conference  was  that  Mr.  Vajda  and 
Brother  Victor  found  themselves  getting 
acquainted  with  the  Pennsylvania  railroad 
— en  route  to  Hollywood.  Mr.  Vajda  was 
enabled  to  make  the  trip  because  he  had 
a  contract  in  his  pocket  which  called  for 
four  original  screen  stories  at  a  price 
reputed  to  be  $20,000  per  story — on  de- 
livery. 

Vajda  an  Exception 

Mow  famous  authors  have  come  and 
gone  in  Hollywood.  They  come  with 
a  blare  of  trumpets.  They  address  the 
women's  clubs.  They  have  offices  at  one 
studio  or  another.  But  they  go,  oh,  so 
quietly.  One  hardly  knows  they  have 
done.  Witness  Michael  Arlen,  who  came 
to  write  an  original  story  for  the  screen, 
stayed  long  enough  to  give  various 
luncheons  and  get  acquainted  with  his 
office,  and  next  was  heard  of  back  in  dear 
old  London,  giving  interviews — albeit  very 
flattering  ones — on  the  subject  of  Holly- 
wood. No,  Mr.  Arlen  didn't  get  around 
to  writing  a  story  for  the  screen.  But  he 
did  like  his-  little  trip  to  Hollywood. 

But  the  story  of  Michael  Arlen  is  not  a 
new  one.  It  has  been  done  before,  very  often. 
In  fact,  it  has  been  done  since  the  days  when 
Sir  Gilbert  Parker  and  a  score  of  other 
noted  authors  were  imported  to  Holly- 
wood to  write  for  the  screen.  They  lived 
at  the  best  hotels — on  expense  accounts. 
Sir  Gilbert,  he  of  the  magnificent 
whiskers,  stayed  a  whole  year  trying  to 
get  an  inspiration,  and  then  he,  too,  dis- 
appeared. He  lent  an  air  of  distinction  to 
the  promenade  at  the  Lasky  studio — but 
he  wrote  nothing. 

So  when  Ernest  Vajda  hopped  off  the 
train  in  Los  Angeles,  with  the  usual  blare 
of  trumpets,  Hollywood  merely  said,  "Ho, 
hum.  Another  famous  author."  Hollywood 
waited  for  Ernest  Vajda  to  fade  out 
quietly  and  be  heard  of  next  in  Buda- 
pest, giving  interviews  on  the  subject  of 
Hollywood. 


A  Story  for  Pola 


M1 


[r.  Vajda  went  thru  all  the  motions. 
He  was  asked  to  speak  before  wom- 
en's clubs,  and  did.  He  was  asked  what 
he  thought  of  Hollywood  and  the  Cali- 
fornia climate,  and  he  said  yes — as  he 
was  supposed  to.  He  stopped  at  the  Am- 
bassador hotel,  and  it  was  announced  that 
he  would  write  an  original  screen  story 
for  Pola  Negri.  It  is  nearly  always  an- 
nounced that  famous  authors  will  write 
stories  for  Pola  Negri.     But  they  seldom  do. 

But  then  quite  startling  things  began  to 
happen.  The  rumor  got  around  somehow 
that  Ernest  Vajda  was  working.  He 
also  moved  out  of  the  Ambassador  hotel 
because  he  said  it  was  too  expensive. 
This,  too  was  strange,  because  the  studio 
was  paying  the  bills.  Authors  seldom 
move  out  of  the  Ambassador  as  long  as 
the  studio  pays  the  bills.  He  moved  into 
a  big  spacious  house,  but  not  a  fashion- 
able one. 

Mr.  Vajda  also  liked  the  air  and  the 
scenery.  Motoring  was  such  a  pleasure 
on  California's  fine  roads.  So  he  had 
Brother     Victor,     the    business     manager, 


(Continued  from  page  43) 

buy  him  a  second-hand,  medium-priced 
coach. 

This  was  what  really  brought  Holly- 
wood to  life.  Authors  and  actors  on  their 
arrival  in  Hollywood,  usually  buy  a  Rolls- 
Royce  or  at  least  a  Lincoln — on  the  in- 
stalment plan.  Mr.  Vajda  bought  a  sec- 
ond-hand, medium-priced  coach,  and  paid 
cash   for  it. 

Meanwhile  Pola  Negri,  who  had  been 
to  Albuquerque,  or  some  similar  place, 
on  "business,"  returned.  Mr.  Vajda  talked 
with  her,  and  was  seen  no  more  for  three 
days.  Then  he  appeared  at  the  studio  with  a 
seventy-six-page  story,  in  "treatment"  form, 
written  especially  for  her.  The  studio 
officials  liked  it  immensely.  It  was  turned 
into  a  scenario,  "The  Crown  of  Lies," 
and  Pola  was  starred  in  it.  Brother  Vic- 
tor rang  up  the  cash-register. 

Then— "The  Cat's  Pajamas" 

"Then  he  met  Betty   Bronson.     She  was 

a  nice  girl— so  typically  American.  Mr. 
Vajda  decided  to  write  a  story  especially 
for  her.  He  appeared  a  week  later  with 
it.  It  was  called  "The  Cat's  Pajamas," 
and  was  a  delightful  story  of  American 
life.  The  studio  immediately  accepted  it, 
and  co-starred  Betty  and  Ricardo  Cortez 
in  it.  And  Brother  Victor,  the  business 
manager,  rang  up  another  $20,000. 

Mr.  Vajda  had  originally  planned  to  go 
back  to  Hungary  when  he  completed  the 
four  stories.  But  it  is  now  reported  he 
has  a  new  contract  in  his  pocket  for  four 
more  stories,  and  will  remain  in  Holly- 
wood for  some  time  to  come. 

He  has  just  completed  his  third  screen 
original,  "The  Great  Illusion,"  probably 
the  greatest  story  of  the  three.  He  wrote 
it  in  two  weeks.  Hollywood  hasn't  caught 
its  breath  yet  from  astonishment. 

Incidentally,  an  amusing  story  is  told 
about  the  experience  of  the  amazing  Mr. 
Vajda  with  a  publishing  firm  which  de- 
sired to  turn  "The  Crown  of  Lies"  into  a 
novel.  They  asked  him  what  he  would 
take  for  the  book  rights,  or  if  he  would 
let  them  have  them  for  nothing. 

"But  I  am  not  a  business  man,  I  am 
an  author,"  said  Mr.  Vajda.  "Why  is  it 
you  should  ask  me  to  say  how  much?" 

"It  will  be  wonderful  publicity  for  you," 
they   said. 

"Oh,  will  it?"  explained  Mr.  Vajda. 
"But,  alas,  I  am  not  a  business  man." 

"Think  of  the  publicity,"  they  said. 
"What  will  you  take?" 

"I  am  not  a  business  man,"  deplored 
Mr.  Vajda,  "but  on  account  of  all  the  good 
publicity,  if  you  want  the  story  I  will  let 
you  have  it  for  $20,000." 

The  story  rights,  needless  to  say,  still 
remain  intact. 

Mr.  Vajda's  reactions  to  American  life 
are  startling  Hollywood. 

His  Reactions  to  America 

"I^issing  in  America  is  very  badly 
done,"  he  declared  shortly  after  his 
arrival.  "It  seems  your  American  men 
do  not  understand  how  to  kiss.  They 
give  their  wives  a  perfunctory  kiss  when 
they  leave  in  the  morning.  I  have  seen 
men,  quite  as  an  afterthought  on  boarding 
a  moving  train  lean  back  and  take  a  ran- 
dom shot  at  a  kiss  in  parting  from  their 
wives — never  minding  where  it  landed.  It 
was  an  afterthought  to  business.  Kisses 
are  usually  given  in  haste,  in  such  public 
places  as  subways  and  railroad  stations, 
•or  on  the   front-door  step. 

"Hollywood  is  the  only  city  where  kiss- 


ing is  properly  done.  A  kiss  properly 
done  should  be  a  long  and  lingering  caress 
of  affection  and  deep  significance,  not  a 
casual  salutation.  Kissing  is  done  prop- 
erly in  Hollywood  because  the  movies 
know  the  technique.  It  is  a  beneficial 
thing,  and  I  hope  the  vogue  will  spread 
thruout  the  nation. 

"Hollywood  is  a  city  of  too  many  too 
beautiful  women.  It  is  not  alone  in  the 
movies,  but  in  every  walk  of  life — I  do 
not  know  why.  Venus  de  Milo  waits  on 
you  in  a  cafe.  Cleopatra  checks  your  hat 
at  the  hotel.  Beauty  is  everywhere.  Beau- 
tiful girls  no  longer  mean  anything.  They 
pall  on  one. 

"The  most  interesting  woman  I  have 
met  in  Hollywood  is  a  homely  one.  She 
has  a  fascinating  personality  and  a  splen- 
did mind.  She  was  such  a  novelty  that  I 
was  entranced.  I  shall  not  mention  her 
name.     That  would  be  unfair. 

Nation  of  the  Happy  Ending 

"America  is  the  nation  of  the  happy 
ending.  This  is  frequently  criticized. 
But  I  believe  it  is  a  good  thing,  because 
it  expresses  a  national  view-point,  a  spirit 
of  youth  and  strength  and  enthusiasm. 
American  life  is  vigorous,  ambitious, 
idealistic.  In  Europe  a  man  is  what  he 
is.  If  a  man  is  born  in  a  middle-class 
family,  he  expects  to  remain  middle-class. 
If  he  is  a  beggar,  he  expects  to  remain  a 
beggar,  and  everyone  expects  him  to  re- 
main one.  In  America  he  would  be  am- 
bitious to  become  a  capitalist  in  a  few 
years,  and  no  one  would  be  surprised  if  he 
did  so.  America  makes  up  in  its  youth 
and  strength  and  idealism  what  it  lacks 
in  the  charm  of  intrigue  and  contemplation. 

"American  women  of  all  classes  have 
the  most  beautiful  clothes  in  the  world. 
Even  the  stenographers  dress  well,  and 
wives  of  all  classes  are  always  well 
gowned.  But,  alas,  American  women  have 
not  learned  that  half  the  art  of  beautiful 
clothes  is  in  the  wearing.  They  buy 
more  beautiful  things,  but  they  do  not 
wear  them  so  well  as  European  women 
wear  simpler  clothes.  This  is  mostly  due 
to  lack  of  bearing,  lack  of  taste,  or  the 
belief  that  spending  money  will  buy  any- 
thing, and  that  good  clothes  automatically 
look  good. 

"Screen  authorship  means  but  little  in 
the  realm  of  immortality.  This  is  because 
the  screen  author  thinks  in  pictures,  not 
in  written  words.  On  the  stage,  the  play 
lives,  the  player  dies.  Shakespeare  will 
be  living  a  thousand  years  from  now, 
after  every  great  actor  who  has  played 
the  roles  he  has  created  has  sunk  into  an 
oblivion  that  is  beyond  redemption. 

"The  great  actors  of  the  screen  will 
continue  to  live  thru  centuries,  but  the 
screen  authors  will  be  forgotten.  I  doubt 
if  Ernest  Torrence  will  ever  be  forgotten. 
Charles  Chaplin,  Pola  Negri,  Douglas  Fair- 
banks, Mary  Pickford,  Wallace  Beery,  all 
are  sure  of  their  niche  in  the  hall  of  fame. 
Yet  even  a  quarter  of  a  century  hence  I 
doubt  if  more  than  a  handful  of  people 
will  know  who  were  the  authors  of  the 
great  screen  stories  of  today,  even  tho 
they  gave  these  players  their  roles  which 
made   them    famous. 

"Authors  who  think  only  in  pictures 
and  who  do  not  write  in  words  are  court- 
ing oblivion.  I  believe  stage  authorship 
should  always  parallel  screen  authorship, 
and  I  shall  always  continue  it,  and  strive 
for  greatness  in  the  realm  of  the  theater. 
We  all  desire  our  meed  of  immortality.'' 


64 


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ft 


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65 


canvases  than  Rembrandt  ever  painted"), 
and  still  he  lived  in  poverty. 

About  this  time,  he  moved  to  New 
York ;  thinking,  perhaps,  that  in  a  larger 
city  a  larger  market  for  his  paintings 
might  lie  hidden.  But  it  was  not  so — in 
New  York  as  well  as  in  Chicago,  he 
failed  to  make  a  living  from  his  art.  But 
still  he  persevered.  The  National  Acade- 
my, The  Art  Students'  League,  and  a  bat- 
tering from  one  odd  job  to  another  con- 
stituted his  life  at  this  time.  And  when 
the  bills  began  to  get  a  bit  too  heavy,  he 
resorted  to  his  mother. 

"I  thought  nothing  of  it — there  was 
money  there,  to  be  had  when  I  wanted  it." 

But  soon  the  pressure  grew  too  heavy — 
it  became  absolutely  necessary  for  him  to 
find  some  way  of  earning  livable  income. 
He  looked  about,  and,  after  some  looking, 
the  field  of  newspaper  cartooning  seemed 
to  offer  the  greatest  opportunities. 

But  that  would  mean  the  degradation  of 
his  art  1 — making  of  her  a  vehicle  for 
existence,  rather  than  expression !  And 
later,  when  he  would  become  a  famous 
artist,  the  critics  would  know  of  his  dark 
past,  and  trace  the  influence  of  the  comic 
strip  thruout  all  his  most  serious  work. 
This  second  thought  was  more  than  could 
be  born — so,  to  circumvent  it,  he  took  his 
second  name  as  a  surname ;  and  blossomed 
forth   as  the  cartoonist,   George  Gregory. 

As  he  entered  further  in  this  work  he 
had  at  first  thought  of  as  only  a  lesser 
species  of  "pot-boiling,"  he  became  aware 
of  the  fact  that  one  cannot  serve  two  gods 
at  one  and  the  same  time — that,  if  he  was 
to  be  a  cartoonist  of  any  importance,  he 
must  devote  his  whole  time  and  energy 
to  it — and  let  the  dreams  of  his  painting 
go  the  way  of  all  other  dreams.  The 
dream  faded,  until  at  last  the  reality  ab- 
sorbed all  his  interest,  as  well  as  time  and 
energy. 

He  was  not  long  in  the  newspaper  game 
before  the  field  of  animated  cartoons — 
then  in  its  wailing  infancy— began  to  draw 


Meet  La  Cava 

{Continued  from  page  62) 

him.  Here  it  was  that  he  first  made  ac- 
quaintance with  the  camera — and  gained 
knowledge   that    is   now   invaluable. 

"Timing,  for  instance.  I  can  almost  al- 
ways tell  just  how  many  frames  it  will 
take  to  make  a  given  gesture." 

It  was  natural  that  he  should  use  the 
animated  cartoon  only  as  an  entering 
wedge  into  the  wider  range  of  the  film 
industry  as  a  whole,  and  not  as  an  end  in 
itself.  From  cartoons  to  directing  come- 
dies for  Johnny  Hines  was  but  the 
first  step.  And  from  there  his  rise  was, 
for  a  time  at  least,  steady — to  culminate 
in  a  production  that  was  remarkable. 

This  was  a  picture  called  "Restless 
Wives"  that  he  made  for  C.  C.  Burr,  a 
producer  in  the  states  rights'  field.  We 
have  all  heard  of  the  impossibility  of  mak- 
ing a  presentable  picture  for  the  paltry 
sum  of  $125,000 — of  the  inability  to  get 
actors  who  can  act,  decent  sets,  costumes 
— but  you  know  all  this  fully  as  well  as  I. 
Well,  the  cast  of  this  picture  was :  Doris 
Kenyon,  James  Rennie,  Naomi  Childers, 
Montague  Love,  Edmund  Breese,  Burr 
Macintosh,  Russell  Griffith,  Edna  May 
Oliver,  and  others — and  it  was  finished  for 
the  exorbitant  sum  of  $35,000! — and  was 
made  in  seventeen  days ! — which,  of  course, 
is  the  answer  to  the  seeming  riddle. 

"In  the  early  stages  of  his  career,"  says 
La  Cava,  "one  picture  may  well  ruin  a 
director.  Making  pictures  with  so  small  a 
budget  was — well,  to  say  the  least,  risky. 
If,  for  an  extra  five  dollars  I  could  make 
the  picture  look  as  tho  another  thousand 
had  been  spent  on  it,  the  picture  had  to  re- 
main looking  a  thousand  dollars  cheaper! 

"But  the  risk  was  the  main  thing.  For, 
one  breaking  into  the  game  must  watch  his 
step.     If  it  rains,  they  fire  the  director !" 

And  so  it  was  that,  instead  of  jubila- 
tion, he  turned  back  to  groping.  And  to 
grope  with  any  prospect  of  finding  any- 
thing, he  must  give  his  whole  time  and 
thought  to  it.  So  he  decided  to  quit  the 
industry  entirely  until  such  a  time  as  the 


course  to  be  followed  should  become  clear 
in  his  mind. 

And — there    was    another    consideration. 

"You  know  how  it  is  with  one  of  my 
type — you  get  a  little  money  ahead,  and 
you're  not  happy  until  it's  spent  and  you're 
broke  again — you'd  throw  the  whole  world 
down  for  $7.80 ! 

"I  had  married  a  short  time  before.  So 
now  I  took  the  $7.80,  my  wife,  and  the 
Buick — and  the  four  of  us  set  forth  on  a 
belated  honeymoon." 

His  groping  was  not  aimless ;  nor  was 
it  directed  to  no  point.  After  a  time  of 
searching,  he  found  a  course  he  felt  satis- 
fied might  lead  him  up  the  mountain.  This 
was :  to  return  and  become  a  director  for 
Famous  Players  (there  is  no  vagueness 
here — to  decide  definitely  on  one  company, 
and  that  one  of  the  largest  in  the  field!) 

But .  one  cannot  walk  into  Famous  and 
say:  "Good  Morning,  I  want  a  job  di- 
recting." 

So  he  pulled  the  few  strings  he  had 
access  to,  and  secured  a  job  as  a  sort  of 
general  handy  writing-  and  gag-man.  As 
gag-man,  he  was  assigned  to  the  Richard 
Dix  pictures.  He  met  the  star  and  liked 
him — and  was,  in  turn,  liked  by  him.  But 
the  course  he  had  set  himself  called  for 
the    position    of     director,    not    gag-man. 

An  opportunity  came:  "The  Shock 
Punch"  was  dropping  badly  behind  sched- 
ule^— La  Cava  was  told  to  do  the  last  two 
reels  to  help  speed  up  the  work.  Upon 
examination,  these  last  two  reels  proved 
not  bad  at  all — so  he  was  given  two  in 
"The  Lucky  Devil."  He  had  done  two- 
reelers  in  the  early  days — now  he  was  a 
two-reel  director  in  five-reel  productions! 

Here,  Richard  Dix  took  Fate  in  his 
own  hands  and  choked  the  lady  into  ac- 
quiescence. He  requested  that  La  Cava 
be  given  entire  charge  of  his  next  picture 
— this  request  after  the  exertion  of  a 
steady  pressure,   was  granted. 

La  Cava  made  "Womanhandled"  and 
"Let's    Get    Married." 


International  Newsreel  photos 

Tom  Gallery,  and  his  wife,  Zasu  Pitts,  are  going  to  adopt  Barbara  La 

Marr's  son,  Ivan.     Here  are  the  Gallerys  with  Ivan  and  their  own 

daughter,  Zasu  Anne 


The  Answer  Man 

{Continued  from  page  63) 

Selmy. — I  envy  you  when  you  say  you  planted 
some  watermelons.  Yum,  yum!  They  ought  to 
have  plenty  of  water  in  them  if  you  planted  them 
in  the  spring.  Lloyd  Hughes  was  born  in  1899, 
and  he  is  with  First  National. 

Jane  T. — The  quotation,  "Frailty,  thy  name  is 
woman,"  is  from  Shakespeare's  "Hamlet."  Joseph 
Schildkraut  in  "The  Road  to  Yesterday."  Ricardo 
Cortez  was  born  in  Alsace-Lorraine,  France.  So 
they  tell  me. 

Fippie  Two. — I'm  sorry,  but  I  haven't  a  cast 
for  "The  Tenth  Woman."  Why  pick  out  the  tenth? 
Elliott  Roth  was  Harold.  Poor  little  Farina !  Of 
course,  he  is  a  boy,  and  his  name  is  Allen  Clayton 
Hoskins.    Now  will  you  be  good? 

M.  T. — Well,  it  isn't  the  way  you  look  at  other 
girls  that  spoils  you  with  your  sweetheart,  but  the 
way  you  dont  look  at  her.  Conrad  Nagel  is  playing 
in  "Memory  Lane." 

F.  F. — So  you  are  for  Richard  Dix,  and  you 
say  you  have  four  of  his  pictures  on  your  walls. 
Richard  should  feel  flattered,  but  what  will  Rudolph 
and  the  others  say? 

Pretty  Peggy. — Oh,  my !  You  know  Dolores 
Costello  won  one  of  our  popular  contests  ten  or 
twelve  years  ago.  So  you  really  saw  Alan  Forrest 
and  Marion  Mack  taking  pictures  of  "The  Whip- 
hand"  right  under  your  window.  That  must  have 
been  thrilling. 

{Continued  on  page  83) 


C6 


' 


Rambus  Mw 
Jpanish  liquii 

Makes  any  hair  beautifully  curly 


in  20  minutes 


THE  SPANISH  BEGGAR'S 
PRICELESS  GIFT 

By   Winnifrtd  Raliton 

FROM  the  day  we  started  to  school.  Charity  Wlnthrop 
and  I  were  railed  the  touseled-halr  twins.  Tom 
Harvey  nicknamed  us  that — horrid,  rod-headed  Tom 
Harvey,  who  used  to  put  burrs  In  our  pigtails  and 
ancle  worms  In  our  Inkwells. 

Our  mothers  despaired  o(  us.  Our  hair  simply  wouldn't 
behave.  There  were  Martha  Brown.  Helen  Stahl.  Betty 
Davis  and  Leah  Cohen — -all  with  wonderful  curly  hair. 
But  Charity  and  I  could  never  coax  ours  out  of  a  straight 
line 

As  we  grew  older  the  hated  name  still  clung  to  us.  It 
followed  us  through  the  grades  and  Into  boarding  school. 
Then  Charity's  family  moved  to  Spain,  where  her  father 
was  In  diplomatic  service,  and  I  didn't  see  her  again  for 
Bve  years — not  until  last  New  Year's  Eve. 

A  party  of  us  had  gone  to  the  Drake  Hotel  for  dinner 
that  night.  As  usual  I  was  terribly  embarrassed  and 
ashamed  of  my  hair.  When  the  bobbing  vogue  first  came 
In  I  had  my  hair  cut.  hoping  against  hope  that  would  Im- 
prove Its  looks  Realising  my  mistake,  I  permitted  It  to 
crow  again  and  by  New  Year's  Eve  It  was  Just  long  enough 
to  be  unmanageable. 

Horribly  self-conscious  I  was  sitting  at  the  table, 
scarcely  touching  my  food,  wishing  I  were  home.  It 
seemed  that  everyone  had  wonderful,  lustrous,  curly  hair 
but  me  and  I  felt  they  were  all  laughing  or,  worse,  pitying 
me  behind  my  back. 

My  eyes  strayed  to  the  dance  floor  and  there  I  saw  a 
beautiful  girl  dancing  with  Tom  Harvey.  Her  eye  caught 
mine  and,  to  my  surprise,  she  smiled  and  started  toward 
me. 

While  there  was  something  strangely  familiar  about  her 
face  I  didn't  recognise  her — then.    No — it — it  couldn't  be. 

About  this  girl's  face  was  a  halo  of  golden  curls.  I 
think  she  had  the  most  beautiful  hair  I  ever  saw.  My 
(ace  must  have  turned  scarlet  as  I  compared  It  mentally 
with  my  own  straggly,  ugly  mop.  I  had  never  been  so 
thoroughly  ashamed  of  my  hair  before. 

Of  course  you  have  guessed  her  Identity — for  It  was 
really  she — Charity  Wlnthrop  who  once  had  dull  straight 
hair  like  mine. 

It  had  been  five  long  years  since  I  had  seen  her.  There 
was  everything  to  talk  about,  but  I  simply  couldn't  wait. 
I  blurted  out — "Charity  Wlnthrop — tell  me — what 
miracle  has  happened  to  your  hair?" 

She  smiled  and  said  mysteriously.  "Come  to  my  room 
and  I  will  tell  you  the  whole  story."  She  was  stopping  at 
the  hotel.  We  excused  ourselves  and  rushed  to  Charity's 
room  I  listened  breathless  while  she  told  me  this 
strange  story: 

Charity  tells  of  the 
beggars  gift. 

"Our  house  In  Madrid  faced  a 
little,  old  plaxa.  where  I  often 
strolled  after  my  siesta. 

"Miguel,  the  beggar,  always 
occupied  the  end  bench  of  the 
south  end  of  the  plaia.  There  he 
sat  all  day  long,  asking  alms  from 
the  Dassersby.  I  always  dropped 
a  few  cencavos  In  his  hat  when  I ' 
passed  and  he  soor  grew  to  know 
me. 

"The  day  before  I  was  leaving 
Madrid  I  stopped  to  bid  him  good- 
ojf  and  Dressed  a  gold  coin  In  his 


A  Uatchltil  MarctlU 


palm.    That  was  the  best  Investment  I  ever  mode. 

"  'Htja  mia,'  he  said,  'You  have  been  very  kind  to  an 
old  man.  Dlgamelo  (tell  me)  senorita.  what  It  is  your 
heart  moat  desires.' 

"I  laughed  at  the  Idea,  then  said  Jokingly,  'Miguel,  my 
hair  is  straight  and  dull.  I  would  have  It  lustrous  and 
curly." 

"  'Oigame,  senorita,'  he  said — 'what  you  wish  Is  even 
simpler  than  I  thought.     Many  years  ago — a  Castlllan 

grlnce  was  wedded  to  a  Moorish  beauty.  Her  hair  was 
lack  as  a  raven's  whig  and  straight  as  an  arrow.  Like 
you.  this  lady  wanted  los  ptlot  rizos  (curly  hair).  Her 
husband  offered  thousands  of  pesos  to  the  man  who  would 
fulfil  her  wish.  The  prise  fell  to  Pedro,  the  droavero.  Out 
of  roots  and  herbs  he  brewed  a  potion  that  converted  the 
princess'  straight,  unruly  hair  into  a  glorious  mass  of 
ringlet  curls. 

"  'Pedro,  son  of  the  son  of  Pedro,  has  that  secret  today. 
Years  ago  I  did  him  a  great  service.  Here  you  will  find 
him. — go  to  him  and  tell  your  wish.  Adios,  senorita,  voya 
con  Tios.' 

"You  can't  Imagine.  Wlnnlfred,  how  funny  it  made  me 
feel.  I  did  not  take  It  seriously,  of  course.  I  never  ex- 
pected to  look  up  this  mysterious  Pedro,  but  some  whim 
changed  my  mind  and  I  called  a  coche  and  gave  the  driver 
the  address  Miguel  bad  given  me. 

"At  the  door  of  the  apothecary  shop.  Pedro,  a  funny 
old  hawk-nosed  Spaniard,  met  me.  Nervously  I  stam- 
mered out  my  explanation.  When  I  had  finished,  he 
bowed  and  vanished  Into  the  rear  of  his  store.  Presently 
he  returned  with  a  bottle  which  he  handed  to  me. 

"By'thla  time  I  was  terribly  excited — could  hardly  wait 
until  I  reached  home.  When  I  was  finally  in  my  room 
alone,  I  took  down  my  hair  and  applied  the  liquid  as 
directed.  In  twenty  minutes,  not  one  second  more,  the 
transformation,  which  you  have  noted,  had  taken  place. 
"Come,  Wlnnlfred — apply  It  to  your  own  hair  and  see 
what  It  can  do  for  you." 

Breathlessly  I  watched  Charity  take  a  bottle  from  her 
wardrobe  trunk.  Tremblingly  my  fingers  undid  my  hair 
and  applied  the  liquid. 

Twenty  minutes  later,  as  I  looked  into  Charity's  mir- 
ror. I  could  hardly  believe  my  eyes.  The  Impossible  had 
happened.  My  dull,  straight  hair  bad  wound  Itself  Into 
curling  tendrils.  My  head  was  a  mass  of  ringlets  and 
waves.    It  shone  with  a  lustre  It  never  had  before. 

You  con  Imagine  the  amazement  of  the  others  in  the 
party  when  I  returned  to  the  ballroom.  Everybody 
noticed  the  change.  Never  did  I  have  such  a  glorious 
night.  I  was  popular.  Men  clustered  about  me.  I  had 
never  been  so  nappy. 

The  next  morning  when  I  awoke.  I  hardly  dared  look  In 

my  mirror,  fearing  It  had  all  been  a  dream.     But  It  was 

true — gloriously  true.    My  hair  was  curly  and  beautiful. 

Then  the  fiought  came  to  me  I  had  no  right  to  keep 

this  great  secret  to  myself.     There  were  thousands  of 

women  Just  like  me  who  would 

give  anything  to  know  my  precious 

secret. 

Ho  it  has  been  made  available 
through  the  Century  Chemists. 
They  have  agreed  to  act  as  dis- 
tributors under  a  most  liberal 
offer,  which  places  this  new  found 
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women,  regardless  of  their  finan- 
cial status. 

Now  the  golden  opportunity  Is 
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and  curls.  "Wave-Sta"  will 
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For  a  limited  time  we  are  offering  a  full-slie  bottle  of 
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Under  the  terms  of  our  special  trial  offer  you  do  not 
have  to  send  any  money  in  advance.  Simply  sign  and 
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67 


S   H    MERE 


O  U  a  U  E  T 


Close-up  of  a  vel- 
vet smooth  skin. 
No  "age-Hnes" 
or   coarse    pores. 


The  lines  and 
coarse  pores, 
worse  than  birth- 
days to  betray  a 
woman's  age. 


<J\ow~-  This  "hard-milled  "soap,  used  everyday 

....  keeps  skin  young  and  lovely 


There  is  radiant,  happy  beauty 
in  a  skin  that  has  the  fresh 
satin'smoothness  that  Nature 
gave  it — and  intended  it  to 
keep. 

But  so  many  skins  have  been 
robbed  of  their  fine-textured 
loveliness.  So  many  show 
coarsened  pores,  and  blemishes, 
instead  of  the  clear,  smooth 
beauty  that  every  girl  longs  for. 
And,  Oh,  the  heartaches  and 
the  disappointments  that  result 


ok  of  Btauty  Secrfts 
unusual    booklet 


A  Bi 
This 

has  been  endorsed  by 
an  authority  on  beauty. 
Every  statement  is  ap- 
proved by  an  eminent 
skin  specialist.  Send  for 
your  copy  and  a  trial 
cake  of  Cashmere  Bou- 
quet Soap.  Fill  out  the 
coupon. 


from  poor  complexions!  Only 
the  girl  who    suffers,   knows. 

Soap,  of  Course — But 
the  Right  Soap 

All  up'tO'date  scientific  advice 
on  the  care  of  the  s\in  urges  the 
daily  use  of  soap  and  water.  It  is 
the  kind  of  soap  you  use  that 
ma\es  all  the  difference  between 
safe  cleansing  and  the  danger  of 
coarsened,  blemished  s\in. 

Cashmere  Bouquet  is  made  es- 
pecially  for  the  face,  hands  and 
tender  skin  of  the  neck.  It  is 
"  hard  milled,1''  which  means 
that  it  is  put  through  special 
pressing  and  drying  processes 
that  give  each  cake  an  almost 
marble  firmness.  It  is  not  the 
least  bit  squdgy.  This 
special  hardness  is 
what  makes  it  safe. 
Cashmere   Bouquet 


The  peculiarly  en- 
trancing fragrance  of 
Cashmere  Bouquet  Is 
obtainable  also  In 
( ther  Colgate  toil- 
etries. 


lather  penetrates  deep  into  the  pores, 
searches  out  dust  and  dirt  and  rinses 
away  instantly  and  completely.  No 
undissolved  soap  remains  in  the 
pores  to  mix  with  dirt  and  stifle 
the  tiny  openings.  That  is  why 
skins  cared  for  with  Cashmere 
Bouquet  keep  their  youthful  texture 
and  remain  beautiful. 

Try  This  Treatment — 
Watch  Results 

Wet  the  face  with  warm  water. 
Work  up  a  thick  Cashmere  Bouquet 
lather  on  the  hands.  A  wash  cloth 
is  too  harsh  for  some  skins.  Massage 
this  soothing  lather  into  the  skin 
with  the  fingertips  until  the  skin  feels 
refreshed  and  alive.  Rinse  in  warm 
water,  in  order  to  remove  all  traces 
of  soap  while  the  pores  are  still  open. 
Follow  with  a  dash  of  clear,  cold 
water.  Pat  the  face  dry  with  a  soft 
towel.  If  the  skin  is  inclined  to  be 
naturally  dry,  rub  in  a  little  Colgate's 
Charmis  cold  cream. 

Many  beauty  secrets  told  in  booklet! 


fat*' 


Established  1806 


68 


Has  the  Great  l-/over  Become  Just  a  Celebrity? 


1 1  onlinued  from  pogt  21  i 


In   the    libra!"}    Ins    Ara- 
bian   wolfhound    persii 

trntlv    thrusts    her    muxzlc 
into  your  hands,  lying    to 
■ether   in  youi    lap,  and   a 
black,    »ei  ious    Pincher 
Dobei  man    wai  ts    with 

dignit)    I'M  the  caress 

The  room  is  dominated  hs 

iuu  portraits  «<i  Valentino, 

much  larger  than  life, 
■fending  from  floor  to  ceil 

I  hey  arc  bj    Beltran- 

..  court  painter  of 
Spain,  who  was  a  guest  of 
the  mo\  it-  actor  la>t  summer. 
One  picture  represents 
Valentino  in  a  Spanish  or 
Smith  American  rig,  sug- 
<f stniK  the  character  in 
which  he  suddenly  popped 
into  fame — Julio  in  "The 
Roar  Horsemen  of  the 
Apocalypse."  The  other 
portrait — and  the  more  in- 
teresting—shows the  actor 
as  El  uanxor,  the  first 
Moorish  conqueror  of  Cor- 
l  The  soldier  stands 
in  fine  armor,  the  point  of 
his  drawn  simitar  resting  on  the  ground  as 
he  looks  into  the  distance  over  his  camp 
ird  the  Spanish  city,  his  quarry.  Be- 
side him  kneels  a  dark-eyed  girl.  The  sensual 
mouth  of  the  chieftain  takes  cognizance  of 
her  presence,  but  the  eyes  look  out  regard- 
less, filled  with  the  larger  purpose. 

Valentino  Abroad 
Walentino    is    an    accomplished    swords- 
man.     He    loves    steel — the    fiery    point 
that  licks  in  and  out  in  fencine :  the  finely 


Valentino's  house,  high  in  Beverly  Hills,  is  cracking  and  slipping 


wrought  intricacies  of  old  armor,  alter- 
nately dull  and  bright. 

Exquisite  figurines  in  silver  cover  his 
tables.  Mounted  knights  jousting.  On  a 
cabinet  is  a  gauntlet  from  the  suit  of  armor 
presented  by  the  Count  of  Nieva  to  Phil- 
lip  II   of   Spain.     It   is  gold  damaskeen. 

Valentino  has  brought  back  from  Italy 
his  brother,  Alberto,  who  resembles  him, 
lacking  the  grace  and  finer  lines  of  figure. 
Alberto  is  squattier,  more  stolid.  His  wife 
is  with  him  and  their  son,  Jean,  a  boy 
of  about  twelve.  Mario  Carillo,  the  well- 
known  Italian  actor,  is  one  of  the  com- 
pany in  Valentino's  home 
this   late  afternoon. 


I  he  host  i    not  tall 
nor  are  we      I  he  ominoui 

i .tins   I ui ■. ■    worked   a   •!> 

ii  i>l    spirit.      \i.  MM 

ins   been  able  to  gel  anj 
••    in    the    fresh   afi 

foi     '!  I 

Valentin  dly    rn 

kiln  kcr  s  and   |    10 f I      |>orts 
man's    blotUC       1 1'     I 

of   handion 

(.'.liters. 

The    conversation     is    of 

Europe      Valentino   lost 

KMI.IXMI  |,an.  I  the  first 
night  at  baccarat  in  tin- 
Riviera  casino.  Tht 
..lid  night  he  won  200,000 
francs  and  quit  The  Mas 
cot  Cafe  in  Berlin  held 
only  five  customers  one  gala 
night  and  kept  two  orches- 
tras going — a  tango  and  a 
jazz.  Nobody  in  (icrmany 
is  pleasure-seeking.  They 
are  just  working  an d — 
waiting.  Paris  is  as  gay 
as  ever,  with  (iro's  and 
the  other  cafes  making 
profits  in  spite  of,  rather 
than  because  of,  the  low  exchange  and  the 
consequent  horde  of  Americans.  Valentino 
left  two  Fraschini  cars  abroad  when  he 
returned.  One  will  do  a  hundred  and 
eighty  kilos  an  hour. 
And  so  on. 

Valentino's  House  Is  Slipping 
Wai.extino's  hill  is  slipping.     Engineers 
have  been  up 'to  see  it  and  to  rack  their 
brains    for  a  defense. 

The  stucco  mansion  so  recently  acquired 
is  cracking.  Something  must  be  done.  The 
situation  is  symbolic — after  the  fashion  of 
motion  picture  symbolism.  Valentino's  fame 
is   full  of  cracks.     Can  it  be  repaired? 

He  bought  the  estate  in  Beverly  Hills 
with  money  garnered  from  the  fickle  pub- 
lic. The  sullen  winter  rains  assaulted  it, 
and  like  everything  in  the  capital  of  movie- 
land  it  proved  unsubstantial.  A  reputation 
in  pictures  is  likewise  subject  to  caprice  and 
may  crack  and  easily  crumble  beneath  the 
obloquy  of  the  mob. 

(Continued  on  page  78) 


The  Nordic  sneered  at  Valentino  while  his  women  folk  thrilled 
to  this  jungle  python  of  a  lover 


69 


Freckles 

Secretly  and  Quickly  Removed  I 

"V^OU  can  banish  those  annoyinj, 
-*■  embarrassing  freckles,  quickly 
and  surely,  in  the  privacy  of  your 
own  boudoir.  Your  friends  will  won- 
der how  you  did  it. 

Stillman's  FreckleCream  bleaches 
them  out  while  you  sleep.  Leaves  the 
skin  soft  and  white,  the  complexion 
fresh,  clear  and  transparent,  the  face 
rejuvenated  with  new  beauty  of 
natural  coloring. 

The  first  jar  proves  its  magic  worth. 
Results  guaranteed,  or  money  re- 
funded. At  all  druggists,  50c  and  $1. 

mans  fredde 

Cream  szti& 

REMOVES    FRECKLES 
WHITENS    THE^   SKIN 


The  Stillman  Co.,    3  Rosemary  Lane,  Aurora,  III.    ■ 
Send  me  your  FREE  make-up  and  skin  treat-    ■ 
meat  booklet,  "Beauty  Parlor  Secrets." 

Name- 


Address- 


City.. 


...  State 


Will  you  sell  your 
imagination? 

If  things  inside  you  seem  to  clamor  to 
be  written,  with  an  almost  torturing 
magic  .  .  .  you  are  potentially  the  kind 
of  writer  that  editors  bid  for.  And  if 
there  is  impetus  to  your  thinking,  so 
that  ideas  jostle  and  push  .  .  .  the 
Palmer  Institute  of  Authorship  can  train 
your  imagination  to  write  itself  down  at 
a  profit  to  you  of  two,  three,  five  cents  a 
word  or  even  more.  The  method  is 
strictly  personal.  You  are  taught,  con- 
cisely, by  correspondence,  short  story 
and  photoplay  technique.  Suspense,  in- 
trigue, character,  climax — all  the  intri- 
cate tools  of  short  story  and  photoplay 
writing  are  put  into  your  hands  and 
you  are  taught  to  use  them  well.  You 
carve  out  stories  that  go  over  strong, 
yet  are  a  part  of  you — your  own  peculiar 
talents.    For  details,  send  coupon. 


PALMER   INSTITUTE  OF  AUTHORSHIP 
Palmer   Building.    Hollywood.    Calif.  56-E 

Clayton    Hamilton,    President 

Frederick    Palmbb,    Vice-President 

Please  send  me,  without  any  obligation,  details 

about  your  home-study  course  In : 

□  Short  Story  Writing  D  English  Expression 

□  Photoplay  Writing 

Name 


name | 

I      Address I 
All  correspondence  strictly  confidential 

L I 


The  Celluloid  Critic 

(Continued  from  page  51) 


could  give  such  a  completely  colorless 
performance.  I  liked  Mile.  Kithnou  as 
Ferragut's  wife. 

The  Lyric  "Moana" 

LIaving  disposed  of  "Mare  Nostrum,"  I 
can  turn  to  "Moana,"  Robert  J. 
Flaherty's  study  in  Samoan  tribal  life,  with 
a  sigh  of  relief.  Here  is  beauty  such  as 
you  are  not  likely  to  encounter  on  the 
screen  in  many  a  day.  It  is  lyric — and 
thrilling. 

You  will  recall  Flaherty  as  the  man  who 
did  "Nanook  of  the  North,"  that  study  of 
man's  primitive  struggle  for  existence  when 
the  Arctic  winds  sweep  across  the  desolate 
stretches  of  Northern  ice.  "Moana"  pre- 
sents another — and  totally  different — study 
in  man's  fight  for  life  under  the  tropical 
sun. 

Here  the  natives  of  the  South  Pacific 
fish,  trap  wild  animals,  transform  roots 
into  bread  and  win  a  living  from  nature. 
I  doubt  if  the  motion  picture  camera  will 
ever  catch  anything  more  beautiful  than 
the  way  the  boy,  Pea,  climbs  lofty  palm- 
trees  in  quest  of  cocoanuts  or  the  way 
Moana  and  his  father  master  a  giant  turtle 
in  the  deep,  clear  waters  of  a  coral  reef. 
Thru  this  picturing  of  the  daily  native 
life  runs  the  thread  of  a  romance,  the  love 
of  Moana  for  Fa'angase.  Here  is  the 
lyric  note,  for  the  two  are  utterly  unmind- 
ful of  cameras,  of  conventions,  of  self- 
consciousness.  I  understand  some  Cana- 
dian censors  have  barred  "Moana"  because 
Fa'angase  does  not  wear  a  brassiere.  I 
can  only  say  that  these  censors  would  be 
able  to  see  evil  in  anything. 

The  native  love  dance — the  Siva— of 
Moana  and  Fa'angase  is  an  exquisite  thing. 
The  film  reaches  its  high  point  when  the 
stoical  Moana  undergoes  three  weeks  of 
tattooing,  signifying  the  passing  of  the 
threshold  of  manhood.  Coloring  is  cut 
into  the  skin  by  means  of  needles  of  bone. 
This  may  seem  cruel — but  I  doubt  if  it  is 
any  more  painful  than  the  broken  bones 
our  own  Moanas  encounter  upon  the  grid- 
iron or  the  hockey  ice.  It's  all  in  the  point 
of  view. 


Anyway,  Flaherty's  picturing  of  the 
Polynesian  life  under  the  swaying  palm- 
trees  of  Savai'i  becomes  a  veritable  cinema 
poem. 

An  Adult  Comedy 

'""The  Grand  Duchess  and  the  Waiter,"  a 
Malcolm  St.  Clair  effort  featuring 
the  suave  Adolphe  Menjou  and  charming 
Florence  Vidor,  possesses  genuine  sparkle. 
This  is  built  upon  a  French  farce  by 
Alfred  Savoir  and  revolves  around  a  Rus- 
sian grand  duchess,  traveling  with  her 
entourage  but  little  real  money,  and  a 
gay  and  wealthy  man-about-town.  The  gay 
dog  masquerades  as  a  waiter  and  wins  the 
duchess'  heart  just  as  she  is  pawning  her 
last  royal  jewel.  The  comedy  is  an  adult 
one,  done  with  intelligence  and  delicacy. 
I  congratulate  St.  Clair  for  his  direction, 
and  Menjou  and  Miss  Vidor  for  their 
shrewd  playing. 

In  contrast  to  "The  Grand  Duchess  and 
the  Waiter,"  "Irene,"  Colleen  Moore's 
adaptation  of  the  musical  comedy  of  some 
years  ago,  is  just  comic  strip  hokum.  The 
story  ?.  A  wealthy  young  man  falls  in  love 
with  an  Irish  hoyden  who  delivers  bundles. 
Your  liking  for  "Irene"  will  depend  upon 
whether  or  not  you  like  Miss  Moore's 
hoydenisms.  I  dont.  I  know  I  am  in 
the  minority  because  Miss  Moore's  com- 
edies are  what  they  call  box-office  wallops. 
So  you  must  use  your  own  judgment  her*. 
Personally,  I  think  this  comedy,  directed 
by  Al  Green,  is  slower  than  some  of  this 
star's  recent  efforts. 

I  liked  Richard  Dix's  newest  comedy, 
"Let's  Get  Married,"  immensely.  This  is 
just  the  story  of  a  rich  and  rough  playboy 
who  gets  sent  to  jail  for  thirty  days.  Dix 
keeps  improving  in  his  comedy  and  Edna 
Mae  Oliver  scores  a  real  hit  as  one  /.  W. 
Smith,  the  world's  biggest  buyer  of  Bibles, 
who  likes  to  play  in  cabarets  when  she 
isn't  following  the  straight  and  narrow 
purchasing  path.  Lois  Wilson  is  a  pleas- 
ant heroine.  A  whole  lot  of  the  credit  for 
"Let's  Get  Married"  goes  to  the  young 
director,  Gregory  La  Cava.  Better  watch 
this  La  Cava! 


Letters  to  King  Dodo 

(Continued  from  page  61) 


New  York. 
Dear  Majesty : 

Lya  de  Putti  has  arrived  in  New  York, 
slightly  upsetting  the  placid  calm  of  Man- 
hattan. 

She  was  taken  ill  right  after  her  arrival, 
finally  going  to  a  New  York  hospital  for 
an  operation.  In  the  interim  she  received 
reporters  while  reclining  in  bed,  strikingly 
negligee  and  smoking  a  cigaret. 

Anyway,  Lya  gets  the  role  in  Griffith's 
"Sorrows  of  Satan"  for  which  so  many 
actresses  were  considered.  Greta  Nissen 
had  it  once,  before  the  quarrel  that  re- 
moved her  to  Universal. 

Hollywood. 
Your  Dear  King: 

The  screen  colony  out  here  is  all  agog 
over  the  Pola  Negri-Rudolph  Valentino 
"engagement." 

You  know,  of  course,  that  Pola  an- 
nounced her  engagement  to  Rudy,  stating 
that  it  was  in  the  nature  of  a  "four  months' 
trial  engagement,"  covering  the  period  of 
her  coming  trip  to  Europe. 


This  announcement  was  followed  by 
several  days  of  dead  silence  from  the 
slipping  Maison  of  the  Sheik.  Then  came 
Rudy's  statement  that  he  had  never  men- 
tioned marriage  to  Pola  at  all.  Moreover, 
he  said  the  engagement  was  news  to  him. 

And  there  you  are,  Your  Majesty.  May- 
be they're  engaged.  Maybe  they're  not. 
Maybe  it's  just  press  stuff.  And,  again, 
maybe  Pola  is  interested  and  Rudy  isn't — 
now. 


Flash  Backs 

(Continued  from  page  45) 

ridicule  or  otherwise;  no  exposure  of  the 
unpleasant  consequences  of  romantic  senti- 
mentality in  real  life;  nothing  that  would 
give  a  disagreeable  shock  to  the  stupid  or 
shake  the  self-complacency  of  the  smug." 
Meanwhile,  the  censors  of  New  York, 
Pennsylvania,  Ohio,  Kansas,  Virginia, 
Maryland  and  Florida  still  are  busy  with 
their  scissors. 


70 


Making  "The  Big  Parade" 

ntinutd  from  pagi 

tins  principle  in  anothei   !>i^ 
I  hope,  .m>l  1  shall  apply 
possible  to  .ill  m\   pictui 
luestion  "I  the  development  of  "  Hie 
is   been   raised    fre 
tin-  picture  scored  on    I 
he  ^t.'i  \   is  credited    on  the  - 

tilings,  who  was  co  authoi 
■  i    the    >|».kc"     wai     play,     "What     Price 

It   can   he   said    with    authorit)     (and    1 

mi    not    quoting    Vidor    here)     that     few 

i   Stallings'  original   story  outline 

emain  in  "The   Big    Parade"  as  it  stands 

n  celluloid  form. 

"1  owe  to   Stallings   the  courage  to  go 

ihead  and  make  'The   Big    Parade,'  "  says 

i  might  have  doubted  or  faltered 

it      He  gave  me  the  enthusiasm  to 


How  "The  Big  Parade"  Grew 
Thkrk  was,   for   instance,   no  inarch  thru 

Belleau  Woods  in  Stallings'  original 
story.  The  shell-hole  episode  was  there, 
nit  the  cigaret-sharing  moment  was  not. 
Mailings  contributed  the  early  doughboy 
>ath  scenes,  but  other  important  incidents, 
;uch  as  the  gum-chewing  interlude,  were 
levised  as  the  scenes  were  developed  be- 
fore the  camera.  That  the  hero  ends  with 
Hit  one  leg  was  created  by  the  scenarist. 
Perhaps  it  was  suggested  by  the  fact  that 
Stallings    lost    a    leg    in    the    World    War. 

In  other  words,  Stallings  supplied  the 
dea  that  a  story'  of  the  war  could  be  told 
■vithout  the  usual  saccharine  bunk  about 
nilitarism.  He  contributed  the  requisite 
;nthusiasm. 

The  rest  of  the  success  of  "The  Big 
Parade"  is  due  to  King  Vidor  and  the 
»ble  and  sincere  assistance  of  John  Gilbert 
ind  Renee  Adoree.  Vidor  had  been  mak- 
ing good — and,  in  several  cases,  extraordi- 
nary— pictures  for  years,  but  he  hadn't 
.aught  the  eye  of  the  public. 


The  Northern  Star 

(Continued  from  page  53) 

"Why  should  they  look  at  me?  They 
do  not  know  me." 

She  wears  her  corn-colored  hair  straight 
back  from  her  classic  brow  in  a  long  bob 
that  curls  at  the  ends.  She  uses  no  make-up 
and  the  California  sun  has  not  had  time  to 
spoil  the  wild  rose  and  lily  white  of  her 
complexion.  Nothing  can  take  away  the 
haunting  sadness  of  her  eyes. 

Perhaps  it  was  her  eyes,  perhaps  her 
sensitive  lips,  perhaps  her  very  real  charm 
— or  it  may  have  been  something  deeper 
that  Mauritz  Stiller  caught  and  imprisoned 
on  the  screen  in  the  "Saga." 

Whatever  it  was,  it  reached  out  magic 
hands  and  transported  the  young  unknown 
from  the  snowy  shores  of  Sweden  to  the 
sunny  beaches  of  California.  And  here  is 
the  way  of  the  thing: 

Louis  B.  Mayer  makes  it  his  business 
or  his  pleasure  to  view  in  his  private  pro- 
jection-room all  important  foreign  films. 
Sitting  in  his  easy  chair  one  day,  Mr. 
Mayer  saw  Greta  Garbo  looking  tragically 
out  at  him. 

Signed  for  America 
"Rl'N"  that  again,"  he  directed,  when  the 
film  was  finished.     And  then :    "We'll 
get  that  girl." 

Fred  Xiblo  was  then  in  Rome  working 

m  "Ben-Hur,"  and  Mr.  Mayer  had  planned 

o  to  see  him.     On  that  same  trip,  the 

-M    head    proceeded    to    Stockholm, 

(Continued  on  page  77) 


c  I 0  keep  fresh  the  beauty 

of  girlhood  -  is  the  duly 

of  every  woman 

THERE  is  no  place  in  the  modern  scheme  of  things  for  the 
woman  who  is  indifferent  to  her  personal  appearance  and 
allows  herself  to  grow  old.    It's  the  age  of  youth — but  no 
woman  can  look  younger  than  her  skin. 

Perfect  cleanliness  with  the  right  soap  will  keep  any  woman's 
skin  younger  than  her  years.  That  is  why  daily  increasing 
numbers  of  fastidious  women  are  relying  on  Resinol  Soap  to 
preserve  the  freshness  of  their  complexions.  They  know  that 
u  satisfies  every  need  of  the  skin  because: — 

It  gives  an  abundant,  foamy  lather  in  either  hard  or  soft 


It  contains  no  free  alkali  or  other  harsh  properties,  and  is 
absolutely  non-irritant  to  the  tendered  sfyn — 

It  has  no  heavy  perfume  or  strong  odor — just  the  delight- 
fully distinctive  fragrance  which  comes  from  its  Resinol 
properties — those  properties  which  ma\e  its  rich  color  and 
give  protection  to  the  skin — 

It  rinses  easily  and  leaves  the  slpn  so  soft  and  velvety, 
refreshed  and  invigorated  that  you  know  it  has  been 
cleansed  to  the  depth  of  each  tiny  pore. 

Resinol  Ointment 
m  a  ready  aid  to 
Resinol  Soap.  In 
addition  to  being 
widely  used  for  ec- 
zema, r.uhf  i.  chafing, 
etc.,  thousand!  of 
women  find  it  in- 
dispensable for  clear- 
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blemishes. 


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71 


Murine  Wakes  Up 
Sleepy  EYES 

No  need  to  start  the  day  with  EYES 
swollen  from  sleep.  A  few  drops  of 
Murine  upon  getting  up  in  the  morn' 
ing  will  take  away  not  only  the  puffy 
look  but  the  sleepy  feeling. 

Use  Murine  each  evening,  too.  It 
soothes  and  refreshes  EYES  wearied  by 
sewing,  reading  or  office  work — relieves 
the  irritation  caused  by  exposure  to  sun, 
wind  and  dust.  Millions  of  men  and 
women  use  this  long-trusted  lotion  to 
keep  their  EYES  always  clear,  bright  and' 
healthy.  Contains  no  belladonna. 

Our  illustrated  books  on  "Eye  Care" 
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MEN 

(Continued  from  page  23) 


The  Girl  of  Today 

"Dut  now  a  girl  goes  to  work  at  seven- 
teen or  eighteen.  I  am  not  speak- 
ing of  girls  from  well-to-do  families, 
altho  sometimes  they  work,  too,  but  I  am 
speaking  of  the  average  girl.  She  is 
thrown  with  all  sorts  of  men.  Her  judg- 
ment grows  sharper.  She  learns  the  value 
of  money,  so  her  demands  grow  larger. 
But  it  is  not  her  fault  that  she  is  working. 

Her  parents  can  not  give  her  the  pretty      «pRETTY  soon  propinquity  takes  its  toll 
things  she  craves.     Organdies  and  dimities  tv.p  vnnno-  muni*  o-pt  marnVH 

made    by    the    village    dressmaker    do    not 


as  a  signal  that  she  must  hurry  down  an 
make  it  snappy.  He  doesn't  get  out  an 
come  to  her  door.  And  she  doesn't  de 
mand  it.  If  she  did,  he  would  drive  t 
the  very  next  house,  and  get  another  gir 
just  as  pretty,  just  as  smartly  dressec 
and  her  evening  would  be  lost.  An  eve 
ning  is  a  very  long  time  when  you  ar 
eighteen. 

Toll  of  Propinquity 


look  well  when  placed  side  by  side  with 
Patou's   latest  sport  creation. 

"The  terrible  tragedy  of  girlhood  must 
not  defeat  her,  the  tragedy  of  being  dif- 
ferent from  the  rest  of  her  world.  So  she 
goes  out  to  seek  her  fortune,  like  the 
princess  in  the  fairy-tales.  And  like  them, 
she  dreams  that  by  some  magic,  she  will 
land  on  her   feet. 

"And  she,  too,  has  her  idea  of  an  ideal 
man.  At  least,  she  has  at  first.  But  her 
desire  to  have  a  good  time,  to  see  what 
she  can  while  she  can,  the  latest  play,  the 
newest  cabaret,  leads  her  to  accept  all 
kinds  of  invitations  from  boys  earning 
very  little  more  than  she  is.  They  are 
not  exactly  what  she  wants,  but  they  are 
the  only  youth  with  which  she  has  any 
contact.  The  pleasant,  lazy,  good-na- 
tured young  boy  who  drives  up  in  the 
latest    sport    model,    and    blows    the    horn 


The  young  couple  get  married.  The; 
feel  that  the  beautiful  excitement  of  thei 
youth  must  keep  up.  Her  husband  spend 
a  good  bit  on  his  clothes,  and  she  know: 
that  she  must  not  get  frumpish  herself 
Hasn't  she  read  of  the  horrid  fate  tha 
will  be  hers  if  she  once  lets  down.  Mone? 
is  scarce.  The  good-looking  young  bo; 
just  doesn't  seem  to  grow  older.  Hi 
doesn't  develop  into  the  man  she  hopec 
he  might  be.  His  father  gives  him  : 
small  allowance  and  it  seems  enough  t( 
him,  but  not  to  her.  She  has  been  oui 
in  the  world  and  knows  better.  There  i; 
no  use  being  mistress  of  a  home  thai 
consists  of  two  rooms  and  a  kitchenette 
All  very  well  to  pour  tea  from  the  ole 
family  silver,  polish  the  priceless  walnut 
wash  the  egg-shell  china  with  your  very 
own  hands,  and  graciously  administer  to 
the  lovely  romping  children.  But  if  the 
family  teapot  is  a  cocktail  shaker,  the 
(Continued  on  page  83) 


72 


Iirulrr.  Krrlm 

Lya  de  Putti  as  the  acrobat  heroine 
of  "Vaudeville" 

The  Toast  of  Berlin 

(Contimied   from   path'    \{>} 

0  in  the  first  year  after  her  husband's 
icath,  sonic  two  years  ago,  when  she  ac- 
ually  plunged  into  work  and  hardly  ever 
ud  (or  wanted )  a  single  day  out  of  the 
tadJO  for  more  than  a  year. 

Her  latest  productions  have  been  for 
The  first  of  these,  "Vaudeville," 
lirected  by  K.  A.  Dupont  and  co  starring 
m  with  Kmil  Jannings,  will  be  .seen  on 
(roadway  before  long.  And  the  same  will 
irobably  hold  good  for  her  latest  picture, 
ust  finished.  This  is  "Manon  Lescaut," 
lirected  by  Dr.  Robinson.  This,  indeed, 
las  been  a  part  most  ideally  suited  to 
his  artist 

As  regards  her  private  life,  I  should 
Motion  at  first  the  fact  that  she  is 
i  very  good  Catholic  and  never  fails  to 
o  to  church  regularly.  It  would,  how- 
ver,  be  wrong  to  suppose  that  pious  as 
he  is  she  would  be  averse  to  any  joie  dd 
•tire.  On  the  contrary,  she  likes  to  have 
.  good  time  and  to  spend  her  evenings  in 
uerry  company,  dancing  and  enjoying  her- 
elf.  As  a  matter  of  fact,  she  is  known 
o  be  the  life  and  soul  of  every  party, 
,nd  altho  she  has  learned  German  quite 
veil  by  now,  there  is  no  end  of  teasing 
ler  for  her  rather  pretty  Hungarian  accent. 

Up  to  the  moment  of  leaving  Berlin,  she 
vas  busily  learning  English,  everybody 
iclp'ng  her  to  accomplish  this  task  as 
luickly  as  possible.  As  a  matter  of  fact, 
he  was  taking  this  work  just  as  seriously 
s  her  screen  work — and  that  seems  a  lot ! 
^nd  she  had  mastered  quite  a  nice  smat- 
ering  of  the  language. 

As  regards  her  private  hobbies,  the  best 
me  could  say  of  her  would  be  that  she 
s  a  "sportsman"  in  every  sense  of  the 
vord.  Practically  speaking,  she  is  quite 
i  keen  (and  rather  reckless)  motorist,  and 
he  also  likes  to  go  up  into  the  air,  and 
ven  knows  how  to  pilot  an  aeroplane, 
iltho,  between  us,  I  would  not  advise  any- 
body to  entrust  himself  to  her  aerial  abili- 
ies  before  having  closed  a  considerable 
nsurance  deal. 

She  told  me  that  she  is  looking  forward 
o  her  American  trip.  She  will  be  accom- 
>anied  by  her  mother,  whom  she  is  very 
!evoted  to,  and,  as  regards  blessed  old  Cali- 
fornia, she  is  expecting  a  fine  chance  to 
io  a  lot  of  good  work. 


•     '      *'. 


M 


The f  re  "Devoted 
-for just  one  Treason 


THOi  ^  INDS  of  thoughtful  and  careful  wom- 
en arc  daily  users  of  Marinello  Lettuce 
Cream  ami  ha\  e  been  tor  years.  They're  devot- 
ed to  it  tor  just  one  reason  it  keeps  their  skin 
clean.  And  without  that  thorough  cleansing 
you  have  no  right  to  expect  beauty  of  skin  or 
complexion.    Beauty  begins  with   cleanliness. 

^htari?ie//o  JPettuce  Qream 

is  exactly  what  a  cleansing  cream  should  be. 
Spreads  easily,  works  quickly,  cleanses  thor- 
oughly, removes  readily.  9,000  Marinello 
Beauty  Shops  are  daily  using  it—  preparing  the 
skin  for  every  sort  of  treatment. 

Make  this  cleansing  with  Marinello  Lettuce 
Cream  a  regular  habit — once  a  day  or  more. 
Follow  it  with  Marinello  Tissue  Cream,  a  skin 
food  whose  sole  purpose  is  to  nourish,  to  beau- 
tify your  skin.  Each  Marinello  Cream — one  for 
every  skin  condition  —  has  one  specific  thing 
to  do,  and  does  it.  There's  no  uncertainty  — 
you  can  know  what  the  result  will  be. 

Ask  for  Marinello  Lettuce  Cream  at  Marinello 
Shops,  drug  stores  or  department  stores. 

MARINELLO    COMPANY 

7a  FIFTH  AVE    AND  366  FIFTH   AVE.,  NEW  YORK 
800  TOWER  COURT,  CHICAGO 

PHILADELPHIA  ST    LOUIS  CINCINNATI  MINNEAPOLIS 

DENVER  DETROIT  LOS  ANGELES         PORTLAND  DALLAS 

LYMANS — Montreal. Toronto,  Ottawa  and  Vancouver — Agtnti  f»r  Canada 


LETTUCE 


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trWARlNEU* 

11/^*  The  largest  "Beauty 

V  Organization  in  the  World 

JlJr  \  V  .v  ,.      A':- 
w'        t%     \ 


Banish  this 

unpleasant 

duty 


There  is  no  need  of  scouring  or 
scrubbing  to  keep  the  toilet  bowl 
clean  and  sanitary.  Sani-Flush 
will  relieve  you  of  all  the  labor. 

Sani-Flush,  simply  sprinkled 
into  the  bowl  as  directed,  does 
away  with  all  incrustations, 
stains,  sediment  and  foul  odors. 
It  leaves  the  bowl  glistening 
white. 

Sani-Flush  is  scientifically  pre- 
pared to  do  a  perfect  job.  It  is 
the  only  thorough  method.  And 
it  cannot  harm  plumbing  con- 
nections. Keep  a  can  of  Sani- 
Flush   in  the  bathroom   always. 

Buy  Sani-Flush  at  your  gro- 
cery, drug  or  hardware  store, 
or  send  25c  for  a  full-size  can. 
30c  in  Far  West.   1,5c  in  Canada. 

Sam-Hush 

Cleans  Closet  Bowls  Without  Scouring 

The   Hygienic  Products  Co. 
Canton,  Ohio 


*'&: 


Something  different 
for  fobbed  Hair 

There  is  a  tremendous  difference  in  bobs.  Soma 
■re  wonderfully  attractive  and  becoming,  while 
others,  well— which  kind  is  vours? 

I  wish  you  could  picture  the  becoming  kind  I 
have  in  mind  —  the  sort  that  makes  men  turn  to 
admire.  I  can't  tell  you  what  the  color  is,  but 
it's  full  of  those  ti  ny  dancing  lights  that  somehow 
suggest  auburn,  yet  which  are  really  no  more  ac- 
tual color  than  sunlight.  It's  only  when  the  head 
is  moved  that  you  catch  the  auburn  suggestion— 
the  fleeting  glint  of  gold. 

You  have  no  idea  how  much  your  bob  can  be 
improved  with  the  "tiny  tint"  Golden  Glint 
Shampoo  will  give  it.  If  you  want  a  bob  like  that 
I  have  in  mind,  buy  a  package  and  see  for  your- 
self. At  all  drug  stores,  or  send  25«*  direct  to 
J.W.KobiGo.,   65  6  Rainier  Ave.,  Seattle.Wn. 

Golden  Glint 

SHAMPOO 

74 


Joby  from  the  Tennessee  Hills 


(Continued  from  page  39) 


Jobyna,  "Poor 
old  Sam  was 
blind  and  when 
he  heard  us  all 
yelling  and 
running,  he 
ran,  too,  but  he 
ran  toward  the 
lion.  When  we 
were  all  para- 
lyzed with  fear 
he'd  be  hurt, 
one  of  the 
spear-bearers 
jabbed  it  at  the 
lion  and  it 
went  the  other 
way.  We 
thought  him  a 
hero,  that  boy." 
"But  he 
wasn't  really," 
said  Roy,  "he 
was  too  scared 
to  move  and 
when  the  lion 
got  near  him 
he  started  to 
drop  the  spear 
and  the  lion 
thought  he  was 
brave." 


Jobyna  and  her  mother 


Doing  a  Hula-Hula  Girl 

T\  o  you  remember  the  day  I  was  a  hula- 
hula  girl  and  you  were  in  my  tribe 
and  we  were  working  by  the  ocean?" 
cried  Jobyna,  "We'd  made  up  pur  arms 
and  legs  with  brown  powder  before  we 
left  the  studio.  The  day  was  so  hot  we 
said :  'Let's  go  swimming !'  and  when  we 
came  out  we  were  white. instead  of  brown 
and  had  to  play  the  rest  of  our  scenes  that 
way  ?" 

"Whenever  the  script  called 
for  anything  exotic  in  the 
way  of  shoes,"  explained  the 
temporary  guardian  of 
Jobyna's  "props,"  "I  wore 
bedroom  slippers." 

"And  I  wore  a  pair 
of    sandals    thru 
everything!"     bubbled 
Jobyna.      "They    were' 
so  comfortable!    They 
went   tripping  over 
desert    sands,    into 
slum  cellars,   up 
palace    stairs    and    into    the 
ballet.    Even  the  girl  of  the 
wide-open    spaces    and    the 
pert    Fr&nch   maid   wore 
them.      It    didn't    matter. 

"After    a    year    of    that — 
my,  how  I  thrill  now  when 
I  think  of  it !     They  called 
me    up    one    morning    and 
told  me  to  come  to  the  lot. 
I  thought  I  was  to  do  an- 
other   one-reeler,    but 
when     I     arrived,     they 
said:     'Get     into     Mil- 
dred's     clothes,      quick. 
You're    to    be    Harold 
Lloyd's    leading 
lady !' 

Selected  By 
Lloyd 


"I'd   met    Harold 
on  the  lot,  of 
course.      I    re- 
member how  de- 


comedy 


lighted  I  wa 
the  first  titn> 
when  he  shool 
hands  a  n ( 
smiled.  I  didn' 
know  then  tha 
it  was  his  reg 
ular  compan; 
smile  a  n  ( 
wasn't  specialh 
for  me ! 
didn't  wash  mj 
hand  for  ; 
week! 

"It  seemec 
that  Mildrec 
had  expectec 
to  be  able  tc 
work  in  Har- 
old's pictur< 
and  in  a  fea- 
ture outside 
but  she  had  toe 
much  to  do  and 
couldn't  make 
it,  so  Harold 
said :  'Get  the 
little  Ralston 
girl!' 

"Most  girls 
who  are  to  be 
leading  ladies 
to  stars  have  to  go  after  the  job,  take 
screen  tests,  and  worry  for  weeks  for  fear 
somebody  else  will  get  the  job,  so  that 
when  they  are  signed,  they  are  too  ex- 
hausted to  care. 

"Mildred's  clothes  were  a  good  fit  ex- 
cept that  the  sleeves  were  too  short,  and 
there  I  was  being  pinned  into  them,  two 
people  lengthening  my  cuffs,  more  people 
fixing  my  hair,  putting  on  my  shoes  and 
the  whole  lot  shouting :  'Hey,  Joby's 
going  to  be  Harold's  leading  lady!'" 

"I'll  bet  Jobyna  ran  up  and. 
down  the  stairs  ninety  times 
before  she  was  ready,"  chuckled  i 
Roy.  "Buzz-buzz  came  from 
every  dressing  -  room  and 
office.  It  was  halleluia 
day  for  us  all,  we  were  so 
tickled  about  Joby!" 

"I  was  so  scared!"  re- 
membered Jobyna.  "We 
began  with  the  blue  pills 
scene  in  'Why  Worry"  and 
my  hand  shook  so  that  I 
spilled  most  of  them.  I 
heard  my  teeth  chatter. 
No  doubt  Harold  heard 
them,  too  .  .  .  And  now 
I've  been  working  with 
him  for  four  years ! 

Pour    Years   as    Leading 

Woman 
"It's  great.     I'm  the  only 
girl    on    the     lot     and 
they've    practically    ruined 
me.    I  dont  know  what  I'd 
do  on  another  lot.     I  was 
visiting    Bebe    Daniels    the 
other    day    and    if    she 
wanted    anything,    she 
called   a  maid   and  it  was 
brought,  just  like  that! 
...    If    I    want    any- 
thing, I  can  go  get  it! 
"We    work    so    long 
on    a    picture — six    or 
seven     months — that 
every  dress  I  have  has 
to     be     duplicated,     or 
triplicated,     and    I    Set 
(Continued  on  page  86) 


W hen  the  first 

glorious  day  of  golf  is  over— and  the 

final  putt  sinks  in  the  18th  cup— 

'when  the  tense  moments  end 

in  soft  mellow  twilight 

—have  a  Camel! 


.N  (i  other  cigarette  in  the  world  is  like  Camels.  Camels  contain  the 
choicest  Turkish  an  J  Domestic  tobaccos.  The  Camel  blend  is  the  tri- 
umph of  expert  blenders.  Even  the  Camel  cigarette  paper  is  the  finest — 
made  especially  in  France.  Into  this  one  brand  of  cigarettes  is  con- 
centrated the  experience  and  skill  of  the  largest  tobacco  organization 
in  the  world. 


WHEN  it's  glorious  evening 
on  the  greens.  And  the  last 
long  putt  drops  home  on  the 
18th  hole — have  a  Camel! 

For,  all  the  world  over, 
Camel  fragrance  and  taste 
add  joyous  zest  to  healthful 
hours  in  the  open.  Camels 
never  tire  your  taste,  or 
leave  a  cigaretty  after-taste, 
no  matter  how  liberally  you 
smoke  them.  This  is  the  in- 
side story  of  Camel  success 
— their  choice  tobaccos  and 
perfect  blending  make  them 
the  utmost  in  cigarettes. 

So,  this  fine  spring  day, 
when  your  first  glorious 
birdie  ends  its  breathless 
flight.  When  you  leave  the 
long  course  to  start  home, 
tired  and  joyous  —  taste 
then  the  smoke  that's  ad- 
mitted champion  among 
the  world's  experienced 
smokers.  Know,  then,  the 
mellowest  fragrance  that 
ever  came  from  a  cigarette. 

Have  a  Camel! 


01926 


Our  highest  wish,  if  \*>h 
do  not  yet  know  C'.jmet 
quality,  u  that  \ou  trv 
them.  We  invite  \ou  to 
compare  Camels  with 
any   other  cigarette  made 

at    any    price. 
R.   J.   Reynolds   Tobacco 
Company   . 
Winston  Salem.  N.   C. 


n 


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for  your  favorite  LOOSE 
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Single,  for  loose  powder. 
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der and  rouge  cake.  Gilt 
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filled  with  Wildflower 
powder  and  rouge. 


lAfividq)  Bath  PoWdetr 

in  the  nonspillint  Container 

JUST  a  twist,  and  the  powder  comes  forth 
in  any  desired  quantity.  The  puff  takes  up 
only  the  powder  on  the  plate.  The  rest  re- 
mains clean,  fresh  and  fragrant  inside  the 
patented  container. 

A  generous  supply  of  delightfully  scented 
Norida  Fleur  Sauvage  (Wildflower)  bath 
powder,  a  large,  soft,  fluffy  puff  and  the 
patented  non-spilling  container— allfor$i.  50I 

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orida 


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Velvety  smoothFleur 
Sauvage  (Wildflower) 
Talcum  Powder  as  soft  as 
eiderdown.  Fragrance  as 
sweet  as  wildflowers.  All 
these  qualitiesyou  would 
expect  of  talcum  powder 
or  the  dressing  table  and 
bath.  And  you  will  surely 
find  them  in  that  dainty 
Norida  Blue  Can 


NORIDA  TOILET  REQUISITES  ARE  SOLD  IN  ALL  DEPARTMENT  AND  DRUC  STORES 


ES 


Silverscreen :  The  Model  Movie 
Community 


lightei  tide  of  ln>'  '"  Silverscreen     Aided 
ie  natural  topography,  the  communit) 

(bounds    with    tennis  com  ts, 
cs>    trout    po  ils,    tobog  i"  an    si  ides, 
bowling-alleys,  polo  fields,  hull  nu^s.  velo 
.  i  i<  Ut    pitches,    (;i  ulii  ..us,   dia 
Is,   pciils.   emeralds   ami   ai|iiamarincs. 
a:,.-    the    rule    rather    than    the 
'i. hi. 
\  U  itun    'I  tin'  sporting  side  oi  Silver- 
•i   i>    its    "May    Walk."      Led    In    the 
house  mothers  ami    flanked   In    a   troop  ..i 
:i     lull  dress     uuiiorni,     the    «irls 
tin-    various    dormitories,    dressed    in 
lawn,   march    in   a    column    ot    two's 
to  the  great  statue  oi  Will  II    Hays,  which 

un.l  exactly  in  the  middle  ot  ( 
B,  De  Mille  Boulevard,  the  principal  thoro- 
Wrea thing  the  statue  with  smilax, 
the>  march  singing  hack  to  their  quarters, 
where  foi  the  rest  of  the  day  "open  house" 
is  held,  culminating  at  eight  o'clock  in  the 
evening  with  a  wild  weenie  roast.  Each 
girl  may  unite  a  "boy  friend,"  tor  whose 
behavior  the  management  is  not  ace. united 
responsible.  Saturday  afternoons  mixed 
bathing  is  held  in  the  huge  Byzantine 
Swimming  Pool  in  the  fashionable  Fau- 
bourg de  la  Marquise  de  la  Falaise  de  la 
Iraie.  Armed  guards  patrol  the  pool. 
Other  amusements  are  occasional  lec- 
tures in  the  Town  Hall,  going  to  the 
movies,  "yessing"  the  producers  and  com- 
pulsory chapel  attendance.  Sunday  is  given 
over  to  meditation  and  catching  up  with 
correspondence.  The  town  hell  tolls  every 
halt -hour   for  prayers. 

The  Amusement  Committee  is  always  on 

the  watch  tor  suggestions  for  additional 
healthy,  clean  amusements,  preferably  with 
an  educational  value.  Suggestions  should 
be  made  out  in  triplicate,  and  will  go  thru 
the  usual  channels  —  the  Gowanus  Canal 
and  the  Culehra  Cut — to  be  acted  upon  in 
order  of  their  receipt. 
As   was   stated   previously,    Silverscreen 


Is    Mill    oil    till'    p.ltl  I. Ill  hal    s\  •trill.    ..I     "P 
is     .ilu.is  s     i  luht."         1  hlls,     the     inhabit 

an-    virtual!}     all    brothers    and    li 
and,  being  such,  tin-  breath  "i   icandal  is 
complete!)  hushed  lis  the  1  isterine  o"l  pub 
In-  approval.  ( lutside  ol  tin-  house  motl 
the    Police    Bureau,    the    Supervisors,    1 1 » » - 
various    Administr:  tin 

Board  ol  Censorship,  the  Supreme  (  ouncil, 
the  militia,  the  inquisition,  the  articli 

the  constitution,  tin    In    laws  and  the  si  • 

hundred  and  eights  two  commandments 
(expanded  and  improved  from  the  original 
Ten),  there  is  practically  no  government. 
An  effort  is  made  to  give  every  inhabi- 
tant the  opportunity  to  enjoy  esistei; 
the    lull.      It    the    criticism    is    passed    that 

Silverscreen   goes   out    ..i    its    way    to   I" 

Secluded   and   cloistered,   that    full    machine 
gun    crews    are    posted    night    and    day    at 
three- foot  intervals  on  its  Great  Wall,  an 
swer    is    made    that    quite    likely    the 
in    front   oi    the   cages  of   a   ZOO   an-   plan. I 
there    tor   the   protection   of    the   animals. 

As  a  matter  of  fact,  visitors  are  wel- 
come, nay  urged,  to  visit  Silverscreen. 
Visiting  days  ire  fuesdays  and  Indus 
and  informative  guides  are  always  ready 
to  conduct  groups  over  the  premises,  ex- 
plaining fully,  where  explanation  is  r 
sary.  Not  that  much  is  necessary,  i..i 
Silverscreen — the  Cradle  of  Celluloid  Cul- 
ture— speaks  for  itself  in  a  fine,  clear 
tongue,  discoursing  books  in  its  running 
brooks  and  sweet  sermons  in  every  one  of 
the  semiprecious  stones  that  compose  the 
ornate   facade  of  its  First  National   Bank. 

"You  owe  it  to  yourself  to  visit  our 
marvel-city,"  says  Morris  F.  X.  Horsbach, 
Chairman  of  the  Reception  Committee. 
from  whose  brochure  this  abstract  has  been 
made.  "Dont  be  a  short-sighted  fool  and 
miss  the  wonderful  chance." 

"Or,"  concludes  Mr.  Horsbach,  "in  the 
words  of  the  Neapolitans'  favorite  quota- 
tion— 'See   Silverscreen  and  drop  dead!'" 


The  Northern  Star 

(Continued  from  page  71) 


where  he  not  only  signed  (ireta  Garbo,  but 
Mauritz  Stiller  and  Lars  Hanson,  the  lead- 
ing man.  Contracts  delayed  their  coming, 
but  a  year  later  all  three  could  answer 
roll-call  on  the  Culver  City  lot. 

Mauritz  Stiller  is  scheduled  to  direct 
Greta  in  "The  Temptress,"  for  which  she 
is  thankful. 

"I  shall  be  at  home  with  him.     My  first 
picture  I  make  with  an  interpreter  and  it . 
is  not  easy,   no.     I  am  not   sure   I  have 
always  what  the  director  is  saying. 

"In  American  everything  is  so  beeg. 
Our  whole  studio  in  Sweden  was  not  so 
beeg  as  one  of  these  stages.  Its  top  was 
open  so  that  when  it  rained  or  snowed — 
oh,  we  have  snow  in  Sweden!"  (How  her 
blue  eyes  glow!)  "When  it  rained  or 
snowed,  we  could  not  work.  It  som-times 
took  six  months  to  make  a  picture.  But 
everybody  does  not  hurry  so  there.  We 
can.  as  I  say,  do  but  one  thing  at  a  time. 

"Here  I  can  do  but  one  thing,  yes.  I 
make  pictures.  I  give  my  life  to  that.  I 
wish  my  pictures  to  be  good.  I  wish  to 
learn  how  to  do  all  these  things  American 
girls  do  so  ver'  easily. 

"I  swim,  yes.  I  tell  you  I  lof  the  sea. 
But  I  swim  a-lone." 


That  aloofness  of  hers  is  intriguing. 

Messrs.  Seastrom,  Stiller  and  Hanson, 
who  live  in  the  Swedish  colony  down  by 
the  sea,  also,  speak  of  seeing  Greta  taking 
her  lonely  walks  where  the  sunset  stains 
the  Pacific  and  its  glory  of  gold  and  rose 
silhouettes  her  straight  young  figure  as  she 
moves  with  rhythmic  Viking  grace  over 
the  silver  sands.  .  .  . 

Greta — and   Love 

"QO-O,  you  wish  I  would  talk  about 
°  love? 

"I  do  not  know  about  it.  I  have  said 
how  it  amazes  me  that  these  American 
girls  can  manage  so  many  things  at  one 
time — pictures,  society  and  love. 

"Me — little  Sweden  girl — can  do  one 
thing  on-ly.  Som-day  I  shall  leave  pic- 
tures, perhaps,  and  give  all  to  this  love.  .  .  . 
Or  I  shall  learn  to  do  two  things  together, 
as  you  do.  .  .  .    But  I  do  not  know. 

"I  tell  you.  .  .  .  How  I  would  like  to 
have  a  leetle  cabin  high  up  in  the  moun- 
tains som-where !  How  I  would  love  to 
have  that  leetle  cabin,  all  to  myself,  where 
I  could  be  a-lone!  It  should  have  beeg 
trees  about  it  and  no  other  houses — no.  .  .  . 
But  I  could  see  the  sea,  yes  ...  I  could 
see  the  sea !" 


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Hidden  by  film 

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77 


DRAWING 

is  a  way  to 

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which  illustrates  a  gnat  truth. 

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Has  the  Great  Lover  Become  Just  a 

Celebrity 


The  Valentino  engineers  have  been  rack- 
ing their  brains  for  a  defense  of  fame.  In 
"The  Eagle"  they  tried  comedy,  which  was 
not  altogether  successful.  Now  they  will 
go  back  to  the  greatest  hit  of  Valentino's 
career,  on  the  principle  that  what  pleased  the 
public  once  will  be  enjoyed  a  second  time. 

Valentino  will  start  soon  on  "The  Son 
of  the  Sheik,"  a  sequel,  by  the  woman  who 
concocted  that  aphrodisiac  for  high-school 
girls.  He  is  hopeful  about  making  a  com- 
plete come-back  with  it. 

The  same  machinery  of  excitation  will 
be  employed:  that  delicious,  masochistic  ap- 
peal of  the  fair  girl  in  the  strong  hands 
of  the  ruthless  desert  tyrant.  But  in  the 
second  opus  the  young  sheik  does  not  ab- 
duct the  beauty  because  he  desires  her. 
He  hates  her  at  first,  but  comes  to  love 
her.  This  is  a  far  less  original  idea  than 
the  first  of  E.  M.  Hull,  elderly  authoress 
of  the  passion-in-a-desert  books. 

Vilma  Banky  will  do  the  girl.  She  is 
blonde  and  the  heroine  is  described  as  a 
dark  French  beauty.  They  are  making  a  test 
of  Vilma  wearing  a  black  wig  for  the  part. 

Frances  Marion,  who  has  a  reputation 
second  to  none  as  a  scenarist,  will  do  the 
script.  George  Fitzmaurice,  with  a  num- 
ber of  recent  successes  under  his  belt,  will 
direct.  Valentino  said  frankly  that  the 
first  sheik  picture  was  abominably  done.  He 
hopes  for  a  more  artistic  product  in  the  next. 

Cut  will  the  movie  public  appreciate  a 
more  artistic  product  from  Valentino? 
Or  can  the  same  machinery  of  excitation 
again  arouse  the  stolid  damsels  of  the  hin- 
terland igloos? 

That  remains  to  be  seen.  I  am  afraid 
Valentino  is  on  the  wrong  track.  His  suc- 
cess as  a  sheik  is  so  wrapped  up  with 
the  outworn  fancies  of  a  few  years  ago. 
The  very  word  sheik  is  falling  into  disuse 
— a  transient  slang  term  gone  to  its  early 
grave.  Sheik,  because  of  its  former  uni- 
versal usage,  has  acquired  the  half- 
humorous,  half -contemptuous  insignificance 
of  all  such  words. 

Valentino's  fame  rests  upon  his  physical 
charm.  He  was  the  first  man  in  the 
movies  to  whom  the  term  &ex  appeal  was 
applied.  Postmeridian  maidens,  baffled 
wives  of  husbands  who  have  never  learned 
the  ABC's  of  love,  and  adolescent  girls, 
feeling  the  first  powerful  surge  of  Mother 
Eve's  blood  in  their  veins — these  were  the 
materials   ready   to  his   hand. 

These  thwarted  women  had  been  treated 
in  the  movies  to  strong,  noble  heroes — 
chaste  Nordics  who  could  fight  like  hell, 
but  made  love  like  butcher-boys. 

Suddenly  there  dropped  a  burning  meteor 
from  the  skies.  The  thrilled  and  aston- 
ished womanhood  of  America  saw  for  the 
first  time  a  real  Latin  lover — not  the  re- 
spectful pachyderm  they  were  accustomed 
to,  but  an  oily,  jungle  python  of  a  lover, 
who  mastered  you  with  silken  cruelties,  who 


{Continued  from  page  69) 

went    after    you    with    the    appetite    of    a 
hungry    but    well-bred    dog. 


Worsting  the   Nordic 

\Io  wonder  American  manhood  sneered  at 
"Vaselino."  The  poor  Nordic  was 
sadly  worsted.  Ungraceful,  overfed,  with 
his  uncouth  hands  and  feet — the  fellow  who 
had  always  accepted  the  credo  of  manli- 
ness as  synonym  for  awkwardness  was  out 
of  the  running.  What  good  was  it  that 
he  could  sell  more  automobiles  in  a  day 
than  the  rest  of  the  sales  force  put  to- 
gether? What  mattered  it  that  his  lapel 
glittered  with  the  recognized  symbol  of  the 
Nobility  of  North  America?  Beside  this 
sleek-haired  son  of  satan  he  was  an  oaf. 

So  the  Nordic  sneered.  And  his  girl 
giggled — and  the  next  time  went  to  see 
Valentino  alone,  or  with  Mabel,  her  girl 
friend. 

And  in  the  subtle  way  that  is  inexplain- 
able,  the  admiration  for  Valentino  as  an 
actor  was  transferred  to  a  personal  inter- 
est among  the  women.  His  divorce  from 
Jean  Acker  came  to  fan  this  interest  into 
a  flame.  Again  the  worsted  Nordic  sneered 
about  "Vaselino"  to  his  girl. 

Valentino  married  once  more  and  the 
newspapers  made  capital  of  "artistic  tem- 
perament." Valentino's  second  divorce  has 
had  the  effect  of  destroying  the  last  shred 
of  interest  in  him  as  an  actor.  Whatever 
he  appears  in  next  he  will  be  viewed,  not 
as  the  son  o*f  the  sheik,  but  as  the  ex- 
hu  band  of  Natacha  Rambova — and  won- 
der  if   he'll    marry    Pola    Negri? 

Pola.has  a  curious  faculty  of  becoming 
involved  with  famous  fellow  craftsmen. 
First  Chaplin,  who  outwitted  her.  Valen- 
tino, it  is  true,  is  being  more  or  less 
obviously  pursued.  I  dont  think  he  is 
greatly   interested. 

Helpless   Before   Popularity 

Tr  Valentino  could  gradually  have  risen  to 
fame,  in  the  cautious,  substantial  way  of 
Jack  Gilbert,  for  example,  his  future  would 
be  more  secure.  But  he  was  helpless  in 
the  jet  of  popularity  that  shot  him  up  to 
the  zenith.  He  has  taken  his  fame  where 
he  found  it — as  every  movie  actor  has  to  do. 
Unpopular  in  his  native  Italy — because 
he  recently  became  an  American  citizen — 
he  faces,  in  the  land  of  his  adoption,  the 
uncertainty  of  a  star  making  a  come-back 
in  the  midst  of  keen  competition.  For 
the  vogue  set  by  Valentino  has  produced 
a  whole  flock  of  dark-eyed  lovers,  equipped 
with  sex  appeal  and  suave  address  and  the 
advantage  of  new  faces. 

The  son  of  the  sheik  must  win  his  way 
under  the  severest  handicap  in  the  world — 
'that  of  having  a  famous  father.  It  is  a 
pity.  Today  the  Great  Lover  is  chiefly  a 
celebrity. 

A  no  yet,    Rudolph    Valentino,   nee  Gug- 
lielmi,  is  really  a  very  good  actor. 


Old  Pictures  in  New  Frames 


{Continued  fro 

and  build  faster,  and  faster,  factories, 
houses,  stores.  They  must  join  the  parade. 
"They  haven't  made  many  pictures  nor 
have  they  made  very  good  ones.  Condi- 
tions haven't  been  satisfactory,  and  they 
weren't  very  interested  in  doing  it.  But 
now  they  see  that  there  is  great  money  to 
be  made  in  pictures,  and  that  the  United 


m  page  55) 

States  and  Germany  are  making  better 
ones  than  they  are.  So  now  they  are  be- 
ginning to  try. 

"But   I   do  not  believe  that  any  country 
can    compete    successfully    with    this    one. 
We  have  the  money,  the  climate,  the  stu- 
dios,   and    the    best    stars.      You    can    not 
(Continued  on  page  86) 


78 


Famous  Blunders 

nlinued  from  /M<yt-   17) 

ol    it.      In    fact,    since    leaving 
"l>    \\  's"  guidance,  Barthelmess  In-,  done 
ili. in    cvci     before.      Marj 
ford,  oi   com  se,   is  anothci    who  sue 
full}   broke  awaj    from  her  sponsor, 
the   comedians,   ihc   most    noted 
bhindei     was     made     b>      l-'ord     Sterling. 
Back   m   the   old    Mack    Scnnctt  Keystone 
days,    Sterling    u.is    the    king  pin    ol    all 
■i  comedians.     11^  films  drew   packed 
bouses    whercvci     sluiwn.      It    seemed    as 
n  there  would  be  n>>  stopping   him   from 
nj;  the  idol  oi   tin'  da) . 

Mistakes  of  the  Comedians 
I'  ime    cause    or    other,    Sterling 

ddenl)    terminated    his    contract    with 
Mack  Sennet t  and  started  in  t«>  make  his 
own  comedies.      Awaj     from   the    Sennett 
Studios,  however,   Sterling   seemed   to  lose 
much  of   hi-^    former    power   and   persori- 
ality.     It  wasn't  long  before  he  was  down 
among   the   "also  rans." 
In  the  meantime,  Sennett,  casting  about 
-  imcone   to  take   Sterling's   place,  be- 
to  feature  a  young  man  by  the  name 
harlie  Chaplin.     Chaplin's  rise  was  as 
rapid    as     Sterling's     fall,    and    soon    the 
little   comedian    with   the    funny    feet    was 
all  the   rage.      Sterling    was   never  able   to 
regain   the    same    popularity.      1 1"    he    had 
remained     with     Sennett,     Sterling     would 
today    have    been    one    of    the     foremost 
comedians  on  the  screen. 

There  are  some  who  are  of  the  opinion 
that  Harry  Langdon  has  made  a  mistake 
in  leaving  Sennett.  Langdon,  however, 
is  a  creative  artist  and  there  is  little  doubt 
but  that  he  will  made  good,  now  that  he 
is  producing  for  himself. 

Nazimova's  Descent 
Qxf  of  the  most  sudden  stellar  descents 
in  the  film  heavens  was  made  by 
Nazimova.  Thru  dint  of  excellent  pic- 
tures and  remarkable  performances,  Nazi- 
mova had  risen  a  few  years  ago  to  the 
point  where  she  was  considered  one  of 
the  six  biggest  attractions  on  the  silver- 
sheet.  Suddenly,  and  for  no  cause  ap- 
parent to  the  general  public,  Nazimova 
i  to  skid  rapidly  down  grade.  Her 
films  were  inferior  and  her  playing 
lacked  the  old  fire.  The  answer  was, 
Nazimova  had  blundered  into  the  idea 
that  she  was  not  only  a  great  actress  but 
a  great  producer,  director  and  business 
woman  combined.  Attempting  to  give  too 
much  attention  to  production  matters, 
which  should  have  been  left  to  others,  she 
neglected  the  talent  and  screen  person- 
ality that  would  have  placed  her  at  the 
top.     Screen   disaster   was   the   result. 

Once  a  star  starts  to  slip  backwards  in 
the  public's  esteem,  it  is  almost  impossible 
for  him  to  recover  and  go  forward, 
again.  Several  have  tried,  few  have 
succeeded. 

Valentino  is  now  faced  with  this  very 
task.  Rudy  made  two  great  blunders, 
each  in  itself  enough  to  sink  completely 
the  average  star.  His  first  mistake  was 
in  allowing  the  term  of  "Sheik"  to  be- 
come too  firmly  attached  to  him.  The 
Sheik  error  was  but  a  momentary  fad 
and  the  American  public  quickly  set  them- 
selves against  it.  Valentino  is  still  suffer- 
ing, however,  from  his  connection  with 
this  term. 

Valentino's  Slips 
J^vdy's  other  error  was  in  quitting  the 
screen  at  the  moment  when  all  things 
were  working  favorably  for  him.  During 
his  absence,  Novarro  and  Gilbert  all 
forged  to  the  front  and  won  many  hearts 


Men  relate 

this  simple  way  to  get 

a  new  thrill  in  shaving 


Men  the  nation  over  are  awakening  to 
the  fact  that  there  is  a  general  switch  to 
the  Valet  AutoStrop  Razor. 

Its  sales  have  pyramided  in  an  astound- 
ing manner. 

All  because  men  are  discovering  that  a 
sharp  blade  for  every  shave  is  a  genuine 
luxury. 

The  Valet  AutoStrop  is  the  only  razor 
that  sharpens  its  own  blades.  A  few 
strokes  on  its  strop  restore  a  blade  to 
newdike  keenness. 

Sharpen  it,  then  shave,  then  clean — all 
in  a  jiffy,  and  without  removing  the 
blade  from  the  holder. 


This  is  a  different  principle.  The  blade 
doesn't  get  duller  and  duller  until  it 
must  be  thrown  away. 
Every  shave  can  be  with  a  blade  of 
super-keenness. 

Have  you  fallen  into  a  habit?  Do  you 
continue  your  old  way  of  shaving? 
Then  join  the  thousands  upon  thousands 
who  have  turned  to  a  new  and  better 
way  and  whose  enthusiasm  never  wanes. 
A  speedy,  comfortable  shave  every 
time — uniformly  perfect.  An  end  to 
"pulling."  An  end  to  wasting  time. 
"There's  no  shave  like  it,"  men  say. 
Why  miss  this  supreme  improvement? 


Wety4uto~Strop  Razor 

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79 


Aj  it  should  be 

SINCE  its  extra  cost,  when  spread  over 
its  billions  of  output,  figures  to  but 
three  cents  per  package  of  twenty,  it 
is  quite  fair  to  say  that  Fatima,  in 
between  'costly'  and  'popular'  in  price, 
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that  were  formerly  Valentino's.  Accord- 
ing to  late  announcements,  Valentino  is 
going  to  make  another  Sheik  picture. 
This  film  may  be  momentarily  success- 
ful, but  it  will  have  an  after-effect  that 
will  do  the  star  irreparable  damage. 

William  S.  Hart  also  made  the  mis- 
take of  quitting  the  screen  at  an  inoppor- 
tune time.  The  Western  film  was  just 
coming  in  vogue,  and  during  Hart's  ab- 
sence from  the  silversheet,  Tom  Mix, 
Buck  Jones,  Hoot  Gibson  and  others 
stepped  into  the  limelight  he  formerly 
monopolized  and  the  famous  "two-gun- 
man" will  find  that  he  has  now  a  battle 
on  his  hands  to  win  back  his  lost  popu- 
larity. So  far  as  actual  merit  and  ability 
go,  however,  Hart  is  the  greatest  por- 
trayor  of  Western  roles  the  screen  has 
ever  had. 

It  is  well-known  truism  in  the  silent 
drama  that  it  is  not  the  getting  to  the  top 
that  is  so  difficult — it  is  the  staying  there. 
To  the  star,  director  or  producer  who  has 
reached  a  prominent  position  in  the  film 
industry,  there  are  all  kinds  of  pitfalls 
that  must  be  avoided,  if  he  would  continue 
safely  along  the  road  to  fame.  The  big 
stars  and  directors  are  those  who,  in  ad- 
dition to  possessing  unusual  talent,  are 
also  gifted  with  the  ability  actually  to  feel 
the  public  pulse  and  make  their  films 
accordingly. 

To  keep  a  short  step  ahead  of  the 
public  taste  is  the  ideal  arrangement  for 
best  results,  and  will  bring  even  greater 
rewards  than  keeping  directly  abreast  of 
the  public  demands.  To  step  too  far  ahead 
of  the  public,  however,  is  one  of  the  worst 
blunders  that  can  be  made  and  always 
brings  direful  results.  It  is  in  some  in- 
stances worse  than  falling  behind  the 
times. 

To  cite  three  examples :  Theda  Bara 
went  into  oblivion  because  she  persisted  in 
playing  vampire  parts  on  the  screen  long 
after  the  public  had  tired  of  them.  She 
fell  too  far  behind  the  public's  taste  in 
entertainment. 

Anent  Colleen  Moore 

Tx  "Flaming  Youth"  Colleen  Moore  for 
the  first  time  portrayed  a  daring  ultra- 
modern flapper.  Previously,  Colleen  had 
been  playing  simple  and  demure  roles  with 
only  average  success.  When  "Flaming 
Youth"  was  made,  the  time  was  ripe  for 
flapper  roles,  the  public  knew  all  about 
them,  but  they  had  never  been  presented 
graphically  on  the  screen.  Colleen  Moore 
and  "Flaming  Youth"  were  an  immense 
success,  because  the  star  had  only  slightly 
anticipated  the  trend  of  public  thought. 
Flapper  films  immediately  became  the 
vogue  and  Colleen  became  one  of  the 
leading  stars  on  the  screen. 

Gloria  Swanson,  on  the  other  hand,  has 
now  stepped  too  far  ahead  of  her  public. 
She  is  playing  too  many  different  types  of 
parts.  Gloria  is  by  all  means  the  greatest 
actress  that  the  silent  drama  has  ever  had. 
With  the  instincts  of  a  real  artist.  Gloria 
does  not  wish  to  confine  herself  to  any 
particular  type  of  role.  She  desires  to 
attempt  something  different  each  time,  to 
give  a  new  characterization  in  every  pro- 
duction. This  should  be  the  aim  of  every 
great  actor  and  actress. 

To  follow  this  line  of  action  on  the 
screen,  however,  is  playing  with  fire.  The 
film-going  public  is  slow  thinking  and 
once  a  player  has  established  herself,  or 
himself,  in  a  certain  kind  of  role  to  the 
satisfaction  of  the  public,  the  latter  pre- 
fers the  star  to  remain  in  that  type  of 
role  consistently.  Gloria's  sudden  switches 
from  emotional  drama  to  fine  character 
work,  and  from  character  work  to  slap- 
stick has  been  too  rapid  for  theatergoers. 


80 


Gloria  Ahead  of   Her   Public 

GLORIA    Ml.iN      lose     .1     lot     ot     her     clil     .hi- 
mirei  i    mam.    ol    w  hom  ai  e  wi  II  l"  i 

thru  her  commendable  efforts  t"  break 

aw.i\  from  fill  screen  traditions,  but  in 
the  long  inn  she  will  win  admirers  t"  the 
liknt  drama  who  have  hitherto  looked 
with  contempt  upon  <>m  fail  institution 
ami  tin-  populai  players  whom  the  gen 
CI,,I    publi  me    to    look    upon    .1, 

tcs." 

liu  von  Stroheim  and,  to  some  extent, 
Ernst  Lubitsch,  maj  also  be  classed 
among  those  who  have  suffered  more  <>r 
less  tlnu  being  U'i>  fai  in  advance  of  the 
publi<  rhese  men  have  blundered  in 
thinking  that  American  theatergoers  that 
is,  those  who  make  up  the  hulk  of  film 
tan.  thruout  the  count  r>  are  really  de 
is  of  something  line  and  worthwhile 
in  tin-  u.i\    i't   screen  entertainment. 

Von  Stroheim's  "Foolish  Wives,"  which 
.i  great  picture  in  spite  of  dispai 
big  remarks  to  the  contrary,  failed  with 
tbt  American  public  simpl)  because  it 
u.iv  ahead  of  its  time.  Von  Stroheim's 
"Greed,"  one  of  the  tiiu-st  films  of  .ill 
times,  Hivvered  simply  because  it  was  really 
a  "bigger  and  better"  picture. 

Lubitsch's  films  are  doing  well  in  some 
of  the  big  cities,  but  are  ven  little  ap- 
preciated in  the  small  town.  It  will  take 
In 1 1'  Haute  and  Kalamazoo  about  five 
to  catch  up  with  the  superiority  of 
Lubitsch's   direction. 

Von  Stroheim's  "The  Merry  Widow" 
will  meet  with  general  success  because, 
while  it  is  a  superbly  directed  and  finely 
embroidered  affair,  it  is  at  bottom  an 
ordinary,  second  rate  story,  filled  with 
just    the    kind    of    hokum   that    the    public 

nves. 

The  He-Vamp  Boomerang 
I  ew  Cody  was  the  featured  player  in  a 
historical  blunder  a  few  years  ago. 
Lew  had  been  playing  "heavy"  roles  with 
marked  success  and  was  forging  rapidly 
to  the  top.  It  was  in  the  latter  days  of 
the  era  when  vampires  were  still  in  vogue. 
Somebody  conceived  the  brilliant  idea  of 
dubbing  Cody  "The  He-vamp."  It 
sounded  like  a  good  publicity  idea  and 
brought  the  actor  much  free  space  in  the 
papers   and   magazines. 

After  a  few  months  the  "he-vamp"  ap- 
pellation began  to  rebound  against  Cody. 
The  male  theatergoers  refused  to  patron- 
ize his  films,  and  the  women,  with  typical 
female  psychology,  lost  interest  in  an 
actor  who  appeared  to  be  boasting  of  his 
charms.  Cody,  himself,  of  course,  had 
nothing  to  do  with  the  idea.  He  felt  its 
ill  effects,  however,  and  for  two  or  three 
years  was  almost  taboo  on  the  screen. 

In  a  similar  manner  Eugene  O'Brien's 
future  was  dimmed  for  a  while,  due  to  a 
publicity  blunder  which  at  the  time  of  its 
conception  seemed  to  be  a  great  idea.  As 
leading  man  opposite  Norma  Talmadge, 
Gene  had  gradually  forged  his  way  to  the 
front  until  he  was  finally  the  most  adored 
screen  lover  in  the  films.  This  was  about 
five  or  six  years  ago.  The  Selznick 
company  decided  to  make  a  star  of  him 
and  in  searching  about  for  a  slogan  to 
attach  to  their  new  satellite  they  hit  upon 
the  appellation   "The   Perfect   Lover." 

^  hile  the  female  population  of  the 
country  was  ready  to  admit  that  Gene  just 
about  fitted  their  ideals  as  to  what  a  per- 
fect lover  should  be,  and  as  a  matter  of 
fact  they  were  already  terming  him  that 
of  their  own  volition,  they  strenuously  ob- 
jected to  any  man's  openly  heralding  his 
superiority  as  a  lover.  The  term  "perfect 
lover"  almost  ruined  O'Brien's  brilliant 
career.  Only  by  dropping  the  appellation 
altogether  and  delivering  a  series  of  fine 
romantic    performances     has     Gene    been 


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It  is  specifically  guaranteed  to  impart  togtay, streaked 
or  faded  hair  all  its  former  harmonious  beauty 
oflustre,  of  silken  texture  and  shade.  Itsusecannot 
be  detected.  It  is  guaranteed  permanent;  its  color 
withstands  any  condition  or  treatment  that  Nature's 
will— brushing,  rubbing,  shampooing,  sunshine,  salt 
water,  perspiration,  Turkish  baths,  permanent  wav- 
ing, marceling  and  curling.  It  is  safe;  it  cannot  in- 
jure texture  orgrowth;  it  contains  no  paraphenylene 
diamine.  The  ease  of  application  enables  anyone  to 
apply  it  in  the  privacy  of  her  own  home. 

If  you  are  concerned  about  your  hair  Jeanne  Ruere.  rrpert  of 
the  oreat-  »l  htir  coloring  manufacturer*  in  the  world,  it  ready 
to  give  confidential  advice  on  your  particular  problem. 

Send  No  Money 

Merely  fill  out  the  coupon  below 
INECTO,  Inc. ,33-35  West  46th  St.,  New  York 

INECTO,  Inc.,  33-35  Wait  48th  Street,  New  York  City 
Pleaaa  Bend  me  without  cost  or  obligation  full  detail*  of  bOCXO 
RAPID  Notox  and  the  beauty  Analyai*  ehurt  form  R-1G. 


In  CANADA  called    u,„,„ 
NOTOX.      Made   by    au"c 
Notoi.  Ltd..  10  He. 
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Marcel  Without  Heat 

Easy,  Economical  way  to  dress  hair 

I  HAVE  never  had  my  hair  marcelled,  yet 
daily,  friends,  acquaintances  and  even 
strangers,  ask  me,  "Who  marcelled  your 
hair?  Invariably  they  add  that  it  looks  as  if 
I  had  just  stepped  out  of  a  beauty  shop.  The 
secret  is  that  I  dress  it  myself,  in  so  short  a 
time  and  with  such  little  trouble  that  it  would 
amaze  you.  My  method  is  economical,  costs 
you  practically  nothing  and  leaves  yout  hair 
in  sound  healthy  condition.  No  burns  or 
breaks.  Every  woman  who  wants  to  look 
her  best  at  least  expense,  will  appreciate  this 
way  of  hair  curling. 

You  can  make  your  hair  look 
equally  attractive 

and  save  time  and  money  that  would  Other- 
Wise  go  to  the  haitdtesser  if  you  will  send 
me  one  dollar  for  a  set  of  Freedom  cmtIctj 
invented  by  myself.  They  cannot  be  secuted 
through  stotes.  You  will  receive  lull  instruc- 
tions for  using  them.  No  heat  is  required  and 
you  use  no  liquids.  Nothing  but  the  curlers. 
I  guarantee  satisfaction  or  your  money  back. 
You  will  be  delighted  and  your  friends  will 
admire  your  curls.  State  whether  you  wear 
long  or  bobbed  hair.  Address 
Evelyn  Routier,  Freedom  Curler  Company 
Nelbach  Bldg.,  Rochester  N.  Y. 


81 


WHY  STARVE  YOUR- 
SELF TO  REDUCE? 

Why  not  give  a  chance  to  SILPH? 

— See  what  it  can  do  for  you — 

You  chew  SILPH  like  ordinary  gum! 

Safe — Easy — Pleasa  n  t 

No  Diets — No  Exercises — 

No  Dangerous  Drugs. 


"Eleven  doctors  above  our  store  and  2/3 
of  these  doctors  recommend  SILPH" — 
Hover   Drug  Co.,   Bay   City,   Mich. 

"I    have   lost   about   25   lbs.,   and    have  been 

relieved      from     high     blood     pressure,  from 

which    I    suffered   greatly,"    writes   Prof.  Bud- 
long  of  Manchester. 


NOTE:— SILPH  will  not  work  any 
overnight  miracle,  neither  will  it  take  off 
twenty  pounds  in  one  week,  but  chew  it 
regularly  and  see  for  yourself  how  much 
you  can  take  off — SILPH  sells  at  all  good 
drug  or  dept.  stores  for  50c  a  box.  If 
your  druggist  is  out  of  it  send  direct  to 
the  SILPH  CO.,  9  West  60th  Street, 
Dept.  5-A,  New  York  City. 

BEWARE  OF  IMITATIONS 
Silph    is    the    name    of    the    original    and    genuine. 
The    only     one     we    personally     guarantee    to     be 
safe   and   harmless. 

Learn  Classic  Dancing 
At  Home! 

Only 


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will  find  it  amazingly  easy  to 
learn  classic  dancing  at  home 
by  this  wonderful  new  method. 
The  coat  is  eurpristnely  low.  Charts, 
photographs,  easy  text,  and  phono- 
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struction method  delightfully  sim- 
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ww  i  ***?  method.    No  obligation.     Learn  at  home.      Write  today. 
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Studio  12-75  1924  Sunnyslde  Ave.,  Chicago,  III. 


^a^jiiliin 


rACE  Powder 

Known  and  loved  by  four  generations 

ON  SALE  EVERYWHERE 

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illustrating  hew  Larlache  Creations 

Ben  LKvvCo.,Dept.  t  115  Kingston  St.,  Boston, U.S.A. 


able  to  overcome  it.  As  in  the  case  of 
Cody,  O'Brien  had  nothing  to  do  with  the 
selection   of   the   slogan. 

Norma  Talmadge's  big  blunder  has 
been  in  adhering  too  closely  to  goody- 
goody  roles.  They  have  stifled  her  per- 
sonality and  killed  the  fire  that  formerly 
flamed  so  brightly  in  her  earlier  work,  at 
which  time  she  played  all  types  and  roles. 
If  her  portrayal  of  "Kiki"  is  well  done, 
this  will  revive  her  old  popularity. 

The  Case  of  Doug  Fairbanks 

FViuGLAS  Fairbanks  was  heading  him- 
self into  an  ominous  blunder  a  year 
or  so  ago.  In  his  ambition  to  produce 
immense  spectacles,  such  as  "Robin  Hood" 
and  "The  Thief  of  Bagdad,"  Doug  was 
smothering  the  magnetic  screen  person- 
ality that  had  made  him  the  biggest  star 
of  the  day.  Two  more  spectacles  like  the 
above  mentioned  and  Doug  would  have 
been  looked  upon  by  the  public  as  a  pro- 
ducer rather  than  a  screen  idol.  Appar- 
ently, the  star  sensed  this,  for  he  is  now 
returning  to  his  old  style  of  work  with 
such  films  as  "Don  Q"  and  "The  Black 
Pirate." 

Mary  Pickford  made  the  commendable 
blunder  of  trying  to  give  the  public  some- 
thing different.  For  years  many  theater- 
goers and  critics  had  been  accusing  Mary 
of  sameness.  They  asserted  she  could 
play  nothing  but  kid  parts.  So  Mary 
gave  the  public  a  few  grown-up  char- 
acters. In  spite  of  the  excellence  of  her 
playing,  the  Pickford  admirers  immedi- 
ately turned  thumbs  down.  Mary  is  back 
at  kid  parts  and  will  probably  stay  there. 

Pola  Negri's  blunder  was  made  in  com- 
ing to  the  United  States.  At  least,  it  was 
made  after  she  came  to  the  U.  S.  A.  In 
her  German-made  films  Pola  won  a  repu- 
tation for  herself  in  this  country  because 
of  remarkable  acting  ability.  Her  work 
was  so  natural  and  devoid  of  the  usual 
posing  and  reserve  which  marked  our 
own  screen  actresses  that  Pola  quickly  had 
her  American  theatergoers  in  the  palm  of 
her  hand.  Upon  arriving  in  this  country, 
Pola  underwent  a  metamorphosis  and 
instead  of  continuing  to  rely  upon  her 
acting  ability,  which  left  her  few  com- 
petitors, she  decided  to  take  advantage  of 
American  photography  and  become  a 
screen  beauty.  In  this  branch  of  the 
game  Pola  could  not  hope  to  compete  with 
more  than  a  score  of  our  own  fair 
damsels.  All  of  Pola's  recent  films  show 
that  she  is  thinking  of  camera  angles  in- 
stead of  working  spontaneously. 

And   Now   Cecil   De    Mille! 

|V/Iany  are  of  the  opinion  that  the 
greatest  blunder  in  recent  years  was 
Cecil  B.  De  Mille's  cutting  loose  from 
Paramount.  At  the  present  moment  it 
appears  that  this  contention  is  correct  and 
that  "C.  B."  has  made  a  grave  mistake  in 
taking  so  much  responsibility  upon  his 
own  shoulders.  It  will  take  a  little  more 
time,  however,  to  decide  this  definitely. 

Blunders  will  continue  in  the  silent 
drama  as  long  as  the  industry  exists. 
There  is  no  way  of  stopping  them.  As  a 
rule,  there  is  no  way  of  definitely  knowing 
a  blunder  until  it  has  been  proved  so,  and 
then  it  is  too  late  to  do  anything  about 
the  matter. 

At  the  present  moment  there  are  several 
stars  who  stand  in  danger  of  making 
blunders  that  will  vitally  affect  their 
careers.  Principal  among  these  are  Ronald 
Colman,  Jack  Gilbert,  Betty  Bronson, 
Mary    Philbin   and   Adolphe   Menjou. 

Stars  at  the  top,  or  those  just  arriving 
at  the  top,  are  the  ones  who  require  the 
most  expert  handling.  One  misstep  may 
send  them  toppling  down  the  ladder  into 
the  Down-and-Out  Club. 


OPPORTUNITY    MARKET 


AGENTS  WANTED 


Agents — Write  for  Free  Samples.  Sell  Madison 
"Better-Made"  Shirts  for  large  Manufacturer 
direct  to  wearer.  No  capital  or  experience  re- 
quired. Many  earn  $100  weekly  and  bonus. 
MADISON    SHIRTS,    562    Broadway,    New    York. 

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tions to  MOTION  PICTURE  MAGAZINE  and 
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Write  today  for  particulars.  Brewster  Publications, 
Inc.,    175  Duffield   St.,   Brooklyn,   New   York. 

AGENTS — 90c  an  hour  to  advertise  and  distribute 
samples  to  consumer.  Write  quick  for  territory 
and  particulars.  AMERICAN  PRODUCTS  CO., 
5722  American  Building,  Cincinnati.  Ohio. 

A  Paying  Position  Open  to  representative  of 
character.  Take  orders  shoes,  hosiery  direct  to 
wearer.  Good  income.  Permanent.  Write  now. 
Tanners  Shoe  Mfg.  Co.,  3-350  C  St.,  Boston, 
Mass. 


HELP   WANTED 


Men — Women,  18  Up.  Get  U.  S.  Government 
jobs.  $95.00-$250.00  month.  Steady.  Experience 
unnecessary.  Common  education  sufficient  with 
our  coaching.  List  positions  free.  Write  immedi- 
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ter, N.  Y. 


HELP  WANTED— FEMALE 


Ladies — Earn  extra  money  addressing  cards 
at  home.  Experience  unneec  ssary.  2c  stamp 
brings  full  particulars.  Interstate  Co.,  304  W. 
63d,  Dept.  A  C,  Chicago. 


HOW  TO  ENTERTAIN 


Plays,  musical  comedies  and  revues,  minstrel 
music,  blackface  skits,  vaudeville  acts,  monologs, 
dialogs,  recitations,  entertainments,  musical  read- 
ings, stage  handbooks,  make-up  goods.  Big  catalog 
free.  T.  S.  Denison  &  Co.,  623  So.  Wabash, 
Dept.    63,    Chicago. 


PATENTS 


Inventions  commercialized  on  cash  or  royalty 
basis.  Patented  or  unpatented.  In  business  24 
years.  Complete  facilities.  References.  Write 
Adam  Fisher  Mfg.  Co.,  512  Enright  Ave.,  St. 
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PERSONAL 


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Calif. 


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50c.  Hollywood  Scenario  &  Publishing  Co.,  Mark- 
ham   Bldg..   Hollywood.   Calif. 


RATES 


THESE  ADVERTISEMENTS  are  read  by 
thousands  of  people  each  month.  Some  of  these 
advertisers  use  this  section  every  month  to 
increase  their  business.  Write  for  rates  to 
Brewster  Publications,  Inc.,  175  Duffield 
Street,  Brooklyn.  N.  Y. 

(Continued  on  page  84) 


82 


Men 

(<  onthtued  from  page  72) 

furniture   not    quite    paid    for,    the   china 

mesc,    and    the    baby    asleep    on    the 

scape,  lite  becomes  a  little  dilTcrcnt. 

,   rathci    than   lose   all   hei    ideals   "i 

what    tin-    future    should    bring,    -In-   kocs 

back  to  work  to  get  them.     She  has  talked 

al„,ut    u    to    lut     young    husband    ami    he 

n't    seem    to    cue.      \\'h\     should    he: 

Mo$l  all  his   friends'  urns  work. 

"That    is    the    beginning    of    the    end. 
When  a  woman  finds  out  she  doesn'l  need 
I   man,   she  just   doesn't    need   him       I  he 
youthful  glamoui    is  gone.     She  has   found 
what  romance  is  made  of. 
"  \iul   yel    I    believe   in   man  iage.      It   is 
lutel>    necessary,  oi    course.      It    is   the 
d's    greatest    convention.      Wr    do    it 
to   please   oui    mothers,   our    friends,   our- 
selves, but   it  seems  to  me  that  right  now 
something   is  wrong  with  it. 

•■  \ml   I   believe  that   the  main  difficulty 
il    with    the    man    oi    todaj    and    not    the 
He  is  not  awake.     I  Le  is  not  mature 
Ami   still   ni\    advice    is.   get    married,   and 
it   out    it"   that    is    what   you   want.      I  I 
are  in  love,   stay   home.      Insist   upon  a 
home,    take    no    substitutes,    make    it    your 
fortress,  and  do  not  seek  a  career.    There 
,   few  talented  women  who  should  not 
stifled,    a     few     brilliant     and     lovely 
women   who  are   more   valuable   as   them- 
selves   than    as    wives.      But    the    average 
woman   who   leaves   home    for   a  job  in  an 
office,  as  a  clerk,   stenographer,  or  sales- 
woman, is  a  million  times  more  of  a  per- 
-011  as  a  wife.     Some  people  can  do  both 
well,    but    the    great    majority    can    not. 
Stick    to    your    homes,    for    the   older    you 
get.  the  more  they  will  mean  to  you,  and 
at   fifty,  the   new   dress   will   seem   a  very 
little  thing  beside  the  security   of  a  suc- 
cessful marriage." 


The  Answer  Man 

(Continued  from  page  66) 

Harold  L.  U— So  you  think  I  am  a 
pretty  big  mystery?  Yes.  they  do  say 
Jewel  Carmen  will  return  to  the  screen 
after  six  years'  absence  in  "The  Bat." 
Ford  Sterling  is  playing  the  lead  for  "The 
Show-Off"    from    the    stage-play. 

Mary  T— Yes,  Eugene  O'Brien  will 
play  opposite  Gloria  Swanson  in  "Fine 
Manners."  it  is  reported  that  Robert 
Leonard  is  to  marry  Gertrude  Olmstead. 
Yes.  and  Louise  Glaum,  erstwhile  vamp, 
was  married  last  January  to  Zachary  M. 
Harris,  a  theatrical   promoter. 

Lili.ie  17. — I  should  say  H.  B.  Warner 
has  a  full  name.  It  is  Henry  Byron 
Warner.  William  Boyd  and  Elinor  Fair 
were  married  last  winter,  and  now  they're 
playing  in  "The  Yolga  Boatman"  together. 

Maybf.lle  H. — Listen  here,  I  cant  very 
well  undertake  to  give  you  the  names  and 
addresses  of  some  forty  players  here.  It 
would  take  much  too  much  room.  Give 
somebody  else  a  chance.  Dont  lay  it  on 
too  thick,  Maybelle. 

Frenchy. — So  you  think  that  Alma 
Rubens  is  a  Classic  beauty.  She  played 
in  "The  Winding  Stair"  with  Jack  Mul- 
hall. 

Sheba.  —  Douglas  MacLean  signed  a 
contract  whereby  he  will  make  several 
pictures  for  Famous  Players-Lasky. 
"Twenty-three  and  a  Half  Hours'  Leave," 
which  is  his  most  outstanding  success  and 
his  first  important  picture,  was  made  under 
the  Lasky  banner. 


Hew  Much  Do 
Ar lists  Earn? 

WOULD  you  like  to  earn  #100  a  week  as  a  commercial  artist?     If  you  like 
to  draw,  you  should  develop  your  talent,  for  well-trained  artists  earn  #75, 
3100,  #150  a  week  and  sometimes  even  more.     Beginners  who  can  do 
practical  work  soon  command  350  a  week. 

The  Federal  home-study  course  develops  your  talent  on  a  sure  foundation 
by  the  quickest  possible  method,  and  makes  the  work  truly  a  pleasure.  It  is  the 
original,  practical  course  in  commercial  art,  created  by  men  with  more  than  25 
years'  experience  in  the  field,  and  after  12  years  of  unequalled  success  today 
stands  supreme  as  America's  Foremost  Course  in  Commercial  Designing.  It  con- 
tains exclusive  lessons  from  leading  American  artists,  gives  you  individual  per- 
sonal criticisms  on  all  lessons,  and  teaches  you  the  methods  that  make  your  draw- 
ings worth  real  money. 

FEDERAL  STUDENTS  MAKE  GOOD  INCOMES 


These  are  typical  letters  from  many  hundreds 
in  our  hies: 

Byron  C.  Robertson,  a  Federal  School  grad- 
uate, says: 

"The  reason  why  I  enrolled  with  the  Federal 
School  was  that  they  had  many  Students  to 
point  to  who  had  made  good.  Today  I  am  on 
the  art  staff  of  one  of  the  largest  illustrating 
concerns  in  America,  receiving  a  salary  of 
S3, 000.00  a  year.  It  was  indeed  a  lucky  day 
when  I  enrolled.  The  lessons  by  such  great 
contributors  as  Coles  Phillips.  Edwin  V.  Brewer, 
Chas.  F.  Chambers,  and  others  equally  well 
known,  are  an  inspiration  and  a  decided  help." 

D.  L.  Rogers  says: 

"I  found  only  one  school  that  had  real,  sound 
backing  for  all  its  statements  and  that  was  the 
Federal  School. 

"From  my  experience  I  am  satisfied  the  Fed- 
eral School  has  the  quality  of  education  to  offer 
that  paves  the  road  to  success.  1  wish  to  recom- 
mend this  course  very  highly  and  my  advice  10 
those  who  are  earnest  and  'game'  enough  to 
work  for  bigger  things  in  the  commercial  art 
field  is,  'Take  the  Federal  Course.'" 

Florinda  E.  Kiester  writes  us: 

"Besides  the  good  training  I  have  received 
from  the  course  when  I  took  it,  you  people  have 
always  given  me  such  wonderful  help  in  my 
work  that  I  shall  be  proud  to  be  able  to  say  I 
am  a  graduate  of  the  Federal  School." 

A  letter  from  Mr.  Lloyd  Shirley: 

"I  feel  as  though  my  old  days  of  drudgery 
were  a  bad  dream.  Now  [  am  earning  $3800  a 
year  and  I  have  just  started.  This  commercial 
drawing  is  work  I  love  to  do.  If  it  had  not  been 
for  the  opportunity  of  studying  art  in  my  spare 
time  and  the  kindly  interest  of  the  Federal 


faculty.  I  would    never  have  gotten  out  of  the 
rut    I  was  in.     The    practical,  thorough,  short 

1  took  with  the   Federal  School  made 
my  success  possible." 

Send  Today  for 
"YOUR  FUTURE" 

If  you  are  in  earnest  about  your  future,  send 
6c  in  stamps  today  for  this  book.  It  is  beauti- 
fully illustrated,  tells  every  detail  about  the 
Federal  Course,  gives  you  convincing  proofs 
of  its  merits  and  shows  work  done  by  Federal 
Students.  Fill  out  and  mail 
the  coupon  NOW,  kindly 
stating  your  age  and  present 
occupation. 


Scfiool 

rof  Commercial  Designing 

1034  FEDERAL  SCHOOLS  BLDG. 
Minneapolis,   Minn. 
Please    send    me    "VOIR    FUTURE, 
which  I  enclose  6c  in  stamps. 


Present 

Age Occupation 

(Write  your  address  plainly  in  the  margin) 


mmerica's  Fbiemost  School  djT  Commercial  cjlrt 


83 


No  Hair  Offends 

Where  Neet  is  Used 

He  had  never  seen  arms  so 
wonderfully  smoorh  —  so  free 
from  hair.  Her  beauty  fascinated 
him.  As  she  saw  his  warm, 
admiring  glance  appraise  the 
flawless  beauty  of  her  skin,  she 
realized  that  at  last  she  had  found 
theway  to  happiness.  The  blemish 
of  hair  had  always  spoiled  her 
pleasure — made  her  conscious  of 
this  fault.  Then  she  learned  of 
Neet,  the  dainty  hair  removing 
cream  ....  No  other  method  of 
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MO  ANA:  A  Poem  of  the 
Cinema 

{Continued  from  page  37) 

have  no  connection  on  the  surface,  but 
actually  the  rage  for  the  Charleston  sug- 
gests,  for  one  thing,  that  Americans  every- 
where realize  down  in  their  hearts  that 
they  are  savage,  just  as  savage  as  the 
Samoans ;  and  for  another,  that  making 
money  and  "getting  ahead"  are  not 
enough,  and  that  they  want  to  live  a 
fuller  and  more  beautiful  life,  in  Florida, 
for  instance,  where  they  can  take  things 
easy,  bake  in  the  sunlight,  or  lap  in  the 
blue  Southern  water. 

"Moana,"  for  people  who  have  been 
thinking  about  these  things — nearly  all  of 
us,  at  some  time  or  other — was  a  spectacle 
of  life  beautifully  lived.  When  I  walk 
into  a  theater  to  see  a  film  by  the  clever- 
est of  our  directors,  I  say  to  myself,  I  am 
going  to  look  at  a  play,  a  wonderful  game 
that  somebody  has  devised  to  stimulate  or 
amuse  me,  all  artfully  put  together.  But 
Flaherty,  tho  he  devised  a  form  for  his 
"Moana"  in  order  to  give  it  unity,  tho 
he  caught  an  overtone  of  story  or  drama, 
must  have  said,  "I  am  going  to  take  them 
so  close  to  this  thing  that  they  will  forget 
that  they  were  looking  at  actors  in  a  film 
and  think  only  that  they  were  looking  at 
life,  that  they  were  peering  out  of  some 
hiding-place  into  a  world  that  is  just  as 
natural  and  strange  as  the  world  always 
is.  .  .  ." 

The  Samoans  are  a  handsome  race, 
brave,  high-spirited,  instinctively  artistic 
in  their  most  natural  expressions.  Art  is 
not  something  they  go  to  museums  or 
concerts  for ;  it  is  a  feeling  for  beauty, 
as  they  block  out  designs  on  their  sparse 
clothing,  as  they  adorn  themselves  with  a 
flower  in  the  ear,  a  wreath  in  the  hair ; 
as  they  dance ;  as  they  carve  their  boats 
or  their  totem-poles. 

Epic  of  Samoan  Life 

VT/e  look  at  a  day  in  the  life  of  Moana, 
his  girl,  Fa-an-ga-se,  and  his  little 
brother,  P'ea.  The  film  begins  poetically 
enough  with  a  shot  of  the  upper  branches 
of  two  kava-trees ;  weird,  feathery,  lux- 
uriant, they  set  the  mood  for  the  whole 
symphony  which  begins.  It  is  hard  to 
believe  that  photography  alone  can  be  so 
moving  that  it  holds  our  interest  without 
the  aid  of  any  cheap  melodrama — no  ship- 
wrecked American  yacht  anywhere  on  the 
horizon.  The  huge,  sinister,  tropical 
plants  and  leaves  fill  the  picture,  wave  in 
the  warm  southern  wind.  Out  of  these 
moving  forms,  the  Samoan  boy  emerges, 
quite  naturally  a  part  of  them,  like  some 
animal  or  bird.  We  watch  Moana  and  his 
companions  hunt,  fish,  play,  swim.  The 
simplest  gestures  seem  very  important,  and 
reasonable.  These  people  are  instinctively 
graceful  and  natural  as  we  can  never  be, 
in  the  movements  of  their  muscles  and 
limbs,  in  their  expressions  to  one  another. 
It  is  very  much  as  if  they  were  not  acting 
at  all.  Flaherty  has  caught  a  marvelous 
overtone. 

"Have  you  ever  noticed,"  he  said,  "how 
animals  and  children  in  the  film  never 
seem  to  be  acting.  They  just  live  or 
play." 

The  utterly  strange  overtone  of  reality, 
which  some  news  reels  catch,  "Moana"  has 
to  an  amazing  degree. 

But  the  loveliness  of  the  woods,  and  of 
the  sunlit  beach,  the  marvelous  feeling  of 
water,  the  beauty  of  Moana  swimming  in 
it,  the  dignity  of  his  dancing — these  are 
not  enough. 

Suddenly,    drama:    the    swift,    sure    rise 


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245 


An  Apology^* 

Thousands  of  our  regular  readers  were  disappointed 
last  month  when  they  went  to  purchase  their  copy 
of  Motion  Picture  Magazine — for  the  edition  quickly 
sold  out.  We  apologize  to  you  all.  The  next  print 
order  will  be  greatly  increased  but  you  had  better 
order  your  next  issue  now — or  subscribe.  Lots  of 
fine  news  coming. 

Brewster  Publications,  Inc. 


OPPORTUNITY    MARKET 

(Continued  from  page  82) 

SHORT   STORIES 

Stories  and  Photoplay  Ideas  Wanted  by  48 
companies;  big  pay.  Details  free  to  beginners. 
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84 


,  rve  shattering   climax, 

.,   ivaj    thai    i     al)Mihitcl>    unique 

in   tin-   films,   and   touched   uiilj    in   great 

i 
All     il">     delightful      'business,       these 

ihal  we  liavc  been  watching  with 

inch  tranquil  |>le;i>ure,  we  see  now 

irations    lot    the    great    esent    ul 

li  if,     the     Mulr.d     ol     tattooing, 

i,   to    the    Samoan    is    the    test    oi    su 

ligious   experience,   thru 

must    win   to  manhood,  "the 

virilit\    that  makes    (or  the   : 

.  the  inti 

A  Fine  Art  of  Pain 

TuiNrt,    "the     Polynesians    havi 
,>,l  into  a  fine  art  of  gruelin 
rative    loveliness."       The    meai 
most  astonishing   when  we   realize 
with  nature   so    favorable  and   life  so 
out    there,     Moana    willingly    submits 
his    ancient    tribal    rite    in    order    to 
rt  his   manhood.     The  realism   of   this 
is    something   unsurpassed    in    the 
■    the   movies. 
It    is    the    high    moment    of    the    film. 
u  >   the  ordeal   stoical!)  • 
["hen  his    features   twist    involun- 
tanl\  ;    the    tears,    the    perspiration,    start 
.  ill! 
Win    does    Flaherty    try    to    transmit    so 
much  pain   after   the   light-hearted   beauty 
the   early    sequences        \\  hj    does    he 
dwell  on  this  so  long,  so  morbidly? 
"Because  the  religious  emotion  is  always 
iated  in  my  mind  with  pain,  supreme 
ring,"    he    answered    to    my    question. 
And   now   Moana,   first   thru   work   and 
play,  then  thru  the  torture  of   this— to  us. 
inhuman  and  barbarous   rite— has   won  the 
pride  and   strength   of   manhood,   the   privi- 
g   Fa-an-ga-se.     The  picture 
with  Moana,  well,  after  weeks  of  re- 
ry,    dancing     with     Fa-an-ga-se,    the 
strangely    sensuous    dance    of    the     Siva, 
which  is  the  expression  of  their  courtship 
and  love. 

An   extraordinary  thing  about   this   sim- 
ple drama  has   been   the   perfectly   caught 
and    perfectly    sustained    atmosphere;    not 
igle  element   that  belonged  outside  of 
the  conception  of   life   in   the   South   Seas 
50  much  as  peeped  in.     There  is  noth- 
to  jar   your   sense  of  good  taste,   to 
waken  you   from  your  dream. 

Another  point  that  must  be  made  is 
that  the  plan  or  form  of  this  film,  by 
which  it  develops  to  its  climax,  is  utterly 
simple  and  is  woven  from  the  materials 
which  actually  compose  life  here.  You 
could  never  argue  with  or  question  the 
course  of  events.  It  has  the  inevitable 
simplicity  of  life  itself,  as  Mr.  Frederick 
James  Smith  pointed  out  in  a  recent  issue 
of  the  Classic  in  connection  with  such 
notable  films  as  "The  Last  Laugh,"  "Stella 
Dallas,"  "The  Big  Parade." 

Take  "The  Covered  Wagon" :  there  is 
a  hopeless  love  interest  in  it  that  has 
nothing  to  do  with  the  progress  of  the 
pioneers  themselves  across  the  prairies, 
which  forms  the  real  spectacle  of  the  film. 
And  the  villain  is  only  a  professional  vil- 
lain; he  is  not  forced  into  villainy  by 
anything  in  the  situation  itself.  From  this 
point  of  view.  "Moana"  is  pure  of  all  the 
silly  trapping  and  devices  that  are  sup- 
posed to  make  people  palpitate  willy-nilly 
and  its  effectiveness  despite  this  gives 
much  room   for  thought. 

The  Art  of  Life 

Di'T    Flaherty    has    done    more    than    to 

give     us     only     a     beautiful     spectacle. 
^  ith    his    broad    vision    he    has    suddenly 
made   us   think    seriously,    in    between   the 
(Continued  on  page  91) 


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Joby  from  the  Tennessee 
Hills 

{Continued  from  page  74) 

so  tired  of  them.  There  are  other  draw- 
backs to  so  much  time,  too.  In  '  Girl 
Shy,'   I  had  to  cry  steadily  for  ten  days." 

"They  always  played  the  same  thing  for 
those  scenes,"  observed  Roy.  "When  we 
heard  them  strike  up  T  Love  You  Truly,' 
we'd  say  :     'Joby's  crying  again !'  " 

"After  that,  Harold  wanted  me  to  look 
as  if  I'd  cried  myself  out  and  couldn't 
weep  another  tear,  but  was  going  on, 
broken-hearted.  Try  and  do  it — especially 
for  two  weeks ! 

"But  1  loved  the  part.  I'm  not  so  keen 
about  this  one.  I  am  a  painfully  good 
girl  who  feeds  the  poor  coffee  and 
doughnuts  and  goes  about  with  a  sickening 
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Odd  thing  about  Jobyna.  In  the  space 
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Lillian  Gish,  of  Mary  Pickford,  of  Mabel 
Normand  and  of  Betty  Bronson,  and  all 
the  time  be  her  own  inimitable  self — wist- 
ful, merry,  tender  or  sad.  They  say  that 
producers  have  eager  eyes  on  the  end  of 
her  contract,  not  so  far  away.  .  .  . 

"You  had  four  props,  hadn't  you,  Joby? 
Let's  see — one,  two — yes,  here  they  are. 
Forward  march !" 


Old  Pictures  in  New- 
Frames 

(Continued  from  page  78) 

realize  how  crude  a  foreign  studio  seems 
compared  to  an  American  one.  The  lights, 
the  camera,  the  antiquated  methods,  are 
amazing.  Yet  one  must  realize  what  a 
drawback  the  war  has  been  to  pictures  over 
there  and  overlook  most  of  these  incon- 
veniences. 

Film  Community  Danger 

"America  might  learn  something  in  the 
■^  congenial  atmosphere  of  the  foreign 
studios.  It  is  more  like  the  stage,  not  so 
automatic,  a  little  more  personal.  And 
another  thing  I  firmly  believe  is,  that  no 
one  city  should  make  all  the  pictures.  To 
form  a  community  is  death.  All  ideas, 
new  impulses,  die ;  everything  becomes 
stereotyped.  It  is  too  bad  we  cannot  have 
a  studio  in  every  state. 

"In  spite  of  this,  I  like  California.  New 
York  is  more  stimulating,  of  course,  but 
California  is  a  very  lovely  place  in  which 
to  work." 

And  now,  leaving  Mr.  Hayakawa  talk- 
ing like  a  realtor,  I  will  brush  up  a  little 
bit  on  his  past  history  in  case  you  have 
forgotten. 

He  was  born  in  Japan,  and  as  soon  as  he 
grew  old  enough  to  think  at  all,  he  de- 
cided that  the  thing  he  wanted  to  do  most 
was  to  come  to  America,  and  study  for 
the  stage  in  order  to  bring  Shakespeare  to 
Japan.  He  went  to  the  University  of  Chi- 
cago, and  won  his  letters  playing  quarter- 
back on  the  football  team.  I  also  believe 
that  he  is  a  wonderful  swimmer.  For  a 
while  he  played  on  the  legitimate  stage, 
and  eventually  drifted  into  pictures.  He 
made  an  instantaneous  success  and  was 
more  often  than  not  a  perfectly  villainous 
villain. 

Mr.  Hayakawa  would  like  very  much  to 
go  back  to  pictures.  I  personally  think 
he  is  a  fine  actor,  but  I  think  he  would 
be  an  even  finer  director,  even  if  he  has 
nothing  better  to  piece  together  than  a 
half  dozen  old  match  boxes. 


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How  Fairbanks  Took  the 
Color  Out  of  Color 

\linued  from  page 

work  "tit  a  definite  color  icheme   (green 
and  brown)   and  abide  bj    it     rigidlj   <\ 
cludiri  note  thai  might  distract  a1 

tent  ion  from  the  whole.  Rembrandt  might 
put  .1  bright  color  in  shadow,  for  then  it 
is  toned  down;  we  might  do  much  the  same 
in  the  background    but   we  must   be   foi 

uard  that   it  did  not  come 
bo  neai    i[  distract  youi 

from  the  whole.  For  instance,  we  always 
had  painters  ready,  so  thai  ii  a  light- 
costumed  man  was  forced  by  the  necessi 
ties  "i  the  action  to  come  closer  to  the 
camera,  he  could  immediateh  be  dusted 
down   with  powder  oi   a  darker  shai 

costume,   and   all. 

"In  other   words:   we  had   to  compose 

in   color    as    well    as    form." 

And  t<>  this  interesting  theory 
strictly  adhered  thruout  every  scene.  Ii 
in  the  hurrj  of  outfitting  a  mob  of  extras, 
a  scarlet  bandanna  was  allowed  to  reach 
the  set,  it  was  immediately  returned  and 
locked  up  in  a  closet,  never  to  see  the  light 
v  again !     In   fact,  only  one  spot  of 

brilliant  color  was  allowed  to  enter  the 
whole    picture — a   green    parrot.      And    this 

only  because  it    was  absolutely  necessary. 

For  a  pirate  picture  without  a  parrot  would 
hanll\  do  right  I  \  our  historic  d  triditi  ins 
— or  pass  the  censorship  of  Robert  Louis 
Stevenson. 

And  again,  perhaps,  there  is  the  red  flash 
when  the  powder-magazine  explodes;  but 
this  is  so  short — it  only  runs  about  eighteen 
inches— that  the  effect  is  sure  to  be  mental 
rather  than  visual. 

Purple  and  Blue  Impossible 

'\Y7i-.  found  it  impossible  to  do  anything 
at  all  with  purple,  and  that  blue  can- 
nol  be  satisfactorily  handled,  as  it  takes  a 
greenish  tinge.  This  latter  presented  quite 
a  difficulty — for,  as  perhaps  you  know, 
skies  are  blue.  But,"  here  Mr.  Parker 
pointed  to  an  etching  of  a  New  York 
street,  "that  is  not  a  New  York  street  as 
you  and  I  see  it — it  is  a  street  idealized 
thru  the  personality  of  an  artist.  We  found 
this  true  of  all  art,  that  it  idealizes  nature. 
So  we  did  the  same — our  skies  are  almost 
white,  with  just  the  slightest  suggestion  of 
a  warm  tinge  of  brown. 

"Toward  the  end  there  is  a  scene  where 
it  was  necessary  that  the  sky  be  blue — 
when  you  see  it,  I  think  you  will  agree 
with  me  that  it  is  far  less  pleasing  than 
the  others." 

Perhaps  the  ultimate  in  this  "idealiza- 
tion" is  the  oiling  of  the  bodies  of  all 
concerned  so  as  to  give  their  skin  the  soft 
and  velvet  sheen  of  the  ideal  "skin  you 
li  \e   to   touch" — hut  never   find. 

The  sparkle  in  his  eyes  grew  gayer  as 
he  continued  to  tell  about  their  findings. 

"Green  and  brown  is  our  scheme  thru- 
out:  greens  of  all  the  softer  shades,  and 
brown  running  the  whole  gamut  from  the 
lightest  tint  of  old  ivory  to  the  deepest 
tone  of  mahogany.  Other  combinations 
are,  of  course,  possible,  but  we  found  this 
the  one  best  suited  to  our  needs." 

Color  as  a  Background 

""The  reason  for  the  seemingly  unneces- 
sary attention  given  to  even  the  most 
trivial  of  details  is  quite  peculiar — it  was 
so  you  would  get  a  picture  in  which  color 
is  not  the  dominating  interest!  They 
fought  color  so  as  to  get  a  picture  of  a 
pirate  story — with  color  as  a  background. 
The  attempt  aimed  at — and  everyone  who 
has  seen  the  picture  swears  it  has  been 
achieved — is   to  make  you   forget   entirely 


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that  the  picture  is  in  color !  In  other 
words :  they  have  tackled  color  from  an 
angle  directly  opposite  to  that  of  all  who 
went  before  them.  Drama,  not  color,  is  the 
important  thing ! 

To  find  if  they  had  succeeded  in  their 
aim,  Mr.  Parker  not  only  asked  for  criti- 
cism from  those  who  saw  it — he  even 
eavesdropped  while  they  were  seeing  the 
picture,  so  as  to  get  their  comments 
amongst  themselves ! 

"At  first,  I  would  hear  comments  of 
'Beautiful !'  and  'Ah  !' — but  from  the  middle 
of  the  first  reel  on  there  would  be  silence. 

"When,  after  they  had  seen  it,  I  asked 
them  how  they  liked  the  color,  they  would 
say:  'Color?  Oh,  yes,  it  was  in  color, 
wasn't  it?'" 

To  gain  this  end,  it  had  been  necessary 
that  there  should  not  be  a  single  detail  that 
went  wrong — no  spot  where  you  could  have 
the  slightest  feeling  that  color  had  fallen 
down. 

For  this,  it  was  imperative  that  the  story 
be  of  the  utmost  simplicity,  and  of  a  sus- 
tained interest,  with  not  one  lull  from  the 
beginning  to  the  end.  Because  of  this, 
Mr.  Fairbanks  wrote  every  scene  with  color 
in  mind — not  to  make  the  most  of  color, 
but  to  work  story  and  color  together  in 
such  a  manner  that  each  would  make  the 
utmost  of  the  other. 

"And,  because  of  this,  we  received  the 
greatest  of  all  possible  compliments — com- 
plaint that  the  picture  was  too  short !  As 
a  matter  of  fact,  it  runs  to  8,500  feet." 

Long  Color  Tests 

""Then  it  was  necessary  that  the  sets, 
make-up,  and  costumes  be  tested  for  this 
new  medium.  This  work  occupied  every 
spare  moment  of  Mr.  Fairbanks  and  Mr. 
Parker — as  well  as  the  artists  they  had 
called  in  for  consultation,  Dwight  Frank- 
lin and  Oscar  Borg — for  the  full  prepara- 
tory period  of  six  months.  They  would 
evolve  a  costume  that  would  seem  mar- 
velous in  the  studio — only  to  find  that  on 
exteriors   it   would  not  go   at   all ! 

And  with  make-up  it  was,  if  possible, 
even  more  difficult.  Doug  has  a  very  heavy 
beard,  and,  try  as  they  would,  they  could 
not  overcome  its  tendency  to  go  green  when 
flashed  upon  the  screen  in  color.  It  took 
them  a  whole  month  before  they  hit  upon 
a  way  to  conquer  this  single  detail — the 
application  of  a  more  reddish  powder  to 
that  part  of  his  face  than  elsewhere.  Nor 
could  Billie  Dove  use  the  usual  "peaches 
and  cream"  of  the  leading  lady ;  again 
Rembrandt  was  called  in,  and  her  skin 
was  toned  a  mellow  ivory.  It  was  found 
that  Sam  de  Grasse  had  no  need  of  any 
make-up  whatever — tho  in  black  and  white 
he  has ! 

And,  while  we  are  on  this  subject  of 
faces,  there  is  another  interesting  detail  to 
be  mentioned.  I  am  sure  it  has  struck  the 
attention  of  everyone  who  has  ever  seen  a 
colored  picture  that  every  once  in  a  while 
the  faces  take  on  a  greenish  tinge — as  when 
a  crap-shooting  office  force  first  sees  the 
entrance  of  the  boss.  This  was  found  to 
happen  whenever  a  carbon  in  the  lights 
went  blue.  The  cause  being  found,  the 
remedy  was  simple — watchfulness. 

Twice  as  Much  Light  Needed 

In  lighting,  it  was  found  that  color  re- 
quires just  twice  as  much  light  as  black 
and  white.  This  meant  that  lights  had  to 
be  used  even  in  the  shooting  of  exteriors. 
But,  when  someone  suggested  that  they  use 
colored  lights  to  help  in  heightening  the 
effects,  this  was  vetoed,  for,  tho  sets  and 
skies  could  be  idealized,  no  artificiality  of 
color  was  allowed.  The  only  thing  that 
might  be  called  a  departure  from  this  rule, 
the  mahogany,   rather  than   red,   spurt  of 


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88 


in  the  powder   trains,   is   u-.ilh    not, 
.    was  obtained    thru    tin-   actual    mix 
turc  "i  the  powder,  and  not  \<\   anj   trick 
:    filters   .mil   colored    gelatine 

densit)    oi    the  coloi    in   .nn    given 
could  he   varied   within  unite  a  larg« 
in  l>>    the  film  on   which   thej    chose 
int    it     depending    on    wliethei     the) 
,11,  red.  or  neutral  eintiUion. 
In   the    handling    oi    the    crowds,    mart) 
Dtcre.stiuR  elements  were  encoun 
.i    scene    in    the    earl\     part    oi 
the   work,   .1    large   and    varied    crowd    ol 
.    was    called    lot        I  >ne    hundred 
men    were    used     and    then    this 
was    flashed    upon    thi  It 

,,|    ,i    mess!     the    periect    summing  up 
comment  h>    Joe  Schenck  : 
iks  like  an   Italian  wedding." 
5   was  true,  a  hundred  and   fifty 
men    in   color    produce   an    effect    equal    to 
five    hundred    in    hl.uk    and    white. 
The    scene    was    retaken,    and    lift)     nun 
rd    ample.      Tins    is    possihl)     because 
reater   stcreoptic   values   possessed 
than   l>\    black   and    white. 

Color  as  Emphasis 

AM.riiKK  item  was  the  great  emphasiz- 
ing value  to  which  culm-  can  be  put. 
In  compositions  where  one  man  should 
:  out  trom  all  the  others,  the  old  mas- 
put  him  in  light  and  the  others  in 
so  that  the  lighter  tones  would 
out  against  the  darker.  In  a  picture 
where  movement  has  to  be  considered,  this 
handling  of  high  light  and  shade  cannot  be 
followed ;  but  a  similar  effect  was  gained 
rn  the  dyeing  of  the  shirts:  light  for  the 
important  characters,  and  darker  for  those 
who  were  to  constitute  the  background, 
r  the  same  reason,  it  was  found  nec- 
.  to  dull  the  sun  aces  of  the  silver 
and  brass  mountings  of  the  pistols  and  can- 
non, and  all  the  ironwork  upon  the  ship, 
that  they  would  not  distract  the  eye, 
nor  even  be  noticed,  until  brought  into 
Even  the  gold  and  jewels  of  the 
looted  ships  could  not  make  these  firm 
-  lose  their  heads  ! 
Another  most  interesting  item  of  this 
work  is  an  experiment  the  results  of 
which  should  be  of  benefit  to  the  picture 
industry  as  a  whole.  Under  supervision  of 
professors  of  the  University  of  Southern 
California,  a  test  of  the  comparative  eye- 
strain of  standard  print,  black-and-white 
film,  and  colored  film  was  made.  For  this 
subjects  of  various  ages  and  occupa- 
tions were  carefully  selected:  professors, 
students,  and  stenographers,  carpenters, 
cooks,  and  gentlemen  of  leisure — people 
from  almost  every  conceivable  walk  of  life. 
On  one  night  a  few  reels  of  colored  film 
were  run  before  them — tests  were  made, 
and  then  they  were  freed  for  three  or  four 
days.  At  the  end  of  this  time,  a  similar 
length  of  black-and-white  film  was  shown 
them:  tests  were  made,  and  they  were  freed 
again.  And  then  they  were  made  to  read 
from  books  of  standard  type  for  the  same 
period  of  time  the  films  had  been  run  be- 
fore them:  again  test>  were  made — and 
then  the  three  sets  were  brought  together 
for  comparison.  The  results  were  these: 
the  strain  was  the  most  severe  from  read- 
ing: next  from  films  of  black  and  white, 
and  least  of  all  from  films  in  natural  color! 
The  goal  aimed  at  in  this  production  is 
to  project  an  adventure  story  of  the  buc- 
caneers against  a  background  like  an  old 
painting  brought  from  the  cellar  of  some 
ancient  castle  and  then  revarnished.  Tho 
they  have  taken  every  bit  of  praise  with 
the  largest  mine  of  salt  procurable.  Mr. 
Parker  feels  that  this  has  been  accom- 
plished. But  ultimate  judgment  has  not 
yet  been  passed — your  verdict  as  a  mem- 
ber of  the  final  jury  is  awaited  with  almost 
"bated  breath." 


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Youth!     Youth!     Youth! 


That's  the  cry  of  1  926.  And  . 
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1 .  It  is  fearless  and  honest. 

2.  It  tells  the  news  first. 

3.  It  is  authoritative. 

4.  It  is  the  film  magazine  de 

luxe. 

5.  It   is  brilliantly  edited. 

6.  It   has   the   greatest   screen 

writers. 


The 

June  CLASSIC! 


Another  lively,  sparkling  issue,  beautifully  illus- 
trated. 

Remember  the  remarkable  article  published  last 
year  by  THE  CLASSIC,  revealing  the  real  salaries 
of  all  the  stars  and  players  for  the  first  time.  It  was 
the  sensation  of  the  motion  picture  world.  Frederick 
James  Smith  and  Tamar  Lane  are  combining  forces 
on  another  article,  presenting  all  the  salaries  as  they 
are  today.  Some  startling  changes  have  taken  place. 
You  cant  afford  to  miss  this  article. 

Agnes  Smith  has  contributed  a  humorous  article  on  "If  They 
Conducted  Other  Businesses  Like  Motion  Pictures."  You  will 
find  a  lot  of  real  laughs  in  this  amusing  contribution. 

The  second  of  Henry  Albert  Phillips*  remarkable  series  of 
interviews  with  the  leading  British  and  Continental  authors  on 
the  subject  of  motion  pictures.  In  the  June  CLASSIC  you  will 
find  striking  comments  by  E.  Phillips  Oppenheim,  Frank 
Swinnerton,  A.  A.  Milne  and  E.  Temple  Thurston. 

And  a  dozen  other  features  you  will  find  all  your  friends 
talking  about! 


New  Styles  in  Screen 
Girls 

(Continued  from  page  41) 

babies  were  left  under  the  bushes  in  the 
garden  by  the  dear  little  rabbits;  and  the\ 
believed  in  Santa  Claus  ;  and  they  believer 
that  girls  should  never  be  kissed  until  th( 
minister  said  the  last  word. 

And  they  got  darn  tiresome — if  anybody 
should  ask  you. 

These  haughty  young  ladies  were  even  a 
relief  from  the  girls  who  tried  to  do  what 
Lillian  Gish  did — even  tho  they  didn't. 

These  young  ladies  lived,  apparently,  to 
be  chased  by  villains.  They  were  at  their 
very  best  when  a  Walter  Long  sort  of  per- 
son was  chasing  them  round,  upsetting  the 
tables,  chairs  and  other  parlor  appurte- 
nances. Personally,  I  never  could  get  up 
much  sympathy  for  the  fugitive  young 
lady;  but  my  heart  bled  for  the  villain.  It 
must  be  a  great  nuisance  to  spend  your  life 
galloping  around  the  tipped-over  furniture 
in  pursuit  of  young  ladies  whom  you  never 
catch. 

And  so  the  Norma  Shearers  and  the 
Corinne  Griffiths  were  a  great  relief.  Xo 
villain  ever  chased  them  around  the  parlor 
furniture :  well,  hardly  ever.  They  would 
just  have  annihilated  a  villain  with  a  look. 

They  were  always  somewhat  distant  and 
looked  like  thorobreds.  They  came  to  the 
"love  clinch"  at  the  end  with  an  air  of 
condescension. 

You  knew  when  they  were  married  what 
kind  of  wives  they  were  going  to  be.  They 
were  going  to  be  the  kind  that  interrupted 
hubby's  best  story  with  the  crushing  re- 
mark :  "No,  my  dear,  you  have  it  all 
wrong.    It  was  Wednesday,  not  Thursday." 

Of  course,  I  refer  to  the  screen  version 
of  these  two  young  ladies.  Off  the  screen 
they  are  quite  different.  Witty,  pally, 
friendly  girls — both  of  them.  With  gay 
hearts  and  sound,  level  heads. 

Then — Renee  Adoree 

The    new    girls    came     in    with     Renee 

Adoree  in  "The  Big  Parade." 

In  my  opinion,  it  was  the  love  story  that 
made  it  one  of  the  great  pictures  of  all 
time.  It  wasn't  the  war  stuff.  It  was  one 
of  the  few  great  love  stories  of  motion 
picture  history.  Mostly,  it  was  Renee 
Adoree. 

She  brought  something  new  and  vital 
and  real  to  the  business  of  screen  love- 
making.  Something  warm  and  vibrant. 
You  knew  that  the  chap  who  married  her 
would  have  a  lot  of  quarrels  over  the 
family  gas  bills.  But  a  lot  of  sympathy, 
too. 

Dolores  Costello  has  the  same  impulsive, 
tender  qualities  in  a  somewhat  more  deli- 
cate mold. 

I  think  these  two  girls  are  the  best  bets 
that  have  come  to  the  screen  for  many 
years.  Two  others — Betty  Bronson  and 
Yilma  Banky — give  promise;  but  in  a  dif- 
ferent way. 

But  they  are  warm  and  human,  too. 

Still,  I  doubt  if  the  lovely  Vilma  will 
ever  seem  quite  our  own.  Betty  Bronson 
will  always  appeal  to  the  head  more  than 
the  heart.  She  is  likely  to  make  herself  a 
great  actress,  however. 

I  go  back  to  Renee,  however.  A  physi- 
ognomist— a  student  of  telling  character 
from  faces — told  me  once  that  she  had 
the  actress  face — more  than  any  other  girl 
in  Hollywood — sympathy,  impulse — the  abil- 
ity to  "let  herself  go"  ;  almost  no  inhibi- 
tions ;  great  intuition.  She  doesn't  have 
to  think  what  to  do.  She  just  does  it  as 
naturally  as  a  cat  strikes  at  a  ball  of  yarn. 

There    is   every   probability   that   Renee 


90 


\, i.  ,[,•«•  will  be  the  forerunner  of   still  an 
.tlin  • 

■n'll  see  that  older 
and  more  mature  women  will  become  popu 

een.     Lillian    Ciish   at    i 
11  -,  hence  I    will  be  more  pupulai 
ilun  I 

The  Day  of  the  Real  Actress 

Ilher  words,   the  day   ol    the   real   ac- 
.,  is  coming   in      I  he  \  ision  ol  youth 
and  beaut)    is  slipping  out. 
There  are  two  01   three  reasons  for  this. 
all,    no    real    stoi  >    is    possible    to   a 
youiiK    girl     especially     the    little    ice 
maidens  we  have  adored  in  the  past      Vou 
-     that    they    have    had    no    experiences 
■ad  'bit  they    have   lived  thru  no  stories. 
\ll  that    has    ever    happened    to   them    was 
when  a  dentist   pulled  one  of   their  wisdom 
teeth.      Their   idea  ol    heavy    tragedy    is  to 
et  to  give  some  one  a  (  hristmas  pies 
■    to  get  a  inn   in   a  silk  stocking  at   a 

If  you  will  look  over  the  hits  of  the  year 
•  m  "The   l'ng    Parade"     you  will 
that  most  of   them  have  been  made  by 
women  no  longer  in  the  flapper  class. 

Irene  Rich  in  "Lady  Windermere's  Fan," 
Louise  1'resser  in  "The  Goose  Woman/' 
Pauline  Frederick  in  "Smouldering  Fires." 
\s  screen  lighting  continues  to  improve, 
round,  youthful  faces  will  no  longer 
be  in  demand.  In  fact,  they  will  be  rather 
sniffed  at. 

The  day  of  the  great  actress— the 
trained  expert— with  natural  emotion  and 
tenderness  and  the  skill  to  show  it  to  the 
folks. 

The  slim  white  lilies  will  give  way  to 
the    full-blown    rose. 


MO  ANA:  A  Poem  of  the 
Cinema 

(Continued  from  page  85) 

Florida  boom  and  our  hunting  for  bread 
and  butter  in  Wall  Street,  about  the  art 
of  life.  Here,  he  says  to  us.  are  people 
who  are  successful  in  the  art  of  life.  Are 
we  that,  with  our  motor-cars,  factories, 
sky  scrapers,    radio-receivers? 

He  has  been  an  artist  who  interprets 
life.     He  says : 

"I  wanted  to  get  closer  to  the  things 
that  mean  so  much  in  our  lives,  the  sea, 
the  forest,  an  uplifted  arm,  the  texture  of 
a  face.  ...  I  wish  we  could  experiment 
more  with  this  wonderful  instrument  that 
we  have  in  the  cinema."  And  leaning  for- 
ward to  peer  down  from  the  high  perch 
in  the  Babylonian  tower  of  mid-Manhat- 
tan, where  we  sat  talking,  he  exclaimed 
with  a  sudden  intensity,  "it  I  could  only- 
give  the  actual  life  of  that  policeman 
down  there,  in  the  maze  of  traffic,  as  it  is, 
with  all  its  fantastic  overtones,  just  as 
barbarous  as  the  life  of  Moana  or 
Nanook!" 


Be     Sure     to     Read 

the    Sensational     Facts 

About    What    the     Stars 

Really  Earn 

in  the    JUNE 

CLASSIC 


Mouthful 

%adiance! 
Glorious  Springtime! 

How  vividly  attune  with  the  colorful  ro- 
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of  Pert  Rouge 

This  is  a  smooth  new  handmade  rouge  com- 
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before  powdering  effects  more  lasting  adher- 
ence. A  second  application  after  powdering 
heightens  the  warmth  of  the  flush. 

Shades  for  every  complexion,  day  or 
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Pert  indelible  Lipstick  to  match,  75c. 

Mail  this  coupon  for  a  sample  of  Pert  Rouge, 
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Samples  are  12c  each. 

ROSS  COMPANY 
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The  May 
Movie  Monthly 

Movie  Monthly  is  setting  a  Rapid  Pace. 
It  sings  the  sung  of  Youth — the  song  of 
Romance  and  Adventure — tlic  song  of  Life 
along  the  Open  Road,  under  the  Open  Sky. 
Its  pages  arc  saturated  with  Spirit  and 
Sparkle. 

The  May  issue  of  Movie  Monthly  fea- 
tures the  brand-new  series,  Bandits  of  the 
Border.  As  you  were  interested  in  Heroes 
of  the  Border,  so  now  you  will  become  in 
tercsted  in  the  equally  famous  Bandits, 
those  law-breakers  who  brought  so  much 
drama   into   the   West. 

The  May  number  will  offer  an  article  on 
the  Annals  of  the  Suicide  Club — composed 
as  it  is  of  those  fearless  performers  in  the 
serials  who  risk  life  and  limb  to  entertain 
you    with     thrills. 

Movie  Monthly,  indeed,  sends  out  its 
message  of  Youth.  It  glorifies  Romance 
and     Adventure.       It     is     dec]  dis- 

covering the  Young  Stars  and  helping  to 
find   them   their  place   in  the   Sun. 

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Costa    only    SI.       Will    save 

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find  The  Twins 


IJERE  are  6  pictures  of  Charlie  Chaplin.  TWO 
1A  and  two  only  arealike  in  every  way.  ToSolve 
this  Puzzle,  find  the  2  pictures  that  are  alike.  It  is 
not  as  easy  as  it  looks.  You  must  search  carefully. 
Notice  his  Hat,  his  Shirt,  his  Necktie. 

Send  No  Money 
Costs  Nothing  to  Try 

Just  find  the  Chaplin  Twins — that's  all.  No  List  of 

Words  to  write.  No  money  to  send  in.  Nothing  to 

sell.  It  is  all  FREE.   Cut  out  or  mark  the  Twins. 

Send  us  your  answer  as  soon  as  possible.  First  prize  S1.000 — 100  prizes  in  all.  and  in  addition.  Valuable 

Gift  Bonds  will  also  be  eivon.    Answersmust  be  mailed  by  June  30th,  1926.   Duplicate  Prizes  in  case  of 

Ties.    In  awarding  Prizes,  the  Judges  will  take  into  consideration  neatness,  style  and  hand  writing. 

LA  FRANCE   CO.,  609-e.ll    Federal   Street,  Dept.  129,    CHICAGO,  ILL. 


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Watch   for   the   Picture   of 

Ramon  Novarro 

On  the  June  issue  of  MOTION  PICTURE  MAGAZINE.  It  is  one 
of  the  most  striking  covers  we  ever  have  had.  Harry  Carr — one  of 
your  favorite  writers — has  written  a  story  about  Novarro.  It's  a 
criticism — and  an  appreciation.  And  it's  a  feature  that  you  will 
not  want  to  miss. 


Four  Years  in  Small  Parts 

Perhaps  you  didn't  know  that  Norma 
Shearer  waited  four  years  before  she 
received  any  sort  of  chance  in  the 
movies.  Miss  Shearer  worked  as  an 
extra  girl  in  "Way  Down  East."  She 
was  an  extra  in  pictures  starring 
Corinne  Griffith,  Alice  Joyce, 
Marion  Davies  and  Lillian  Gish. 
And  yet  Miss  Shearer  has  been  called 
a  "sudden  success!"  In  the  June  issue 
of  MOTION  PICTURE  MAGA- 
ZINE, Dunham  Thorp  tells  you 
Norma  Shearer's  own  story  of  her 
early  struggles. 

Who  Were  the  Real  Pioneers? 

Who  were  the  men  and  women  that 
made  film  history?  Who  were  the 
stars  and  directors  to  raise  the  screen 
above  the  level  of  nickelodeon  enter- 
tainment? Frederick  James  Smith 
tells  you  about  the  pace-makers  of  the 
movies  in  an  entertaining  article  for 
the  June  issue. 

Send  in  Your  Horoscope 

To  Marion  Meyer  Drew  and  find 
out   if    the    stars    predict   for   you    a 


career  in  the  movies.  This  new  de- 
partment, which  began  in  the  May 
issue  of  MOTION  PICTURE 
MAGAZINE,  promises  to  be  one  of 
the  most  popular  features  we  ever 
have  run. 

Some  Like  Diamonds 

And  others  prefer  pearls.  The  stars 
choose  their  jewels  to  fit  their  person- 
alities. Some  of  the  stars  own  large 
collections  of  expensive  ornaments. 
Others  have  a  few  cherished  lucky 
pieces.  There's  a  story  about  the  stars 
and  their  sparklers  in  the  June 
issue  of  MOTION  PICTURE 
MAGAZINE. 

We  also  Have — 

A  charming  interview  with  Marion 
Davies,  written  by  Alice  Tildesley. 
And  some  more  Impressions  of 
Hollywood,  by  Eugene  V.  Brewster, 
that  will  interest  you.  And,  of  course, 
the  regular  features  that  all  go  to 
make  MOTION  PICTURE  MAG- 
AZINE the  most  fascinating  film 
magazine  of  them  all. 


So  Watch  for  the  Novarro  Cover  on  the  News-stands 

Or  Better  Still,  Order  Your  Copy  of 

Motion   Picture  Magazine 

TODAY 


EDWARD  LANGER  PRINTING  CO.,  INO., 
JAMAICA,  NEW  YORK  CITT. 


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that  Tre-Jur  has  again  fulfilled  its 
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Toasting  brings  out  the  hidden 
flavor  of  the  worlds  finest  tobaccos. 
A  combination  millions  can't  resist. 

LUCKY  STRIKE 

"IT'S    TOASTED" 


V 


'.'    /     IS 


H 


Brelt   L.tl.o.Cu..  N.M 


The  Truth 

About  the 

Stars' 

Salaries 


EPhillipsOppenheim 
Frank  Swinnerton 

AAMilne 
ETempleThurston 

Discuss  the  Movies 


V 


T'um-t^in  l^ouge  is  a  charming 
aid  to  beauty.  You  can  get  it  at 
all  Owl  drug  stores  and  agencies; 
and  at  nearly  all  good  drug  and 
department  stores.  Or  by  prepaid 
mail,  75c. 


Address  The  Owl  Drug  Company, 
611  Mission  Street,  San  Francisco; 
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Clark  and  Madison  Streets,  Chicago; 
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One  fhadcjor  all  complexion^ 

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with  mirror 
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These  Laughmakers  say  "See  Langdon!" 

Four  famous  laughmakers — .Creators 
of  America's  favorite  comic  strips — 
Do  they  know  real  comedy  when  they 
see  it?  You  just  know  they  do! — 
And  here  they  are,  leading  the  cheers 
for 

,    HARRY 

Langdon 

TrampTrtmp]r9in0 


'Produced  by 
HARRY  LANGDON  CORP. 


It's  Harry's  first  7-reel 
picture,  presented  by 
First  National  to  a 
grateful,  gleeful  public 
who  have  had  just  a  hint 
of  his  amusement  abil- 
ity in  2-reel  comedies. 


A  lirat  national 
Picture 


'A    KING    CAN    HAVE    NO     MORE 


// 


<!A(<2  more?  % 

A  comfortable  seat  in  one  of  the  better 
theatres,  a  Paramount  Picture — and 
your  "palace  for  a  night"  puts  many 
a  King's  palace  on  a  back  street!  And 
you  can  have  such  an  evening  as  often 
as  you  like — as  often  as  there's  a  Para- 
mount Picture  to  see. 


Harold  Lloyd 

in 

"For  Heaven's  Sake** 

Directed  by  Sam  Taylor.  The  prize  sur- 
prise package  of  the  season,  laughter, 
laughter  all  the  way!  Produced  by  the 
Harold  Lloyd  Corporation  and  released 
by  Paramount. 

A  Victor  Fleming 
Production 

"The  Blind  Qoddess" 

With  Jack  Holt,  Ernest  Torrence,  Esther 
Ralston,  Louise  Dresser.  From  the  story 
by  Arthur  Train. 


A  Clarence  Badger 
Production 

"The  Rainmaker'* 

With  Ernest  Torrence,  William  Collier, 
Jr.,  and  Georgia  Hale.  From  the  story 
"Heavenbent"  by  Gerald  Beaumont. 
Screen  play  by  Hope  Loring  and  Louis  D. 
Lighton. 


monarch  in  all  history  ever  saw  the 
he  could  have  half  as  much  as  you. 

Before  you  go  the  name  "Paramount" 
is  absolute  assurance  of  an  evening 
well  spent,  a  good  time,  "  the  best  show 
in  town."  Then  you  are  sure  of  an 
evening  when  "a  King  can  have  no 
more."  Such  pictures  as  these  suggest 
the  quality  of  all  Paramount  Pictures. 

• 

W.  C.  Fields  in 
"It's  the  Old  Army 

Game"  -ifi 

An  Edward  Sutherland  Production.  Mean- 
ing "Never  give  a  sucker  an  even  break." 
From  J.  P.  McEvoy's  "The  Comic  Sup- 
plement." Adapted  by  Luther  Reed. 

Pola  Negri 

in 

'The  Crown  of  Lies'* 

A  Dimitri  Buchowetzki  Production.  From 
the  story  by  Ernest  Vajda.  Screen  play  by 
Hope  Loring  and  Louis  D.  Lighton. 


Zane  Grey's 
"Desert  Qold'*  ^ 

A  George  B.  Seitz  Production.  With  Neil 
Hamilton,  Shirley  Mason,  William  Powell 
and  Robert  Frazer. 


Produced    by  FAMOUS  PLAYERS  -LAS KY  CORP.,  Adolph    Zufcor.   Pres-    New  York.  City 
IF     JT'S    A    PARAMOUNT    PICTURE,   IT'S     THE     BEST    SHOW    IN    TOWN 


COMPLETE  RESULTS  AND  AWARDS  IN  YOUR  OPINION  CONTEST  IN  THE  JULY  CLAS 


.MOTION  <1>ICTU<RE 


tL^! 


nc 


Vol.  XXIII 


JUNE,   1926 


No.  4 


Don  Ryan  IK 

Alma  Whittai  et  20 

Morel.,, ,nt   II. ,11  22 

Everett  Shinn  23 


Notable  Features  in    This  Issue: 
niK  TRUTH  ABOUT  FILM  SALARIES  l-K-tlrmk  Jamea  Smith  and  Tamai  Lane     ir> 

icti  about  i 

TENTS  IN  CANAAN  

t  to  the ornate  1I..1U\\  •  bj  k    R.  Chamberlain 

"OLD  IRONSIDES"  SAILS  THE  S'iVEN  SEAS 

How  a  bi  ecial  !•  being  built  about  the  old  fri  latitutlon" 

REVIEWING  PICTURES  ON  BROADWAY         

Tlir  interrsi  hk  experii  critic 

BETWEEN   SCENES  

Tin-  in  ii  by  the  famous  at  i 

FOUR  FAMOUS  WRITERS  CONDEMN  THE  FILMS  Henry  Albert  Phillip*     24 

\    Milne,  Frank  Swinnerton  and  E,  Phillips  i  Ippenheim 
MORE   IMPRESSIONS  OF  HOLLYWOOD  Eugene  V.  Brewster     38 

Hie  editor-in-chiel  tells  his  further  experiences  in  the  capital  oi  nlmdom 

The  Classic  Gallery  ~ —  ~ 11    15 

■  !ht  Ralston,  Swi  Chaplin,  Louise  Brooks,  John  Barrymore  and  Marii   Prevost 

Filming  "Beau  Geste"  Alice  L.  Tildesley     26 

How  they  are  making  tin-  best  seller  Into  ■  film  in  the  Vmerican  desert 
Gilda  Gray   (Portrait) 27 

Things  That    Will   Never  Happen K.  R    Chamberlain      28 

Only  five  miracles  can  bring  these  things  about 
Her  Royal  Highness         Alice  L.  Tildesley     30 

Corinne  Griffith  is  the  regal  lad]  ol  Hollywood 

They  Told  Buster  to  Stick  to  It Harry  Brand     32 

Even  as  .i  child,  Keaton  attracted  wide  attention 
Greta  Nissen  (Portrait) 33 

How  the  Keystone  Kops  Happened Berr  Ennis     34 

How  chance  brought  about  the  famous  comedy  policemen — Drawing  by  Kliz 

She  Wants  to  Succeed Alice  L.  Tildesley     36 

i  Clara  Bow,  the  girl  of  our  cover 
Cella  Lloyd  Solves  the  Problem  of  Pa John  Held,  Jr.     40 

Tin-  further  adventures  of  Mr.  Held's  bathing-girl  heroine 
Another  Bathing  Girl  Makes  Good 42 

Vera  Reynolds  is  doing  nicely  in  the  drama 
Starring  Lady  Luck Norma  Johnstone     43 

Dame  Fortune  has  been  first  aid  to  Jane  Winton 
Charlie's  Find 49 

Something  about  the  piquant  Merna  Kennedy,  his  new  leading  woman 

Masters  of  the  Motion  Picture Matthew  Josephson     52 

;ical  discussion  of  the  screen's  advance 
The  Sheik  Returns 54 

Tin-  firsi  studies  of  Rudolph  Valentino  in  his  new  picture 
The  Off-Stage  Laugh Glenn  Chaffin     55 

Tlie  p.iri  played  by  Mrs,  Raymond  Hatton  In  her  husband's stu 
All's  Fair  in   Love Mary  B.  Chapman     56 

How  Elinor  Fair  met  and  married  Bill  Hind 

The  CLASSIC'S  Famous  Departments 

Flash  Backs F.  J.  S.     44 

Are  you  reading  tins  much-talked-about  department  in  its  enlarged  form? 
Our  Own  News  Camera 46 

The  Incidents  of  the  film  world  told  in  pictures 
The  Celluloid  Critic Frederick  James  Smith     50 

The  new   screen  plays  in  review 

Letters  to  King  Dodo Don  Ryan  and  Frederick  James  Smith     58 

An  amusing  series  of  letters  upon  the  gossip  of  celluloidia 

The  Answer  Man 64 

Cover  Portrait  of  Clara  Bow  by  Don  Reed 


FREDERICK  JAMES  SMITH,  Editor  and  Managing  Editor 
Alice  L.  Tildesley,  Western  Editorial  Representative  Colin  Cruikshank,  Art  Director 

Classic  comes  out  on  the   12th  of  every  month,    Motion    Picti're  Magazine   the   1st,    Movie    MONTHLY    the    15th 

$3.50    per   year,    in   advance,    including    postage,    in    the    United    States.   Cuba,    Mexico  and    Philippine    Islands.      In    Canada   $3.00;   Foreign 
Countries   $3.50    per   year.      Single  copies   25    cents    postage   prepaid.      United    States    Government    stamps    accepted.       Subscribers    must    notify    us    at 

any   change   in   address,  giving  both  old   and   new  address. 


Published  Monthly  by  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,  Jamaica.  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.    Y..  as  second-class  matter,   under  the  act   of  March  3rd.   IS 79.      Printed  in    U.  S.  A. 

Eugene    V.    Brewster,    President   and   Editor-in-Chief ;    Duncan    A.    Dobie,   Jr.,    Vice-President   and   Business    Manager; 

L.    G.    Conlon,     Treasurer;     E.     M.     Heinemann,    Secretary. 

EXECUTIVE    and    EDITORIAL    OFFICES.    175    DITFIELD    ST..    BROOKLYN,    N.    Y. 

Hollywood    Office.    60M     Selmj     A\enue.      Phone    Gladstone    3564 
Copyright,  1926.  by  Brewster  Publications,  Inc.,  in  the  United  States  and  Great  Britain. 


Classics  Late  News  Page 


CECIL  DE  MILLE  selects  "The  Deluge"  as  his 
next  big  superspecial.  The  selection  was 
made  as  the  result  of  a  contest  conducted 
by  Mr.  De  Mille,  the  first  award  for  the  idea 
going  to  Catherine  Comstock,  1625  East  Street, 
Long  Beach,  California.  Mr.  De  Mille  hopes  to 
duplicate  the  success  of  "The  Ten  Command- 
ments" in  this  new  production,  which  will  have 
a  lengthy  prolog  showing  what  the  director's 
press-agent  describes  as  "the  mightiest  cataclysm 
in  all  the  world's  known  history." 

Richard  Dix  breaks  his  hand  in  a  prize-fight 
scene  of  "Take  a  Chance,"  directed  by  Gregory 
La  Cava.     Production  held  up  for  a  week. 

Famous  Players-Lasky  announce  seventy-five 
productions  for  release  between  August  1,  1926, 
and  July  31 ,  1927.  The  greatest  of  these  appears 
to  be  "Old  Ironsides."  The  proclamation  offi- 
cially' promotes  Florence  Vidor  and  Esther 
Ralston  to  stardom. 

Gregory  La  Cava  signed  under  two-year  con- 
tract  by  Famous  Players-Lasky. 

Universal  announces  "Love  Me  and  the  World 
Is  Mine"  to  be  directed  by  E.  A.  Dupont,  former 
Ufa  director.  This  is  based  upon  a  novel,  "The 
Affairs  of  Hannerl."  Mary  Philbin  and  Norman 
Kerry  will  have  the  leading  roles. 

Lillian  Gish  will  do  "Annie  Laurie"  next,  with 
John  Robertson  directing.  Miss  Gish  is  also  con- 
sidering a  story  of  early  California  in  the  old 
Spanish   days. 

Gene  Tunney,  contender  for  the  heavyweight 
pugilistic  championship,  has  been  won  over  to 
the  films.  Pathe  has  signed  Tunney  for  the  lead- 
ing role  in  a  serial  film  going  into  immediate 
production. 

William  Fox  signs  Belle  Bennett  to  play  the 
leading  role  in  his 
production  of 
David  Belasco's 
"The  Lily."  Victor 
Schertzinger  will 
direct. 

Famous  Players- 
Lasky  buys  Anita 
Loos'  amusing 
novelette,  "Gen- 
tlemen Prefer 
Blondes."  This  has 
just  passed  its  hun- 
dred thousand  in 
book  form. 

Cliv  e  Brook 
playing  opposite 
Florence  Vidor  in 
her  first  Para- 
mount starring  ve- 
hicle, written  by 
Ernest  Vajda. 

"Kiki"  breaks 
house  record  at 
Capitol  Theater  in 
New  York,  playing 
to  $74,241  in  one 
week. 

Edmund  Lowe 
selected  for  role  of 
Sergeant    Quirt    in 


Full  Results  of 
YOUR  OPINION  CONTEST 

will  be  announced  in  THE  MOTION  PICTURE 
CLASSIC  for  July.  This  announcement  will  in- 
clude a  complete  list  of  the  winners,  105  in  number, 
receiving  prizes  ranging  in  size  up  to  a  thousand 
dollars. 

Of  absorbing  interest  to  motion  picture  fans 
will  be  the  result  of  the  popularity  contest  con- 
ducted in  conjunction  with  YOUR  OPINION 
CONTEST.  You  will  want  to  know  what  actresses 
received  the  highest  vote,  what  actors  led  in  the 
voting  and  what  motion  picture  plays  were  deemed 
the  most  popular  in  the  contest. 

Watch  for  the  complete  announcement 
in  the  July  CLASSIC! 


William  Fox  production  of  "What  Price  Glory." 
Victor  McLaglen  is  Captain  Flagg  and  Dolores 
Del  Rio  is  Charmaine.  J.  Farrel  MacDonald  will 
play  a  comedy  company  cook. 

Svend  Gade  and  Universal  sever  relations. 
Gade  is  to  direct  Corinne  Griffith  in  her  next 
picture.  Miss  Griffith's  future  plans  still  indefi- 
nite. First  National  wants  to  re-sign  her  at  a 
big  advance  and  a  number  of  other  companies, 
including  United  Artists,  are  after  her. 

Jack  Hoxie's  contract   with   Universal   expired 

on    March    20.      Hoxie's    future    plans    unknown. 

House  Peters  being  considered  for  lead  in  "The 

Trail  of  '98,"  Metro-Goldwyn's  big  special  to  be 

made  by  Clarence  Brown. 

Lewis  Stone  and  Anna  Q.  Nilsson  playing  leads 
in  June  Mathis'  new  picture,  "Sinners  in  Para- 
dise," based  upon  Clarence  Buddington  Kelland's 
"Nazareth."     Charles  Murray  also  in  cast. 

Metro-Goldwyn  buys  New  York  stage  success, 
"Twelve  Miles  Out,"  for  $40,000.  This  is  a 
thriller  of   bootlegging  and  hyjackers. 

Cecil  De  Mille  to  do  an  all-negro  feature,  sug- 
gested perhaps  by  the  success  of  David  Belasco's 
stage  hit,  "Lulu  Belle." 

Dimitri  Buchowetski  to  direct  Emil  Jannings' 
first  American  picture,  "The  Thief  of  Dreams," 
based  upon  Richard  Connell's  "A  Friend  of  Na- 
poleon." Jannings  scheduled  to  arrive  in  Sep- 
tember. 

Ben  Lyon  to  be  featured  in  Robert  Kane's 
production  of  "The  Great  Deception."  Aileen 
Pringle  also  featured. 

Mary  Alden  playing  Mrs.  Wiggs  in  Metro- 
Goldwyn's  "Lovey  Mary."  Bessie  Love  has  title 
role. 

Helen  Ferguson  signed  to  play  lead  in  Uni- 
versal serial,  "The 
Fire  Fighter."  Jack 
Dougherty  has 
leading  male  role. 
Reported  that 
Norma  Talmadge 
plans  to  do  "Cam- 
ille"  with  Sidney 
Franklin  directing. 
"Camille"  was 
done  some  years 
ago  by  Nazimova. 
Harry  Pollard 
recovering  from 
critical  illness  in 
New  York.  Taken 
sick  while  filming 
version  of  "Uncle 
Tom's  Cabin." 

John  Barrymore 
shelves  plans  to  do 
Sabatini's  "The 
Tavern  Knight" 
and  substitutes 
"Manon  Lescaut." 
Dolores  Costello 
will  have  the  lead. 
Buster  Keaton 
doing  Civil  War 
comedy,  "The  Gen- 
eral." 


"Quess  who  it's  froml" 

"It's  a  letter  from  the  Answer  Man.  I've  read  his  answers  in  Motion 
Picture  Magazine  for  years.  He  is  so  witty — and  knows  everything  and 
everybody  in  pictures.  I  write  to  him  often  -and  always  receive  a  wonderful 
letter  from  him."  Thousands  of  people  know  this  dear  old  fellow  and  his 
department  is  one  of  the  finest  in  any  magazine. 

For  over  fifteen  years  Motion  Picture  Magazine,  the  pioneer  and  the  oldest 
magazine  of  its  kind,  has  fearlessly,  accurately  and  authoritatively  presented 
the  news  of  the  great  motion  picture  industry  to  the  millions.  Under  the 
experienced  and  able  leadership  of  Eugene  V.  Brewster,  its  Editor-in' 
Chief,  it  has  become  a  powerful  influence  for  all  that  is  good  and  progressive 
on  the  screen.     The    editorial   staff  are   the   leaders   in   their   profession. 

A  clean,  wholesome  magazine  for  the  entire  family 

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Begin  with issue. 


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THEY  SAY 


Editor,  Classic  : 

I  was  very  much  interested  in  the  article 
in  your  March  Motion  Picture  Classic 
entitled,  "What  Counts  at  the  Box-Office?" 
Several  stars  were  mentioned  in  the  article 
and  several  "box-office  puzzles.'*  It  may 
be  of  interest  to  you  to  hear  from  an  out- 
sider and  from  a  moving-picture  theater- 
goer, who  has  no  particular  favorite  among 
the  stars  of  featured  players,  why  I  think- 
that  certain  of  the  men  who  are  mentioned 
as  "box-office  puzzles"  always  draw  large 
receipts   from  the  public. 

When  the  average  person  goes  to  the 
movies  he  likes  to  see  life  depicted  in  a 
natural  human  existence.  The  trouble  with 
a  good  many  of  the  stars  is  that  they  overdo 
the  special  part  they  are  trying  to  depict 
and  thus  make  the  world  and  the  story  so 
idealistic  that  it  is  not  real.  Some  of  us 
theatergoers  wonder  why  outside  of  their 
good  looks  or  beauty  some  ever  rise  to 
the  heights  of  stardom.  Douglas  Fairbanks 
is, of  course,  a  great  exception  and, of  course, 
there  are  others.  Rudolph  Valentino  is  sup- 
posed to  be  a  perfect  lover.  He  probably 
would  be  in  the  Elysian  Fields, where  we  all 
hope  to  go  some  day,  but  in  this  every-day 
world  how  many  men  are  there  who  go  to 
the  extremes  that  Valentino  does  in  making 
love?  Consequently  he,  to  me,  is  not 
natural.  Even  the  Frenchman,  who  is  the 
dernier  cri  in  the  art  of  love-making, 
does  it  with  greater  finesse  and  at  the 
same  time  with  a  finer  sense  of  feeling 
than  our  perfect  lover.  I  believe  the  reason 
for  Gloria  Swanson's  popularity  is  that, 
like  Fairbanks,  she  takes  the  part  as  the 
world  sees  it  and  not  sometimes  as  she 
would  like  to  do  it  herself. 

And  now  we  come  to  the  Box-Office 
Puzzles.  The  writer  of  the  article  speaks 
of  Thomas  Meighan  and  wonders  at  his 
popularity.  In  the  first  place,  he  is  a  red- 
blooded  man.  Every  woman  and  every 
man  admires  that  type.  In  the  second  place, 
his  plays  are  true  to  life  and  they  dont 
overestimate  the  joys  or  sorrows  of  every- 
day existence.  People  can  see  themselves 
thru  his  acting.  When  he  fights,  he  fights 
like  a  man  and  when  he  makes  love  he 
can  be  at  the  same  time  tender  and  strong. 
Those  two  things,  strength  and  gentleness 
combined,  are  the  two  most  human  and 
therefore  most  popular  characteristics  found 
in  a  person.  Consequently,  I  be- 
lieve that  is  the  reason  of  Thomas 
Meighan's  popularity  in  gate  re- 
ceipts. 

The  same  thing  is  true  of 
Milton  Sills.  While  in  some  ways 
he  is  a  little  colder  than  Thomas 
Meighan,  he  puts  across  to  the 
public  the  idea  of  a  red-blooded 
fighting  man  and  also  that  of  a 
wonderful  lover,  but  not  wishy- 
washy,  as  is  sometimes  the  case 
with  Valentino  and  the  old  favor- 
ite, Eugene  O'Brien. 

There  is  one  other  who  is  not 
mentioned  in  this  article  and  I 
have  no  idea  whether  he  ranks 
among  stars  or  not.  That  one  is 
Bert  Lytell.  To  me  these  three 
men,  above  most  of  the  others  I 
can  think  of,  can  give  the  public 
what  they  want.  They  are  all 
strong  masculine  types  that  both 
men  and  women  like,  and  at  the 


same  time  are  able  to  show  in  their  pic- 
tures the  gentleness  and  kindness  which 
will  always  be  a  strong  drawing  card  with 
women. 

Therefore  I  cannot  see  why  any  of  these 
three  should  be  a  puzzle  to  the  box-office. 
Very  truly  yours, 

Mary  Smith. 
Box  515, 

Carmel,  California. 

Editor,  Classic  : 

The  article  in  "Flashbacks,"  by  F.  J.  S., 
in  the  February  number  of  your  magazine 
on  "The  Menace  of  the  Super-screen  The- 
ater," gives  me  the  opportunity  I  .have 
wanted  for  months,  to  voice  my  ideas  and 
opinions  on  the  subject. 

It  is  with  increasing  dismay  that  I  have 
watched  the  growth  of  vaudeville  and 
variety  show  houses,  and  the  corresponding 
decline  of  the  houses  devoted  to  motion 
pictures  only. 

As  an  ardent,  intelligent  and  more  or 
less  elderly  "fan"  who  believes  in  the 
motion  picture  and  in  its  far-reaching  and 
artistic  possibilities,  I  am  convinced  that 
a  continued  policy  which  includes  any  other 
form  of  entertainment  on  same  bill,  is  not 
conducive  to  the  well-being,  or  indeed,  to 
the  life  itself  of  the  moving  picture. 

In  a  recent  issue  of  The  Boston  Herald 
I  read  that  "Peter  Pan"  and  "A  Kiss  for 
Cinderella"  have  been  adjudged  not  a  "suc- 
cess." These  pictures  are  only  two  of 
many  others  which  have  been  placed  in 
the  same  category,  and  which  are,  in  them- 
selves, perfect,  as  artistic  achievements, 
giving  joy  and  inspiration  to  the  intelligent 
beholder  as  incomparable  triumphs  of  artis- 
tic and  lyric  beauty. 

Can  it  be  that  we  must  draw  the  con- 
clusion that  such  pictures  are  unappre- 
ciated and  not  wanted  by  the  majority? 

To  illustrate  why,  in  my  opinion,  we 
cannot  continue  to  have  the  "bigger"  and 
"better"  movies  while  present  conditions 
prevail,  or  even  have  any  assurances  that 
the  industry  can  continue  to  exist,  I  will 
give  the  following  statistics  as  to  standing 
of  Boston  theaters. 

There  are  three  theaters  only  which  give 
first-run  shows  and  that  are,  so-called,  all- 
movie  houses.  All  three  give  the  same 
pictures  weekly — usually — but  not  the  same 


THE  MOTION  PICTURE  CLASSIC  is 
going  to  devote  a  page  each  month  to  the 
best  letters  from  its  readers. 

Fifteen  dollars  will  be  paid  each  month 
for  the  best  letter,  ten  dollars  for  the  second 
and  five  dollars  for  the  third.  If  two  or 
more  letters  are  found  of  equal  merit,  the 
full  prize  will  go  to  each  writer. 

Letters  must  be  constructive  and  inter- 
esting. They  must  deal  with  pictures  or 
screen  personalities.  And — please  note — 
they  should  be  typewritten. 


bill  entirely,  one  of  the  three  being  a 
de  luxe  Paramount  house,  giving  more  or 
less  variety,  usually  music,  the  two  others 
being  under  same  management  and  giving 
only  pictures. 

Besides  these  houses  there  are  four  which 
give  all-movies,  not  first-run  shows.  And, 
at  least  nine  vaudeville  houses  showing  only 
one  picture  (and  not  always  a  first-run 
one)  which  is  sandwiched  in  between  the 
cheaper  form  of  entertainment,  consisting 
of  vulgar  skits — and  short  acts,  acrobats, 
dancing,  third-rate  music — the  usual  va- 
riety show.  The  people  continually  passing 
in  and  out  interrupt  and  obstruct  the 
view,  and  disturb  the  enjoyment  of  the 
picture.  Added  to  which,  in  these  houses, 
because  they  were  not  originally  designed 
for  moving  pictures,  the  screen  is  usually 
in  the  wrong  place — either  too  high  or  too 
low — seats  are  not  placed  conveniently  for 
seeing  of  moving  pictures  properly,  which, 
added  to  other  disadvantages  too  numerous 
to  mention  (  poor  ventilating  among  them ) 
also  disagreeable  behavior  of  uncultivated 
people  and  other  such  joys  make  the  seeing 
of  a  picture  to  any  advantage  an  impos- 
sibility, a  hideous  travesty  in  many  cases, 
and  prevents  an  intelligent  or  enjoyable 
appreciation  of  plot  or  picture.  If  one,  as 
in  my  own  case,  dislikes  the  "variety"  form 
of  entertainment,  it  is  a  real  punishment 
to  have  to  sit  thru  the  few  minutes  im- 
possible to  avoid  and  necessary  in  order 
to  see  the  whole  of  a  picture.  No  wonder 
the  "people"  are  indifferent  to  the  latter, 
under  such  conditions,  and  that  the  ma- 
jority who  haven't  sufficient  intelligence  to 
appreciate  the  best  in  anything  pass  the 
movie  by  and  make  it  a  secondary  con- 
sideration. 

I  assure  you  that  the  inconvenience  and 
discomfort  of  trying  to  take  in  a  screen 
play  under  the  above  conditions  is  more 
than  a  handicap.  It  is  a  calamity !  I  speak 
from  positive  knowledge  gained  by  long 
observation  and  experience. 

So,  it  would  seem  that  in  Boston,  at 
least,  the  "box-office"  majority  (if  that 
phrase  means  what  I  think  it  does)  arc 
of  the  lower  class  of  intelligence. 

What  is  the  remedy?  It  certainly  docs 
seem  that  something  drastic  ought  to  be 
done — but  what?  To  attempt  the  impos- 
sible task  of  educating  the  "people"  so  that 
they  will  know  and  enjoy  a  sin- 
cere performance  of  the  better 
class  when  they  see  it?  Or,  must 
we  allow  the  worst  only  in  the 
movies  to  survive  because  it  i^ 
the  only  kind  desired  by  the 
majority?  It  is  a  tremendous 
problem. 

A  case  in  point  to  illustrate  the 
passing  of  a  movie  theater.  Up 
to  a  week  ago  Loew's  "State" 
was  one  of  our  best,  but  they 
then  inaugurated  a  new  form  of 
entertainment,  giving  only  one 
picture,  in  the  usual  way,  inter- 
spersed with  the  usual  variety 
and  vaudeville  performances.  I 
wrote  the  management  that  they 
would  lose  one  regular  patron, 
in  me,  but  that  I  knew  what  a 
small  minority  I,  unfortunately, 
represented,  and  since  it  must  be 
a  "box-office"  matter  with  them, 
{Continued  on  page  91) 


8 


cytjarvdousMw 
Jpanish  /liquid 

Makes  any  hair  beautifully  curly 


in  20  minutes 


THE  SPANISH  BEGGAR'S 
PRICELESS  GIFT 

fiv   Winnifred  Ralston 

From  the  day  we  started  to  school.  <  harity  Wlnthrop 
and  I  were  called  the  touseled-hair  twins.  Torn 
nicknamed  us  that — horrid,  red-headed  Tom 
..  who  used  to  put  burrs  In  our  pigtails  and 
*  in  our  Inkwells. 

our  mothers  despaired  of  us.    Our  hair  simply  wouldn't 

hcha*'  •'  Martha  Brown.  Helen  Stahl.  Hetty 

and  Leah  Cohen  — all  with  wonderful  curly  hair. 

Hut  Charity  and  I  could  never  coax  ours  out  of  a  straight 

line. 

As  we  grew  older  the  hated  name  still  chine  to  us.  It 
followed  us  through  the  grades  and  into  hoarding  school. 
Then  Charity's  family  moved  to  Spain,  where  her  father 
was  In  diplomatic  service,  and  I  didn't  see  her  again  for 
five  years — not  until  last  New  Year's  Eve. 

A  party  of  us  had  gone  to  the  Drake  Hotel  for  dinner 
that  night  As  usual  1  was  terrilily  embarrassed  and 
ashamed  of  my  hair.  When  the  bobbing  vogue  first  came 
In  I  had  my  hair  cut,  hoping  against  hope  that  would  Im- 
prove Us  looks.  Realizing  my  mistake,  I  permitted  it  to 
grow  again  and  by  New  Year's  Eve  it  was  Just  long  enough 
to  be  unmanageable. 

Horribly  self-conscious  I  was  sitting  at  the  table, 
scarcely  touching  my  food,  wishing  I  were  home.  It 
seemed  that  everyone  had  wonderful,  lustrous,  curly  hair 
but  me  and  I  felt  they  were  all  laughing  or.  worse,  pitying 
me  behind  my  back. 

My  eyes  strayed  to  the  dance  floor  and  there  I  saw  a 
beautiful  girl  dancing  with  Tom  Harvey.  Her  eye  caught 
mine  and,  to  my  surprise,  she  smiled  and  started  toward 
me. 

While  there  was  something  strangely  familiar  about  her 
•.:ze  her — then.    No— It — it  couldn't  be. 

About  this  girl's  (ace  was  a  halo  of  golden  curls.  I 
think  she  had  the  most  beautiful  hair  I  ever  saw.  My 
face  must  have  turned  scarlet  as  I  compared  It  mentally 
with  my  own  straggly,  ugly  mop.  I  had  never  been  so 
thoroughly  ashamed  of  my  hair  before. 

Of  course  you  have  guessed  her  Identity — for  it  was 
really  she— charity  Wlnthrop  who  once  had  dull  straight 
hair  like  mine 

It  had  been  five  long  years  since  I  had  seen  her.  There 
was  everything  to  talk  about,  but  I  simply  couldn't  wait. 
I  blurted  out  "Charity  Winthrop— tell  me — what 
miracle  has  happened  to  your  hair.'  " 

She  smiled  and  said  mysteriously.  "Come  to  my  room 
and  1  will  tell  you  the  whole  story."  She  was  stopping  at 
the  hotel.  We  excused  ourselves  and  rushed  to  Charity's 
room  I  listened  breathless  while  she  told  me  this 
strange  story : 

Charity  tells  of  the 
beggar's  gift. 

"Our  house  In  Madrid  faced  a 
little,  old  plaza,  where  I  often 
strolled  after  my  siesta. 

'Miguel,  the  beggar,  always 
occupied  the  end  bench  of  the 
south  end  of  the  plaza.  There  he 
sat  all  day  long,  asking  alms  from 
the  passersby.  I  always  dropped 
a  few  centavos  in  his  hat  when  I 
passed  and  he  soon  grew  to  know 
me. 

"The  day  before  I  was  leaving 
Madrid  I  stooped  to  bid  him  good- 
•oe  and  pressed  a  gold  coin  in  his 


i^4\ 


J  Matchltn  Mar  alls 


palm.     That  was  the  best  Investment  I  ever  made 
"  '  Hija  mia.'  he  said.    You  have  been  very  kind  to  an 

old  man.     Dlgamelo  (tell  me)  srnorita.  what  It  Is  your 

heart  most  desires." 

"I  laughed  at  the  idea,  then  said  jokingly.  'Miguel,  my 

hair  Is  straight  and  dull.     I  would  have  It  lustrous  and 

curly.' 

"  'Olgamt.  scnortia,'  he  said — 'what  you  wlshlseven 

simpler  than  I  thought.     Many  years  ago — a  Castllian 

Erlnce  was  wedded  to  a  Moorish  beauty.  Her  hair  was 
lack  as  a  raven's  wing  and  straight  as  an  arrow.  Like 
you.  this  lady  wanted  Ins  pelns  rizos  (curly  hair).  Her 
husband  offered  thousands  of  pesos  to  the  man  who  would 
fulfil  her  wish.  The  prize  fell  to  Pedro,  the  droguero.  Out 
of  roots  and  herbs  he  brewed  a  potion  that  converted  the 
princess'  straight,  unruly  hair  Into  a  glorious  mass  of 
ringlet  curls. 

'  '  Pedro,  son  of  the  son  ofTedro.  has  thatsecret  today. 
Years  ago  I  did  him  a  great  service.  Here  you  will  find 
him. — go  to  him  and  tell  your  wish.  Adlos.  senorita,  toya 
con  Tins' 

"You  can't  Imagine.  Winnifred.  how  funny  It  made  me 
feel.  I  did  not  take  It  seriously,  of  course.  I  never  ex- 
pected to  look  up  this  mysterious  Pedro,  but  some  whim 
chanced  my  mind  and  I  called  a  coche  and  gave  the  driver 
the  address  Miguel  had  given  me. 

"At  the  door  of  the  apothecary  shop,  Pedro,  a  funny 
old  hawk-nosed  Spaniard,  met  mc.  Nervously  I  stam- 
mered out  my  explanation.  When  I  had  finished,  he 
bowed  and  vanished  into  the  rear  of  his  store.  Presently 
he  returned  with  a  bottle  which  he  handed  to  me 

"  By.'thls  time  I  was  terribly  excited — could  hardly  wait 
until  I  reached  home.  When  I  was  Anally  In  my  room 
alone.  I  took  down  my  hair  and  applied  the  liquid  as 
directed.  In  twenty  minutes,  not  one  second  more,  t ho 
transformation,  which  you  have  noted,  had  taken  place. 
"Come,  Winnifred — apply  It  to  your  own  hair  and  see 
what  It  can  do  for  you." 

Breathlessly  I  watched  Charity  take  a  bottle  from  her 
wardrobe  trunk.  Tremblingly  my  fingers  undid  my  hair 
and  applied  the  liquid. 

Twenty  minutes  later,  as  I  looked  into  Charity's  mir- 
ror, I  could  hardly  believe  my  eyes.  The  Impossible  had 
happened.  My  dull,  straight  hair  had  wound  Itself  into 
curling  tendrils.  My  head  was  a  mass  of  ringlet 
It  shone  with  a  lustre  It  never  had  before. 
You  can  Imagine  the  amazement  of  the  others  In  the 
party  when  I  returned  to  the  ballroom.  Everybody 
noticed  the  change.  Never  did  I  have  such  a  glorious 
night.  I  was  popular.  Men  clustered  about  me.  I  had 
never  been  so  happy. 

The  next  morning  when  I  awoke.  I  hardly  dared  look  In 

my  mirror,  fearing  It  had  all  been  a  dream.    But  it  was 

true — gloriously  true.    My  hair  was  curly  and  beautiful. 

Then  the  thought  came  to  me  I  had  no  right  to  keep 

this  great  secret  to  myself.     There  were  thousands  of 

women  Just    like  me  who  would 

give  anything  to  know  my  precious 

secret. 

So  it  has  been  made  available 
through  the  Century  Chemists. 
They  have  agreed  to  act  as  dis- 
tributors under  a  most  liberal 
offer,  which  places  this  new  found 
beauty  secret  within  reach  of  all 
women,  regardless  of  their  finan- 
cial status. 

Now  the  golden  opportunity  Is 
yours.  Y'ou  no  longer  have  to 
spend  large  sums  of  money  In 
beauty  shops,  or  endanger  your 
hair  by  Injurious  "permanent 
waves."  for  this  remarkable 
Spanish  Curling  Kluid.  called 
"Wave-Sta,"  will  bring  you  beau- 


New  Wavy  Bob 


I  Wave-Sta"  solves  the  curl- 
ing and  marcelling  problem 
for  bobbed  heads  .lust  a  few 
drops  when  dressing  your 
"bob,"  20  minutes'  drying 
and  presto!  you  have  a  mass 
of  beautiful  ringlets,  waves 
and  curls.  "Wave-Sta"  will 
keep  your  hair  beautifully 
curly  for  a  week  or  more  and 
protect,  it  from  tlie  damage 
that  constant  expostll 
artificial  lieat  will  bring.  Read 


Wavj  Bob 


the  details  of  this  liberal  trial  offer  below. 


tlfully  curly  hair  in  20 minutes.  One  application  will  keep 
your  hair  beautiful  a  week  or  more. 

Don't  delay  another  minute  Take  advantage  of  this 
liberal  trial  offer  now  and  always  have  the  l>eautltui 
curly  hair  you  want. 

Liberal  Trial  Offer 

(Only  One  Bottle  to  a  Family) 

For  a  limited  time  we  are  ofterlng  a  full-size  bottle  of 
"Wave-Sta"  (Spanish  Curling  Fluid)  at  a  price  that 
covers  only  the  cost  of  compounding.  advert  ism. 
selling,  which  we  figured  down  to  11  87.  (Please  remem- 
ber that  this  Is  a  special  offer  for  new  users  only  and  we 
cannot  till  more  than  one  order  for  each  family  at  this 
price.)  If  you  are  not  perfectly  delighted  with  results 
after  using  "  Wave-Sta  "  for  5  days,  simply  return  the  un- 
used portion  and  your  money  will  be  refunded 

Under  the  terms  of  our  special  trial  offer  you  do  not 
have  to  send  any  money  In  advance.     Sin 
mall  the  coupon.     Then  when  the  postman  brings  this 
remarkable  beauty  aid.  Just  pay  him  11.97,  plus  a  few 
cents  postage,  and  your  hair  worries  are  ended  forever. 

This  offer  may  not  be  repeated  \\  e  urge  that  you  take 
advantage  ot  It  at  once.  Remember,  we  take  all  the  risk. 
If  "Wave-Sta"  doesn't  make  your  hair  beautlfullv  curlv. 
give  it  new  life,  new  lustre,  new  silky  sheen,  all  you  have 
to  do  is  notify  us  and  your  money  will  be  returned  In  full. 
Have  you  ever  heard  of  a  fairer  offer? 

CENTURY  CHEMISTS 

Jackson  Blvd.,  at  Desplainea  Street,  Chicago 

Send  no  money — simply  sign  and  mail  the  coupon 

— COUPON-    — 

I      CENTURY  CHEMISTS                     Chlcafio.  III.  I 
I      Jackson  Bid.,  at  Desplalncs  St.  Dept.  175 

•  men:  Please  send  mc.  In  plain  wrapper,  by  ' 

I      insured  parcel  post,  a  full  sized  bottle  of    'Wave-  I 

nish  Curling  Fluid)      I  will  pay  postman  ■ 

the  special  trial  price  of  $1.97.  plus  fen  cents  post-  i 

I      age.  on  delivery,  with  the  understanding  that  if  I 

after  a  6-day  trial,   I  am  not   perfectly  delighted  , 
with  this  magic  curling  liquid.  I  may  return  the 

unused  contents  In  the  bottle  and  you  will  lmmedi-  I 
atcly  return  my  money  In  full. 


Name. 


Address 


Lor el y  Curls 
In  10  minutes 


Town State I 

NOTE:   If  you  are  apt  to  be  out  when  the  post-  I 

man  calls,  you  may  enclose  $2  and  "Wave-Sta"  . 
will  be  sent  to  you  postpaid. 


She  may  be  from  your  own  home  town 


IN  this,  the  land  of  lovely  faces, 
there  is  beauty  in  every  town  and 
hamlet — beauty  rare  and  exqui- 
site— beauty  unrevealed  by  fame. 

The  duty  of  TRE-JUR  is  to  make 
loveliness  more  lovely.  In  Amer- 
ica, it  has  become  the  choice  of  the 
admired. 

Take,  for  instance,  TRE-JUR  Com- 
pacts:—  In  gun-metal,  gold  or 
silver-finish,  there's  an  exquisite 
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Each  is  a  gem  of  ingenuity— each 


10 


REG.  TRADE-MARK 


Twin  SI 


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supreme  in  the  quality  and  purity 
of  its  ingredients.  If  you  would 
know  the  compact  at  its  best — 
know  TRE-JUR.  And  TRE-JUR 
Face  Powder — as  delightfully  fine 
and  perfect  a  powder  as  money 
can  buy — is  priced  at  but  50c. 

Your  ou>n  shade  of  powder  and  rouge  can  be 
had  at  toilet  counters  everywhere,  or  by  mail 
from  us.   Compact  refills  are  always  available. 

HOUSE  o/TRE-JUR,Inc.  19  W.  18thSt.,N.Y. 
22  Rue  La  Lande— Paris 

TR.E-JUR. 

FACE  POWDERS  AND  COMPACTS 

©  1030  B.  ef  T..  Inc. 


©  It.  I.  Boris 


ESTHER    RALSTON 


MOTION   PICTURE 


Ql^^^io 


JUNE,  1926 


LOUISE    BROOKS 


JOHN     BARRYMORE 


MARIE    PREVOST 


Harold   Lloyd 


Campbell 
Mary    Pickford 


Charles  Chaplin 


Alexander 

Lillian   Gish 


Strauss  Peyton 
Doug  Fairbanks 


The  TRUTH  About 

By  Frederick  James  Smith  and  Tamar  Lane 


WHEN  The  Motion  Picture  Classic  revealed 
the  inside  facts  about  screen  salaries  a  year  ago, 
there  was  general  astonishment.  The  figures 
were  exact,  disclosing  the  astonishing  fact  that  the  motion 
picture  pay-roll  ran  to  $750,000,000  every  seven  days, 
exclusive  of  extra  players.  This  huge  figure  appears  to 
have  shot  up  a  little  further  during  the  past  prosperous 
twelve  months. 

Not  that  slumps  haven't  occurred  among  stellar  sal- 
aries. But,  in  the  main,  the  trend  has  been  upward. 
There  have  been  some  slight 
changes  among  the  ten  big 
money-makers  of  the  screen. 
Harold  Lloyd  is  still  the 
biggest  earner  of  filmdom. 
Last  year  his  earnings  were 
estimated  to  run  to  $30,000 
a  week,  or  $1,500,000  on  the 
year.  They  have  advanced 
since  that  to  about  $40,000 
a  week  or,  in  other  words, 
two  millions  a  year.  Here 
we  might  disclose  a  bit  of 
inside  information.  Lloyd's 
"The  Freshman"  had  passed 
the  two-million  mark  last 
March,  an  unprecedented 
record  for  a  comedv. 


The  Big  Ten  and  Their 
Earning 

Harold  Lloyd 

Charlie  Chaplin 

Doug  Fairbanks 

Gloria  S wanson 

Mary  Pickford 

Norma  Talmadge 

Tom  Mix 

Thomas  Meighan 

Lillian  Gish 

John  Barry-more 


was  a  big  success  at  the  box-offices  of  the  country  and, 
judging  from  its  New  York  hit,  "The  Black  Pirate" 
seems  likely  to  be  Doug's  biggest  success.  Fairbanks' 
earnings  ought  to  run  around  $20,000  a  week  easily. 

With  her  shift  to  United  Artists,  Gloria  Swanson  slips 
still  further  upward  in  the  ten  big  money-makers  of 
celluloidia.  Miss  Swanson  was  getting  about  $8,000  a 
week  from  Famous  Players  at  the  finish.  It  is  said  that 
she  was  offered  $20,000  a  week  to  remain.  Instead,  how- 
ever, she  accepted  the  offer  from  United  Artists.     This, 

we  are  told,  provides  a 
guarantee  of  $10,000  a  week 
and  a  percentage  of  the 
profits.  Miss  Swanson  must 
have  estimated  this  total  to 
be  greater  than  the  Famous 
offer,  for  she  accepted  it. 
Like  other  United  Artists, 
Miss  Swanson  will  head  her 
own  unit. 


Yearly 


Harold  Lloyd's  Earnings 

It  must  be  pointed  out  that 

Lloyd  finances  his  own 
picture  organization,  makes  his  own  pictures,  and  ac- 
tively heads  the  company.  Thus  everything  his  comedies 
make  over  and  above  expenses  is  his  own.  Then,  too, 
the  revenue  from  his  old  comedies  continues,  providing 
added  royalties. 

Charlie  Chaplin  had  a  good  year.  To  all  the  royalties 
from  all  his  old  successes  must  be  added  the  amount 
earned  this  year  by  "The  Gold  Rush,"  probably  well  over 
a  million  and  a  quarter. 

Third  place  in  earning  power,  as  last  year,  goes  to 
Doug  Fairbanks,  who  is  the  super-showman  of  the 
screen.     Fairbanks  has  had  a  big  year.     His  "Don  Q" 

16 


$2,000,000 

1,500,000 

1,200,000 

1,000,000 

1,000,000 

1,000,000 

780,000 

675,000 

500,000 

400,000 


Mary  Pickford's  Million 

Mary  Pickford's  earnings 
on  the  year  ought  to  run 
better  than  a  million.  Her 
'"Little  Annie  Rooney"  has 
been  doing  exceedingly  well 
at  the  box-office  of  Amer- 
ica at  large  and  her  next 
picture,  "Sparrows,"  may  be 
another  winner.  Indeed, 
the  Fairbanks-Pickford 
menage  has  been  doing  itself  proud. 

A  year  ago  the  general  theory  was  that  Thomas 
Meighan  had  passed  his  crest  as  a  money  earner.  He 
was  getting  about  $8,000  a  week  then.  Perhaps, 
Meighan  had  some  doubts  himself  about  a  contract  re- 
newal, for  he  signed  to  co-star  with  Norma  Talmadge  in 
a  single  picture.  Then  the  wiseacres  had  to  eat  their 
words.  Meighan  was  offered  a  million  dollars  by  Famous 
for  six  pictures  more.  He  signed — and  the  plan  to  co- 
star  with  Miss  Talmadge  was  shelved.  Meighan  will 
make  about  four  of  these  six  pictures  during  the  twelve 
months.    Which  gives  him  better  than  $12,000  a  week. 


W.tzcl 


John    Barrymore 


Gloria  Swanson 


Tom  Mix 


Muriy 

Norma  Talmadge  Thomas  Meighan 


FILM    SALARIES 


Inside  Facts  About  the  Stars'  Earnings 


Lillian  Gish  is  in  the  big-money  class  again.  Her 
Metro-Goldwyn  contract  is  estimated  to  run  variously 
at  $8,000  to  $10,000  a  week.  This  will  be  a  crisis  year 
for  Miss  Gish.  Her  "La  Boheme"  was  a  personal  dis- 
appointment. She  must  do  better  during  1926  to  con- 
tinue among  the  big  ten. 

Norma  and   Colleen 

At  least  two  of  the  big   stars,   Norma   Talmadge   and 

Colleen  Moore,  owe  their 
tremendous  money-making 
capacities  to  their  husbands. 
Norma  Talmadge  is  man- 
aged by  her  husband,  Joseph 
Schenck,  who  is  a  power  in 
the  picture  world  and  who 
also  directs  the  activities  of 
Constance  Talmadge,  Buster 
Keaton  and  Rudolph  Valen- 
tino. He  has  just  added 
John  Barrymore  to  his 
screen  string. 

Mr.  Schenck  has  been 
shifting  gradually  his  stars 
to  United  Artists.  Norma 
Talmadge's  earnings  can  be 
placed  at  over  a  million. 
Here  we  may  as  well  pre- 
sent the  earnings  of  the  rest 
of  the  Schenck  string.  Con- 
stance Talmadge  has  earned 
as  high  as  $3,000  a  week, 
when  she  is  working 
steadily.  Buster  Keaton 
probably  averages  over 
$4,000   a    week.      Valentino 

has  been  paid  $100,000  per  picture  by  Schenck.  "Son 
of  the  Sheik"  is  the  last  production  under  this  arrange- 
ment and  doubtless  the  reception  of  this  film  will  decide 
Rudy's  future  contracts.  In  boxing  parlance.  Valentino 
won  a  decision  with  "The  Eagle."  but  the  result  was  no 
knock-out.  Rudy's  result  with  "Son  of  the  Sheik"  will 
have  to  be  more  decisive  to  earn  a  continuance  of  a 
$100,000-per-picture  arrangement. 


Surprising  Film-Salary  Facts 

The  four  most  popular  men  on  the  screen 
today — Richard  Dix,  John  Gilbert,  Ramon 
Novarro  and  Ronald  Colman — receive  less 
than  a  half  dozen  or  so  leading  men  and 
character  players.  These  four,  however, 
have  placed  roles  and  opportunities  ahead 
of  remuneration. 

At  $3,000  a  week,  Conway  Tearle,  Eugene 
O'Brien  and  Lewis  Stone  are  the  highest 
paid  screen  leading  men. 

Wallace  Beery  is  the  highest-paid  char- 
acter actor.     He  gets  $3,000  a  week. 

Among  the  smallest  star  salaries  are 
Betty  Bronson's  $500,  Dolores  Costello's 
$300,  and  Vilma  Banky's  $500. 


Mr.  Schenck  is  placing  Barrymore  upon  the  same 
$100,000-a-picture  basis.  His  "The  Sea  Beast"  has  been 
a  box-ofhce  clean-up  for  the  Warner  Brothers,  who  had 
Barrymore  under  contract,  and  doubtless  won  the  atten- 
tion of  the  astute  Mr.  Schenck. 

The  Biggest  Flat   Salary 

Tom   Mix  still  continues  to  receive  the  largest  straight 
salary.     (Most  of  the  salaries  we  are  enumerating  are 

the  combined  results  of  sal- 
ary guarantees  and  percent- 
ages of  profits.)  Mix  gets 
$15,000  each  week,  week  in 
and  week  out,  from  William 
Fox. 

Under  her  Metro-Gold- 
wyn arrangement,  Marion 
Davies  receives  $10,000  a 
week. 

There  are  a  number  of 
high -power  money -making 
players  close  behind  the 
leaders.  We  have  men- 
tioned Colleen  Moore. 
Lifted  to  prominence  by  the 
success  of  one  picture, 
"Flaming  Youth."  Mis^ 
Moore  has  been  jockeyed  to 
the  big  money  by  her  hus- 
band. John  McCormick,  one 
of  the  executives  of  First 
National.  Miss  Mcxire  was 
in  the  $800  class  when  she 
did  "Flaming  Youth."  Now 
she  is  getting  around  $8,000. 
Pola  Negri  is  receiving 
around  $4,000  a  week,  having  recently  renewed  a 
contract. 

It  is  an  interesting  commentary  upon  the  haphazard 
business  methods  of  pictures  that  the  four  most  popular 
men  on  the  screen  today,  Richard  Dix,  John  Gilbert, 
Ramon  Novarro  and  Ronald  Colman,  receive  less  than 
a  half-dozen  or  so  leading  men  and  character  players. 
{Continued  on  page  70) 


17 


The  Movie  Tribes   Desert 
Holly  wood  for  Beverly  Hills 


Tents  in 


Don  John  Gilbert's  mountain-top  haci- 
enda, viewed  from  his  drape-protected 
Dougledyas   court   and   swimming   pool 


The  costly  homes  of  Moviedom 

How  solemnly  they  stand! 
Amidst  their  tall,  transplanted  trees 

On  subdivided  land. 

THIS  blasphemous  parody  may  cause  Mrs.  Hemans, 
pale  poetess  of  the  Victorian  cachexia,  to  heave  feebly 
beneath  the  sward.    But  then  Mrs.  Hemans  was  never 
in  Hollywood. 

I  say  in  Hollywood  advisably.    Hollywood  is  not  a  place. 
It  is  a  symbol.    Try  to  find  it.    As  for  living  there — that 

18 


By 
Don  Ryan 

is  no  longer  being  done 
either. 

The  outside  world  incon- 
siderately considers  Holly- 
wood a  place,  and  a  quite 
definite  place — to  the  bitter 
disappointment  of  each  ar- 
riving visitor.  Hollywood 
thinks  Paris  a  very  wicked 
city;  but  what  Paris  thinks 
of  Hollywood — ooh,  la,  la! 

Persistent  rumors  have 
given  the  world  this  con- 
ception of  Hollywood :  a 
place  where  one  may  expect 
to  see  a  motion  picture 
director  and  some  other 
scoundrel  engaged  in  fisti- 
cuffs on  the  corner  of  the 
Boulevard,  until  a  couple 
of  gentlemen  come  out  of 
an  adjoining  hop-joint  and 
stop  them. 

But  if  you  ask  the  Holly- 
wood Chamber  of  Com- 
merce, it  will  tell  you  in- 
dignantly that  Hollywood 
is  the  business  center  of 
multifarious  industry.  The 
Hollywood  Chamber  of 
Commerce  wears  knickers 
and  its  collective  head  is 
bared  to  the  kiss  of  the 
California  sun.  But  these 
outward  symbols  do  not 
mean  that  it  ever  gets 
frivolous.  The  Hollywood 
Chamber  of  Commerce  is 
deadly  serious. 

A  State  of  Mind 

T^he  truth  is  that  Holly- 
wood is  a  state  of  mind. 
Of  course,  there  is  an  under- 
sized Gopher  Prairie  which 
on  the  maps  is  labeled  with 
the  name.  This  place — as  such — has  become  the 
Deserted  Village  of  Moviedom.  It  no  longer  houses 
the  elite  of  the  so-called  movie  colony.  The  studios  re- 
main, but  even  they  are  going — to  make  room  for  office- 
buildings.  The  only  substantial  remnants  of  the  Twelve 
Tribes  of  Moviedom  still  tenting  on  the  old  ground  are 
camp  followers  such  as  poor  devils  of  writers. 

I  myself  live  in  what  had  been  a  chapel  consecrated  to 
one  of  the  legion  of  strange  religions  that  spring  up  and 
die  down  like  mushrooms  in  this  sunny  land.  Before  the 
exodus,  in  demand  as  a  Studio  Apartment,  it  brought  a 
rental  ot  $150  a  month.    I  get  it  for  $50. 

The  movie  stars  who  formerly  lived  all  over  this  hill 


Canaan 


A  Visit  to  the  Ornate  Homes 
of  Several  Silverscreen  Stars 


Drawings  by 
K.  R.  Chamberlain 

Krotona,  sacred   to   the  con-  /""^l 

cepts  of  the  lamented  Mme.  // 

Blavatsky,     have     moved  ^  j\*jy^ 

iwaj  to  Beverly.    There 
we  see  their  expensive 
new    houses    perched 
each  on  its  separate 
crag,  a  monument  to 
the    emolument     of 
popular    public    en- 
tertainment. 

If    you    s h o  u  1  d 
come  out  here  to  see 
&C  sights,  you    would 
be    obliged    to    hire    a 
large   automobile  - —  with 
good  brakes :  be  sure  of 
that — and  drive   thru   the 
lonely  slopes  and  canyons 
of    Beverly    Hills,   observ- 
ing   here    and    there    the 
Widely  spaced  dots  of  white 
or    pink    which     index    the 
tastes  of  those  various  archi- 
tects   employed    by 
various     stars    to 
concoct   The   Home 
Beautiful. 

All  Period 
Residences 

If  you  took  the  trouble 

to     drive     up     closely 
enough     to     examine     each 
house  separately,  you  would  be 
pained  to  make  this  observation : 
all   these   places   are   period    dumps 
Italian  villas,  English  country  homes,  An 

Spanish  haciendas.  You  look  in  vain 
for  an  American  house.  You  realize 
there  isn't  any  such  thing;  that  a  rich  American,  casting 
about  for  a  genteel  way  to  spend  his  dough,  must  of  neces- 
sity go  in  for  some  damned  period  or  other.  This  is  not 
the  fault  of  the  movie  actors.  We  haven't  any  more  a 
national  architecture  than  we  have  a  national  literature — 
even  less. 

If  you  must  choose  a  period,  choose  wisely.  What  style 
of  architecture  is  most  consonant  with  California?  You 
win !  The  Spanish.  Those  who  have  followed  in  the 
footsteps  of  the  Dons  have  chosen  best  of  all.  And  here 
we  are,  at  the  entrance  of  John  Gilbert's  new  Spanish 
Colonial  residence. 

Jack  Gilbert's  Home 

Tack  lives  at  the  top  of  Tower  Road.  The  tower  that 
named  it  broods  on  the  apex  of  this  range;  crenelated 
and  roofed  above  the  ramparts,  stained  with  time  in  the 
manner  the  studio  sets  are  treated — dark  streaks  applied 
with  a  crafty  brush.    The  tower  shelters  no  robber  baron's 


S//' 


troop,     it  supplies  Beverly  Mills  with  water 
for  purely  domestic  purposes. 

The    raina    that    threatened    to    wa  h 
Valentino's    hill    from    under    him 

have    subsided.      Swiftly    in    their 
-   I    (j  wake    lh<-    gnat    deseil     that     is 

\.y  California  has  gone  from  brown 

6    N\  to    green — rioting    in    its 

j\  brief    period    of    verdancy. 

}r\  From  (dlhert's  hill  you  can 

A  see  fifty  miles  along  the 

ming  plains  and  raise 
the  Island  of  Catalina 
away  at  sea. 
The  country   unrolls 
at   your   feet   like  a 
green    plush     rug, 
pushed  up  into  many 
hillocks     where    the 
baby      has     left      his 
blocks   under   it  ;   with 
the   spikes   of   oil    der- 
ricks over  near  the  coast- 
ine    door,     where    baby 
has     been     playing     with 
Erector. 

To  the  left,  handful  after 
handful  of  tiny  toy  houses 
have    been    tossed    around 
and  left  in  confusion:     Los 
Angeles.       And     twenty-five 
miles   across   the 
room  the  significant 
hand  of  Mr.  Heintz 
has  chalked  in  gigan- 
tic white  against  the 
sloping  green  the  nu- 
merals— 57. 

You  can  watch  the  sea — 

confides    Emil — sometimes 

so    near,    sometimes    so    far 

away. 

Emil  is  the  sotnmeUer,  a  Belgian, 

a  good  butler,  not  above  being  a  bit 

of  a  poet. 

He  conducts  us  thru  the  walled  patio 
planted  with  palms  dug  up  and  trans- 
ported from  San  Juan  Capistrano — palms  a  hundred  and 
fifty  years  old.  The  frieze  on  the  wall  is  a  trifling  thing, 
but  it  lets  us  have  at  once  the  feel  of  the  place — the 
giveadam  atmosphere  which  is  of  its  proprietor.  The 
frieze  presents  a  shrouded  Mexican  slouched  on  a  horse 
before  a  ruined  mission,  behind  him  an  indifferent  cactus 
and  an  impracticable  ox-cart.  Manana,  says  the  frieze. 
Jack  Gilbert  is  himself  a  poet. 

Proud  of  His  House 

Cmil  has  drawn  up  leather  chairs  before  the  window 
"  which  displays  a  twenty-foot  canvas  of  the  world 
below,  beginning  to  be  covered  now  with  the  pale  gauze 
of  evening.  Yellow  stars  twinkle  into  life,  a  handful  at  a 
time — the  lights  of  towns  along  the  sea. 

Jack  is  talking  to  us  lazily,  with  the  boyish  candor  which 
always  charms  me.     He  is  proud  of  his  house.     He  has 
just  two  things — this  house  and  the  studio  to  interest  him. 
(Continued  on  page  63) 

19 


impression   of  Charles   Ray 
at  home 


"Old  Ironsides"  Sails 


How  a  Screen  Spec- 
tacle Is  Being  Built 
About  the  Famous 
Old  Constitution 
Off  Catalina 


The  battered  old  Constitution  as  she  lies  in  Boston  harbo 
has  been  built  at  Catalina  from  the  navy's  original 

WELL,  anyway  masculinity  is  having  a  first-class 
renaissance  in  motion  pictures,  wherever  else  it 
is  under  a  cloud. 

We  have  rather  had  our  fill  of  the  flapper  girlie-girlie, 
pretty-dear  films,  haven't  we  ? 

The  motion  picture  industry  may  be  still  in  its  infancy 
— but  hurrah,  perhaps  it's  a  boy,  after  all ! 

This  story,  written  around  good  "Old  Ironsides,"  the 
famous  old  frigate,  the  U.  S.  S.  Constitution,  is  thoroly 
and  completely  masculine.  It  is  much  more  than  just  an- 
other super-special  put  out  by  the  Lasky  studio.  It  is 
much  more  than  a  fine  patriotic  film  reviving  American 
national  sentiment  in  its  navy,  reminding  us  of  its  proud 
beginnings  way  back  in  1804  A.  D.  and  of  the  highly 
creditable  exploits  of  the  third  vessel  built  by  a  newly  in- 
dependent nation  that  was  to  rise  in  mighty  world  power 
a  century  later. 

It's  all  that,  but  it  is  also  a  magnificent  masculine 
gesture,  designed,  I  suspect,  to  jolly  well  help  in  the  new 
vogue  to  put  femininity  back  in  its  place. 

Epic  in  Masculinity 

"\A7ar,  the  sea,  hard  pioneering  in  remote  lands — these 
* "  are  still  masculine  strongholds.     So  behold,  they  have 
given   us   war   in   "The   Big   Parade,"   in   "What    Price 
Glory?"     Not  much  eclat  for  the  flappers  in  those.    And 
they  have  given  us  pioneering  in  "The  Covered  Wagon," 
"The  Iron   Horse,"  "The  Pony    Express."     They  have 
given  us  the  "Sea  Hawk,"   "The  Sea  Beast," 
and  "Down  to  the  Sea  in  Ships."     And  now 
they  are  going  to  give  us  "Old  Ironsides" — the 
sea,  bilge-water,  rope,  seamanship,  masculinity 
in     daring     and     endurance,     masculinity     in 
courageous    patriotism,    masculinity    in    heroic 
endeavor,  mean  masculinity,  great  masculinity, 
fond   but   strong  masculinity,   clean   and  dirty 
masculinity — but    masculinity   all   thru    in 
an  undiluted  masculine  setting. 


r.     A  replica 
plans 


Everything   conspired   to   create   the 

right   occasion    for   the   production   of 

"Old     Ironsides."     Just    whether    the 

film  will  be  good  publicity  for  the  navy 

and  help  to  restore  the  nation's  pride  in 

this  governmental  branch,  or  whether 

the  government's   activities   in  inviting 

school    children's   pennies    for   the    re- 

-    storation  of  the  fine  old  boat  will  prove 

dashed    good    publicity    for    the    film. 

doesn't    much    matter.     The    god    of 

Destiny  is  probably  smiling  in  content. 

The  idea  of  making  "Old  Ironsides"  the  feature  of  a 

picture  had  been  simmering  in  the  brain  of  Harry  Carr 

for  years.    Then  one  day  his  old  school  friend.  Secretary 


George  Bancroft, 
plus  real  whiskers, 
plays  the  chief  gun- 
ner of  the  U.  S.  S. 
Constitution.  Ban- 
croft saw  actual  ser- 
vice in  the  navy  for 
six  years 


20 


the  Seven  Seas  Again 


By 

ALMA 
WHITAKER 


A  painting,  by 
Duncan  Gleason,  of 
the  U.  S.  S.  Con- 
stitution, under  full 
tail.  Below,  James 
Cruze,  who  is  direct- 
ing the  film  pro- 
duction of  "Old 
Ironsides" 


Curtis  Wilbur  of  the  Navy 
Department,  talked  of  his 
dream  of  restoring  the 
noble  old  boat.  Harry 
Carr  was  thereby  moved  to 
read  up  on  its  history — 
and  glowed  to  envision  it 
as  a  film. 

Harry   Carr's   Idea 

Derhaps  Jesse  Lasky  was 
inspired  to  prompt  re- 
ceptiveness  of  the  idea  because  of  the  navy's  "Old  Iron- 
sides" fund.  But,  anyway,  Walter  Wood,  he  who  wrote 
the  script  for  "The  Covered  Wagon,"  "The  Pony  Ex- 
press," and  other  achievements  of  Director  James  Cruze, 
was  called  in.  Equipped  with  Harry  Carr's  research 
labors,  he  made  a  fine  faithful  historical  record.  At  this 
stage  it  was  undiluted  veritable  history,  with  Admiral 
Decatur  of  the  U.  S.  S.  Constitution  as  the  arch  hero. 
But  the  wiseheads  who  knew  their  box-office  tastes  felt 
that  straight  history  would  not  quite  do. 

So  here  we  find  Laurence  Stallings,  co-author  of 
"What  Price  Glory?"  called  in  to  add  the  box-office 
touch.  It  was  Laurence  who  suggested  the  injection  of 
the  good  ship  Esther,  and  of  The  Boy  and  The  Girl. 
It  meant  side-tracking  Admiral  Decatur  a  trifle — but  even 
admirals  must  make  way  for  love's  young  dream.  But 
dont  you  suppose  for  a  moment  that  love's  young  dream 
subtracts  one  iota  from  its  masculinity — it  only  com- 
pletes it.  It  is  so  advantageous  to  have  a  sweet  quiver- 
ing maiden  around  to  show  masculinity  off  at  its 
best. 

So  there  is  just  one  maiden  in  it— the  fair  sweet  Esther 
Ralston,  and  her  name  is  Esther  in  the  play  (and  Esther 


is  a  name  associated  with  dutiful  enchantment!). 
Esther  is  permitted  to  have  a  mother  in  a  few  brief 
glimpses,  but,  beyond  that  the  only  other  female  who  has 
anything  to  do  with  it  is  Dorothy  Osier,  who  will  ''cut" 
the  picture  for  James  Cruze — and  she  has  a  boyish  bob 
and  wears  sailor  trousers  on  the  lot ! 

A  novelty  that  is  injected  is  that  all  the  players  bear 
their  own  names  in  the  play.  Thus  the  villainous  and  dis- 
reputable old  bo'sn  of  the  good  ship  Esther  is  pro- 
gramed as  W.  Beery.  The  chief  gunner  of  the  U.  S.  S. 
Constitution  is  G.  Bancroft.  The  first  mate  is  Fred  L. 
Kohler,  and  George  Godfrey,  the  heavyweight  colored 
prize-fighter  of  the  real-life  sport  sections,  is  the  cook  on 
the  Esther.  Eddie  Featherstone  will  play  Commodore 
Somers  of  the  U.  S.  S.  Co>istitution  and  Johnny  Walker 
will  masquerade  as  Admiral  Decatur. 

The  Boy  is  to  be  played  by  an  almost  unknown  young 
man  —  Charles  Ferrell  —  until  very  recently  a  mere 
"extra"  of  over  two  years'  sighing  standing.  He  is  only 
twenty-four  now.  He  was  an  extra  in  "The  Ten  Com- 
mandments" and  ever  since,  until  he  slid  over  to  Fox 
and  better  pay  and  a  five-year  contract  a  brief  couple  of 
months  ago.  So  altho  Lasky  once  had  him,  they  have 
had  to  hire  him  from  Fox  for  this  role. 

And  the  film  opens  with  The  Boy,  gazing  at  a  navy 
recruiting  placard  of  those  far-off  days — an  actual  one, 
borrowed    from    government    archives    in    Washington : 

Encouragement  to  Seamen 

All  GEXTLEMEN  ADVEXTURERS  and  able- 
bodied  seamen  wishing  to  share  in  the  honors  of  war  and 
the  spoils  of  victory  in  the  present  heroic  venture  of  the 
magnificent  new  ship  "Constitution"  against  the  Barbary 
pirates  at  Tripoli  ..."  etc. 

(Continued  on  page  85) 

21 


Reviewing-  Pictures  on  Broadway 

By  Mordaunt  Hall 


PICTURES  are  presented  on  Broadway  every  week 
during  the  four  seasons  of  the  year  and  therefore 
with  the  regularity  of  a  postman  who  brings  the 
morning  mail  the  newspaper  critic  goes  forth  two  or  three 
days  a  week  to  look  at  the  films  and  write  his  impressions 
of  them.  Sometimes  the  work  is  amusing,  sometimes  it 
is  even  inspiring,  and  then  there  are  also  times  when  it 
is  incredibly  dull.  Conven- 
tional themes  of  the  wide- 
open  spaces  and  melodra- 
matic mixtures  of  the 
Great  Northwest  are  not 
apt  to  act  as  a  mental 
stimulus. 

In  the  last  three  years  I 
have  written  criticisms  on 
more  than  six  hundred 
productions,  and  like  a 
number  of  other  persons  I 
have  thus  beheld  hosts  of 
men  slain,  countless  heroes 
emerge  triumphant  from 
very  nasty  predicaments, 
scores  of  maidens  cap- 
tured, rescued  and  kissed 
with  terrific,  violence,  in- 
numerable tornadoes,  cyclones,  floods,  fires  and  other 
types  of  so-called  thrills.  I  cant  say  how  many  times  I 
have  seen  the  heroine's  father  reach  into  the  right-hand 
drawer  of  his  desk  and  pull  out  a  revolver  because  he 
had  met  with  financial  reverses.  This  situation  has  lost 
its  tragic  touch, -and  become  almost  comic.  I  have  men- 
tally measured  great  rooms  and  figured  out  their  rental 
in  Park  Avenue.  I  have  seen  bathrooms  large  enough 
for  a  company  of  soldiers.  Then  there  have  been 
scented  fountains,  after-dinner  bathing  parties  and  tales 
of  hysterical  flappers,  whose  chief  activities  are  drinking 
cocktails,  speeding  in  Rolls-Royces  and  dancing  the 
Charleston.  I  have  seen  the  birth,  and  I  trust  the  death, 
of  comedy  situations.  For  instance,  there  is  the  crack- 
brained  young  man  who  tries  to  create  laughter  by  not 
knowing  whether  to  use  a  knife,  fork  or  a  spoon  on  his 
grapefruit,  and  there  is  his  prototype  who  thinks  it  funny 
to  shake  hands  with  the  butler. 


Mordaunt  Hall  is  the  motion  picture  critic 
of  The  New  York  Times. 

Since  The  Times  holds  a  pre-eminent  posi- 
tion among  metropolitan  newspapers,  as  well 
as  among  the  great  newspapers  of  the  world, 
Mr.  Hall  can  be  said  to  speak  with  unusual 
authority. 

Mr.  Hall  knows  pictures  thoroly  and  his 
opinions  each  week  are  awaited  by  New 
Yorkers  with  keen  interest. 


B 


The  Reviewer's  View-Point 

ut  with  all  its  shortcomings,  this  work  is  not  uninter- 
esting. I  have  reached  the  stage  when  I  realize  that 
a  producer,  after  all,  may  not  have  intentionally  made  a 
dry  production  to  annoy  me.  And  then  there  are  the 
broad  comedies,  which  have  made  me  sigh,  but  which 
nevertheless  have  appealed  to  the  majority  in  the  audi- 
ence. Molasses  poured  on  a  man's  head  always  brings 
down  the  house,  and  so  does  the  idea  of  the  character 
falling  over  some  obstacle  into  a  pool  of  mud.  Pictures 
are  made  to  appeal  to  as  many  people  as  possible,  and  if 
you  dont  like  them,  somebody  will. 

When  it  comes  to  writing  criticisms  on  some  dreary 
mile  of  film,  one  becomes  bored  with  even  one's  own 
combinations  of  words.  There  is  "mildly  entertaining," 
employed  to  let  a  production  down  lightly.  You  really 
mean  that  the  readers  can  take  it  or  leave  it.  "Quite 
diverting,"  refers  to  something  a  little  better,  but  the 
"quite"  qualifies  the  entertainment  value  of  the  effort. 
"Told  with  his  tongue  in  his  cheek"  once  had  its  appeal, 

22 


but  now  it  has  taken  on  the  semblance  of  a  bromide. 
"The  fabric  of  this  story"  is  threadbare,  and  so  are  "clap- 
trap," "tawdry,"  "sloppy  bit  of  sentimentality,"  "con- 
traption," "slow-moving,"  "adequate  acting,"  "trashy," 
"sparkling,"  "interesting"  and  even  "attractive."  "His- 
trionic," "opus,"  "whilom,"  chef-d'oeuvre"  and  such  like 
make  you  think  you  are  posing  as  you  write.     "Quite  the 

most  interesting"  sounds 
as  if  you  have  stolen  it 
from  a  paragraph  in  "Town 
Topics"  and  "sustained  sus- 
pense" seems  as  if  it  were 
water-logged. 

An  ambiguous  story  is 
one  of  my  chief  bugbears, 
especially  when  the  pro- 
duction has  some  excellent 
photographic  effects.  As 
you  cant  make  head  or  tail 
of  the  plot,  you  can  dismiss 
the  beauty  of  the  scenes  in 
a  word  or  two.  The  acting 
may  be  negligible  and  like- 
wise the  titles.  You  feel 
as  if  you  would  like  to 
write : 
"This  is  an  awful  picture  with  some  good  scenes,"  and 
fading  out  on  that. 

The  Mediocre  Pictures 

C  everal  months  ago  there  was  put  on  one  of  the  Broad- 
way cinemas  a  picture  which  had  so  many  characters 
and  was  so  bewildering  that  it  would  have  made  three 
different  stories  and  perhaps  four.  Then  the  hero  in  the 
first  chapter  showed  himself  to  be  a  gullible  numskull, 
and  the  heroine  was  no  better  than  the  young  man,  with 
whom  she  falls  gradually  in  love,  while  her  caddish  hus- 
band, whom  she  had  not  seen  for  years,  turns  up  at  the 
psychological  moment.  The  story  went  on  and  on,  drag- 
ging most  of  the  time,  then  picking  up  a  bit,  and  finally 
it  was  with  intense  relief  that  one  perceived  the  ending. 
As  one  man  who  seldom  went  to  see  pictures  remarked, 
it  was  the  sort  of  picture  which  could  have  gone  on  for- 
ever. There  was  no  reason  why  it  should  have  ceased 
even  when  it  did. 

Soon  after  I  began  writing  motion  picture  criticisms, 
James  Montgomery  Flagg  took  offense  at  my  review  of 
William  S.  Hart's  "Wild  Bill  Hickok."  Mr.  Flagg  saic_ 
that  it  seemed  to  him  that  I  was  a  pale-faced  spaghetti 
hound,  and  he  insisted  that  Mr.  Hart's  picture  wa 
worthy  in  many  respects.  I  thought  that  the  best  thing  tc 
do  with  this  letter  was  to  print  it,  which  I  did,  and  the 
head  on  it  was  very  simple.  It  read :  "He  Does  Not 
Agree  With  Us." 

On  another  occasion  I  wrote  a  sort  of  reminiscent  re- 
view of  the  last  picturization  of  "The  Light  That  Failed." 
It  was  a  fair  picture,  but  it  had  not  caught  much  of  the 
author's  spirit.  Somebody  wrote,  upbraiding  me  for  hav- 
ing made  him  come  all  the  way  in  town  to  see  what  he 
thought  was  an  execrable  bit  of  work.  Another  reader 
objected  to  my  review  of  the  "Pony  Express."  He 
wondered  why  I  had  not  referred  to  the  easy  way  in 
which  the  hero  polished  off  the  villain's  underlings.  But 
I  must  say  that  frequently  I  receive  some  rather  nice 
(Continued  on  page  74) 


By 

Everett 
Shinn 


The  celebrated  artist  has  caught  the  spirit  of  that  strange  interlude 

between  scenes — when  cameramen  and  extras  doze  off  to  sleep  and 

principals  begin  to  worry  about  their  make-up.     At  least  half  of   a 

studio's  working  time  is  spent  in  this  fashion 


BETWEEN 
SCENES 


23 


Four  Famous  Writers 


E.  Temple  Thurston 


A.  A.  Milne 


Frank  Swinnerton 


Barney 


By  Henry  Albert  Phillips 


E.  Temple  Thurston 

P  TEMPLE  THURSTON  I  shall  always  re- 
J-J  •  member  as  the  author  of  "The  City  of 
Beautiful  Nonsense,"  a  booh  that  for  sheer 
whimsicality  captured  my  fancy  completely. 
Mr.  Thurston's  first  wife — now  deceased — was 
Katherine  Cecil  Thurston,  the  brilliant  author  of 
that  fascinating  novel,  "The  Masquerader. 

Mr.  Thurston  told  me  that  he  had  considered 
seriously  plunging  in  and  learning  the  fihotofilay 
technique  in  the  studios,  but  that  conditions 
were  not  receptive. 

"The  American  films  are  so  infinitely  superior 
to  the  British  that  I  dont  wonder  at  the  state  of 
things  here  and  the  poverty  in  English  film 
circles.    English  producers  never  really  studied 


A.  A.  Milne 

A  A.  MILNE  is  the  author  of  one  of  the  most 
*£"**•  delightful  books  of  the  century — "When 
We  Were  Very  Young."  When  I  saw  him  in  his 
charming  home  in  Chelsea,  London's  Latin 
Quarter,  he  told  me  that  his  publishers  had  just 
reported  British  sales  of  this  book  more  than 
one  hundred  thousand  and  American  sales  even 
in  advance  of  that  number.  So  it  is  quite  pos- 
sible that  many  of  those  who  read  these  lines 
may  have  enjoyed  Mr.  Milne's  little  book  as 
well.  Or,  you  may  have  had  the  privilege  of  see- 
ing on  the  boards — as  well  as  on  the  screen — 
that  jSlay  of  rare  charm,  "Mr.  Pirn  Passes  By. 

"I    think    the    average    film    drama    is    most 
ghastly,"  replied  Mr.  Milne.    Then  like  all  the 


the   thing.     In   the    main   they   are    made    uft    of     others,  he  partially  reversed  himself  so  as  to  say 


cheafi  photographers .  Not  one  that  I  can  think  of 
who  has  the  faintest  conception  of  what  a  story 
is,  let  alone  of  how  to  tell  it  when  he  has  it.  All 
they  want  to  jSut  on  are  ftretty  pictures.  In  story- 
telling, a  certain  abroach  of  mind  is  necessary, 
lacking  which  one  is  unable  to  tell  a  story  well. 
The  English  film  fieojSle  dont  begin  to  have  that 
talent.  I  might  compare  the  British  film  pro- 
ducer with  that  taxi  driver  down  yonder." 


that  he  liked  the  film  as  a  medium,  but  not  the 
sort  of  things  called  the  "film  drama."  "You  see 
what  I  mean  is,  I  like  Chaplin — and  Harold 
Lloyd.  They  are  no  end  of  amusement.  And 
that — uh — what  is  it  called?  'The  Adventures 
of  Felix!'  And  seeing  plants  grow  before  your 
eyes  • —  and  stunts  of  that  sort  —  I'm  all  for 
th 


em 


r 


Isn't  that  just  like  you  would  think  the  fellow 


(Both  continued  on  fiage  68) 


24 


~I 


CONDEMN  the  FILMS 


FRANK  SWINNERTON: 

"I  think  the  movies  are  a  men- 
ace to  civilization.  They  malign 
life."  

A.  A.   MILNE: 

"I  think  the  average  film  drama 
is  ghastly.  But  I  like  Chaplin 
and  Harold  Lloyd." 


E.  PHILLIPS  OPPENHEIM: 

"I  find  the  films  disappointing, 
I  mean  in  actual  progress.  They 
seem  to  have  fallen  back,  got  into 
a  rut." 


E.  Phillips  Oppenheim 


The  Second  of  a  Series  of  Talks  About  Motion  Pictures 
With  Famous  English  and  Continental  Writers 


i/t 


Frank  Swinnerton 

J7RANK  SWINNERTON  is  generally  recog- 
nized as  one  of  the  most  promising  novelists 
of  the  younger  generation.  H.  G.  Wells  ana 
Arnold  Bennett  openly  acknowledge  his  genius 
and  hint  that  their  mantle  of  greatness  will 
probably  fall  on  his  shoulders.  All  of  which 
bothers  Frank  Swinnerton  not  a  jot.  He  goes 
right  along  his  own  sweet  way  doing  what  he 
pleases  and  gets  there  just  the  same. 

The  first  time  I  met  him,  in  London  this  was, 
I  asked  him  offhand  what  he  thought  of  the 
"films,"  as  they  call  them  in  England,  he  said,  "I 
think  they're  a  bore.  I  never  go  unless  I  have  to. 
I  think  they're  awful!" 

I  learned  later  that  he  had  been  annoyed  into 
this  ruthless  statement  by  the  several  "inside" 
contacts  he  had  had  with  the  cinema.  "Wells 
and  Bennett  go  to  see  the  films  all  the  time 
tho,"  he  added  almost  penitently,  to  show  that  he 
wanted  his  statement  to  be  taken  impersonally. 
However,  I  adore  Chaplin,"  he  went  on  con- 
cihatonly.     "I  think   he   is   the   one   genius   they 

have  produced  as  an  actor.  Just  to  see  him  do-  And  here  is  where  Oppenheim  comes  to  get  his 
mg  the  tiniest  bit  is  a  pleasure.  It  does  not  wonderful  local  color  and  to  Pick  uP  these  char- 
matter  how  subtle  your  mind  may  be,  you  will      acters  at  random — and  does  it  so  successfully 

(Both  continued  on  page  68) 

25 


E.  Phillips  Oppenheim 
Z7    PHILLIPS    OPPENHEIM    has   a,wa 

•*-***     been  my  idea  of  the  supreme  story-teller. 

I  had  always  hoPed  to  meet  Oppenheim  some 
day  in  or  near  the  realm  in  which  he  creates  his 
literary  and  dramatic  beings.  If  you  will  recall, 
most  of  his  stories  are  concerned  with  "foreign- 
ers" of  high  degree  or  of  low  villainous  motives, 
which  sooner  or  later  brings  us  into  the  midst  of 
some  breath-taking  international  intrigue.  And 
the  scene  of  most  of  these  exploits  is  the  Riviera 
and  Monte  Carlo,  of  course. 

Here,  at  Monte  Carlo,  where  I  am  writing 
these  words,  I  have  seen  ALL  of  Mr.  Oppen- 
heims  characters — either  taking  tea  on  the  ter- 
race in  front  of  the  Cafe  de  Pans,  at  the  Royal 
Opera,  in  the  gaming  rooms  of  the  Casino  or  at 
one  of  Baroness  Orczy's  famous  receptions  at 
her  Villa  Bijou.  Russian  princesses  financially 
embarrassed,  swarthy  Italian  counts,  Hungarian 
nobles  with  long  beards  and  monocles  in  one 
eye,  Austrian  barons  looking  for  jobs  and,  of 
course,    suave   Englishmen — they   are    all   here, 


Fuming  BEAU  GESTE 

By  Alice  L.  Tildesley 

T 


?? 


WENTY-EIGHT  miles  out  of  Yuma,  Arizona, 
across  the  shifting  sands  of  America's  Sahara,  a 
plank  road  leads  to  a  valley  where  a  dream  is  coming 
true. 

The  dream  is  Herbert  Brenon's,  but  over  seventeen 
hundred  men  are  laboring  with  a  hearty  good  will  to  bring 
it  to  realization. 

A  year  ago,  when  Mr.  Brenon  was  mourning  the  loss 
of  his  second  and  dearest  brother — the  first  having  passed 
on  to  Elysian  fields  some  years  before — someone  put 
into  his  hands  the  tale  of  the  devotion  of  three  "gay 
romantics." 

And  "Beau  Geste"  of  the  screen — this  dream  of  a  di- 
rector's heart — is  to  be  in  the  nature  of  a  memorial  of 
those  elder  Brenons,  an  offering  of  fraternal  love,  dedi- 
cated to  all  brothers  everywhere. 

"A  lions,  Brenon,  void  la  Legion. 
Tiens,    Voila   les    Francois;    Voila    les 

Anglais;  les  Americaihs, 
Qui    combattent    les     Tonaregs 

Nord  Africain. 
We  come  from  the  East ; 

we  come  from  the  West; 
We'll  work   like   Hell 

and  never  rest. 
I     say,     Old    Chap, 

we'll   do  our  best 
To   help  you   make 

'Beau  Geste' !". 

The  Foreign 
Legion 

YKIitk      this 
"     paraphrased 
version   of   the 
famous     "Song 
of   the    Foreign 
Legion,"    com- 
posed   in    his 
honor,   the   legion- 
naires of  the  picture 
greeted  the  chief  when 
he   entered   the   African 
fort  which   has  been  built 
on  the   sand   dune  crest.    .   .   . 
And   the   spirit   of   the   song  is   the 

26 


spirit  of  the  making  of  the  picture.  It's  "Beau  Geste." 
The  war  of  the  Riffs  is  responsible  for  the  largest  loca- 
tion in  history :  since  the  company  could  not  go  to 
Algiers,  Algiers  must  come  to  the  company.  And  who 
will  deny  that  it  has  come?  Sand  dunes — great  golden 
powder-fine  heaps  of  dust  stretching  interminably  to  one 
horizon — piling  up  in  shifting  outline  toward  a  distant 
range  of  purple  mountains,  to  another :  sand  dunes 
a-bloom  with  desert  primrose,  silhouetting  ungainly 
camels  against  a  blue,  blue  sky ! 

The  finding,  building  and  running  of  this  camp  for 
nearly  two  thousand  men  is  a  story  in  itself.  Imagine 
digging  a  well  in  a  desert,  establishing  two  electric  light 
plants,  a  complete  telephone  service,  five  miles  of  water 
pipes,  six  miles  of  wire,  twenty  carloads  of  lumber — to 
mention  just  a  few  figures  in  the  staggering  total. 

Keeping  in  the  spirit  of  the  story,  the  location  camp 
is  a  military  one.    A  bugler  wakes  us  at 
dawn  and  punctuates  the  day  with 
calls  from  assembly  to  retreat. 
A     captain     commands    the 
army,    four   mounted   or- 
derlies   stand    by    day 
and  night,  and  three 
flags  fly  in  "Beau 
Geste  Square." 
"I  have  to  pinch 
myself     some- 
times and  say: 
'The   war's 
over!'"    said 
Ralph    Forbes, 
who     plays 
John    in    the 
(Continued     on 
page  62) 


Top:  The  mimic  Sahara 
fort  in  the  Arizona 
desert.  Oval:  Neil 
Hamilton,  Ronald  Col- 
man  and  Ralph  Forbes 
as  the  three  brothers  of 
"Beau  Geste" 


Carsey 


J 


M.  I.  Boris 


GILDA   GRAY 

Broadway  awaits  with  keen  interest  the  stellar  screen  debut  of  the  little   Polish   girl 

who  captured  its  heart 


27 


Things  That  Will 
Sk  Never  HaPPen 

•i^  ""^siSs^  By  K.  R.  Chamberlain      ^— 


Marion  Davies  suddenly  finds 
there  isn't  a  single  heroine 
of  history  she  hasn't  played 


\   John    Barrymore    decides 
to     make     personal     ap- 
pearances with  the  show- 
ing of  his  latest  film,  "Don 
Juan" 


Eric  von  Stroheim  plays 
the  callow  lover  and 
Louise  Fazenda  the  vamp 
in  a  film  written  and 
directed    by    Elinor    Glyn 


28 


^ 


> 


hi 


Two  of  Cecil  De  Mille's  Yes-Men  say  "No!" 


Doug  and  Mary  decide  to  appear  as  Pa  and  Ma 
in  one  of  those  Old  Homestead  stories,  with 
Valentino  and  Menjou  as  the  wholesome,  Charlie 
Ray  boys  and  Lon  Chancy,  Pola  Negri  and  Gloria 
Swanson  as  the  glad,  glad,  ronjpy  kiddies 


Above,  a  cheery  study  of 
Corinne  Griffith  when  she 
was  a  star  at  Vitagraph. 
Next  Miss  Griffith  is  to  play 
Tatiana,  daughter  of  the  ill- 
fated  Czar  Nicholas 


THE  next  story  selected 
for  Corinne  Griffith  is 
one  concerning  the 
imagined  adventures  of 
Tatiana,  daughter  of  the  Czar. 
For  which  give  thanks ! 
Miss  Griffith  is  the  one  real 
princess  in  the  land  of  Movie- 
Make-Believe. 

To  Play  Czar's  Daughter 

The  illusion  of  moonlight 
and  music  that  she  brings  to 
the  screen  is  as  real  when  you 
meet  her  face  to  face.  She 
is  as  stately  and  exquisite  as 
one  of  her  own  white  iris 
fringing  the  woodland  pool 
beneath  her  pepper-trees. 

When  Walter  Morosco 
took  her  to  Hawaii  as  a  bride, 
the  islanders  recognized  this 
quality,  instinctively,  and  paid 
it  tribute.  There  was  a  pier 
stretching  out  over  the  waters 
that  caress  Hawaiian  shores — 
a  pier  overlooked  by  the 
honeymoon  bower — and  here, 
under    a    tropic    moon,    the 

30 


Her*      j 
ROYAL 
HIGHNESS 


By  Alice  L.  Tildesley 


natives  came  with  guitars  and  ukuleles,  offering  incense  o- 
sweet  and  melancholy  airs.     They  danced,  too,  the  ancien' 
island  dances. 
All  of  which  entertainment  is  given  only  to  those  who  in- 
spire it  and  cannot  be  bought  with  gold.  .   .   . 

Came  the  Carpenters 

Tt  may  be  all  very  well  to  seem  a  princess  in  a  setting  as  redolent 

*  of  romance  as  Hawaii,  especially  on  a  blissful  honeymoon — but 

try  to  look  the  part  in  your  own  home  with  servants  on  the  point 

of  .leaving,   the    upper    floor    full    of    carpenters    and    painters,   the 


Mandeville 

Corinne  Griffith  has  never  considered  giving  up  the  screen  because  of  marriage.    "A  woman  with  an  ambition  should 
be  careful  to  select  a  man  who  has  a  tolerant   attitude  towards  her  career,"  she  says 


grounds  fairly  teeming  with  gardeners  requiring  advice ! 

Yet  there  was  Corinne  Griffith,  clad  in  April  green 
touched  with  buttercup  yellow,  maintaining  perfect  poise 
in  situations  that  would  at  least  have  furrowed  the  brow 
of  any  other  cinema  star. 

A  private  projection  room  is  being  built  in  the  Beverly 
Hills  home.  The  mistress  of  the  house  stood  in  the  half- 
finished  place,  among  pots  of  paint  and  cans  of  varnish, 
surrounded  by  inquiring  workmen — making  swift  de- 
cisions, settling  unexpected  problems,  with  a  despatch 
and  efficiency  to  be  envied  by  a  queen  at  court. 

Somehow  aloof  from  the  pettiness  of  housekeeping, 
she  seems  still  beautifully  capable  of  home-making.  For 
her  home  is  the  darling  of  her  heart. 

"We're  going  to  have  a  well,  a  rustic  well,"  she  ex- 
plained, bringing  out  a  drawing  of  it,  "The  rocks  are 
coming  this  afternoon.  I  wish  I  could  stay  here  and 
watch  them  build  the  wall.  Going  back  to  work  in  a 
picture  after  a  vacation  is  like  going  back  to  school.  I 
have  that  sinking  sensation — that  vision  of  long  weeks 
of  hard  labor! 

"Of  course,  I  wouldn't  give  up  pictures,  any  more  than 
I'd  have  given  up  an  education,  but — there  you  are ! 

The  Fun  of  Planning 

'It's  such  fun  to  plan  things.     This  is  the  first  vacation 

Mr.  Morosco  and  I  have  had  together   for  a  long 

time,   and    we've   spent   most   of   it   on   the   house   and 

grounds.     We  have  an  unwritten  rule  that  pictures  are 


not  to  be  discussed  at  home — we  have  enough  of  them 
all  day  long.  So  we  have  a  fascinating  time  witli 
furniture  and  furnishings  and  landscaping. 

"We  have  put  in  the  most  delightful  hours  reading 
about  periods  of  furniture  and  delving  into  the  histories 
of  kings  from  whose  reigns  th.y  date.  You  can  almost 
tell  the  disposition  and  habits  of  monarchs  from  the  look 
of  furniture  made  under  thei  rule.  Remember  the 
intrigue  of  France's  courts  at  the  time  most  of  the  French 
dressing-tables  and  desks  had  secret  drawers !" 

The  Grass  Is  Delivered 

At  this  point,   Japanese  grass   was  delivered,   and    we 
adjourned  to  the  gardens  to  superintend  its  planting. 

The  sun  brought  out  the  gold  in  her  brown  hair  as  she 
stood  under  the  lime-tree,  giving  her  serene  directions. 
That  lime-tree,  the  row  of  eucalypti,  and  the  gnarled 
peppers  that  edge  the  drive  are  all  part  of  the  old  estate 
founded  by  the  fortunate  soul  who  was  presented  with 
the  land  by  the  government.  But  the  rustic  lookout 
house  high  up  in  a  tree — the  trickling  fountain  cunningly 
arranged  among  the  rocks  and  giant  stump  to  make  a 
bird  bath  for  her  feathered  courtiers — the  tea-house  by 
its  shaded  pool,  and  the  flowers  that  paint  the  gentle 
slopes,  are  all  Princess  Corinne's. 

White  and  yellow  jasmine,  purple  wistaria,  narciwi- 
and  heliotrope  are  among  the  fragrant  blooms. 

"We  wanted  to  plant  things  that  smell  sweet,"  she 
(Continued  on  page  88) 


31 


They  Told 

Busteii 

to  Stick 
to  IT 

By  HARRY  BRAND 

Stick  to  it,  kid,  and  you'll  be 
a  great  comedian  some 
day." 

Celebrities  of  the  theatri- 
cal world  gave  that  advice 
to  a  pint-size  vaudeville  per- 
former a  quarter  of  a  centurj 
ago. 

The  prophecy  has  been  ful- 
filled, but  on  a  scale  exceeding 
the  expectations  of  the  most 
wildly  imaginative  trouper.  Fate 
has  given  the  youth  the  world 
for  a  stage  and  an  audience  of 
millions. 

It  was  ten  years  ago  that 
young  Keaton  cast  his  fortunes 
with  the  "movies,"  after  travel- 
ing hundreds  of  thousands  of 
miles  and  trouping  all  over  the 
United  States  and  in  foreign 
lands  since  babyhood.  The  past 
decade  has  witnessed  the  former 
vaudeville  actor's  rise  to  the 
heights  as  a  screen  comedian, 
but  to  the  old-timers  who  al- 
ways'visit  his  studios  when  they 
(Continued  on  page  80) 


Melbourne  Spurr 

Buster  Keaton  as  he  is  today — and  when  he  was  the  kid  of 
the  Three  Keatons 

Bushnell 

32 


William  Totter 


GRETA  NISSEN 

Altho  the  fascinating  Scandinavian  has  been  banished  from  the  royal  courts  of  Paramount  to  the 
Siberia  of  Universal,  we  still  have  hopes.    Won't  somebody  rush  a  pardon  to  the  gal? 


33 


How  the  KEYSTONE  KOPS 


A  scene  from  one  of  Mack   Sennett's  first   Keystone   comedies.     Sennett 
himself  is  the  desk  sergeant,  while  the  trembling  prisoner  is  Ford  Sterling 


IT'S  a  far  cry  from  a  second-hand  clothing  store,  in 
the  grime  which  makes  Sixth  Avenue,  New  York,  to 
the  old  Keystone  company  studio  on  Allesandro 
Street,  Hollywood,  but  it  serves  to  prove  that  a  fellow 
named  Kipling,  who  once  made  the  wise  crack,  "East  is 
East  and  West  is  West,"  was  wrong. 

All  of  which  gives  me  a  running  start  on  the  "inside 
story"    of   how    the   Keystone   cops    came   to   be — those 
amazing  gentry  of  the  law  (in  movies  only)  who 
aroused,  at  one  and  the  same  time,  the  mirth  of  a 
nation  and  the  ire  of  numerous  police 
heads  thruout  the  country.   There  was 
a  time  when  folks  resented  the  affront 
to  the  dignity  and  majesty  of  the  law 
offered  by  the  spectacle  of  cops  who 
never  caught  anything  (except  a  pie), 
cops  who  believed  they  were  cops  be- 
cause they  wore  a  cop's  uniform,  cops 
who    always     ran    the    wrong    way. 
cops  who  fell  out  of  windows 
(yes,  you're  right,  always  into 
a  tub   of   water   or   a   bed   of 
mortar),  cops  whose  uniforms 
made     th*    conductor    of    the 
Toonervine  trolley  look  like  a 
fashion-plate,  cops  whose  clubs 
were  made  of  rubber  and  who 
always  were  run  over  by  their 
own  patrol  wagons. 

The  Inside  Story 

And  still,  if  it  were  not  for  the 
aforesaid  Sixth  Avenue 
palace  of  second-hand  ward- 
robes, our  own  guardians  of 
the  law  might  never  have  risen 
in  a  body  against  their  bur- 
lesquers  of  the  screen,  the 
chucklers  of  the  world  would 
have     missed     millions     of 

34 


Mack  Sennett's  fa 
mous  comedy  Police 
man  developed  fron 
a  chance  Purchase  ii 
a  New  York  second 
hand  Store 

By  Bert  Ennis 


chuckles  and  Mack  Sennett's  only  clair 
to  fame  might  be  that  he  gave  to  th 
screen  Charlie  Chaplin,  Mabel  Normanc 
Ford  Sterling,  Charley  Murray,  Fart 
Arbuckle,  Gloria  Swanson,  Marie  Prevost 
and  a  few  other  fairly  well-known  actor: 
and  actresses. 

Which  reminds  me  of  the  fact  that  this 


HAPPENED 


same   Sennett 
was     respon- 
sible   for    the 
origin     of     the 
Keystone      cops 
thru  the  medium  of 
a  wire  which  came  to 
the  New  York  offices 
of  the  Keystone  Film 
Company  in  the  year 
1912  while  I,  in  the 
role    of    press-agent, 
was  begging  editors  to  print  the 
then  unknown  names  of  the  afore- 
said    Chaplins,     Arbuckles,     Nor- 
mands,  et  al.     In  those  hardy  days 
of  the  leaping  tintypes  many  duties  de- 
volved upon  the  press-agent    (they  call 
them    directors    of    publicity    now)    and 
therefore   it   was    entirely   in   keeping   that 
Mack    Sennett's    wire,    which    requested   the 
urgent    shipment    of    a    quantity    of    "comedy 
character    clothes    for    ladies    and    gentlemen," 
should  be  turned  over  to  the  chronicler. 

The  Second-hand  Store 

ittle  thinking  that  the  result  of  my  attention  to  duty 
was  to  bring  about  a  new  era  in  laughs,  I  hied  myself, 
rire  in  hand,  to  the  establishment  of  Harry  Guttenberg, 
rtio  ran  one  of  the  most  remarkable  clothing  emporiums 
t  has  ever  been  my  good  fortune  to  see.  Guttenberg 
nade  a  specialty,  and  a  most  profitable  one,  of  buying  and 
elling  the  wardrobes  of  various  theatrical  productions 
rtiich  suffered  "box-office  anemia,"  a  disease,  which,  by 
he  way,  will  cause  rotund,  healthy  magnates  of  the  screen 
nd  theater  to  turn  pale  and  shudder  at  its  mere  mention, 
rhe  Guttenberg  establishment  dealt  in  costumes  of  every 
lescription,   both    straight   and   comic,   and    incidentally, 


many      <>f      the      evening 
gowns  and  dress  suits  worn 
by     your     favorite     celluloid 
hero  and   heroine  in   the  early 
days    of    picture    making,    came 
from  the  shelves  of  this  Sixth  Ave- 
nue purveyor  of  wardrobes.    Shades 
of   Gloria   Swanson   and   Jack   Gilbert, 
think  of  it! 

Keeping  in  mind  Mack  Sennett's  insistent 
desire,  expressed  telegraphically,  for  comedy 
character  clothes,   I   successfully  bartered  with 
Harry  for  the  acquisition  of  bell-boys'  suits,  por- 
ters' uniforms,  rube  clothes,  dancing  girls'  costumes, 
sailor  suits,  soubrettes'  dresses  and  frock  coats,  not  to 
mention  an  odd  assortment  of  coats,  pants,  vests  and  shoes. 

The  Police  Uniforms 

Peeling  that  I  had  done  well  by  Mr.  Sennett  and  his 
comic  inclinations  as  regards  proper  wardrobe  for  the 
Keystone  players,  I  was  about  to  depart  when  Gutten- 
berg pointed  out  insinuatingly  that  he  had  a  choice  line  of 
police  uniforms,  including  coats,  pants,  helmets,  clubs 
and  sockets.  His  Sixth  Avenue  eye  for  business  then 
and  there  gave  birth  to  the  foundation  on  which  the 
Keystone  cops  were  builded  in  far-away  Hollywood,  into 
a  tower  of  strength  for  Sennett  and  all  those  original 
comedy  film  producers  who  aped  the  successful  innova- 
tion of  burlesque  police. 

Giving  little  or  no  heed  to  size,  fit  or  condition.  I 
obliged  my  outfitting  friend  by  purchasing  these  police 
uniforms  and  shortly  thereafter  sped  the  entire  assort- 
ment of  comedy  clothes,  in  several  trunks,  to  the  studios 
of  the  Keystone  company. 

Came  the   Keystone  Cop 

he  astute  eye  of  the  man  responsible  for  the  screen's 
first  bathing  beauties  fell  upon  the  conglomerate  assort- 
ment of  uniforms,  helmets  and  clubs,  and  delighted  to 
find  that  the  oversized  garments  worn  by  the  law's  repre- 
sentatives lent  an  especially  ludicrous  appearance  to  un- 
dersized extras  in  the  roles  of  policemen,  it  took  him 
little  or  no  time  to  direct  a  comedy  in  which  the  now 
famous  Keystone  cops  played  an  important  part.  Movie 
goers  everywhere  greeted  the  crazily  dressed,  awkward 
police  squad  with  howls  of  glee.  Justly  proud  of  his 
comedy  bull's-eye,  Sennett  delved  farther  into  the  trunks 
and  unearthed  the  balance  of  the  police  raiment.  Key- 
stone cops  ran  riot  in.  every  Sennett  production.  They 
were  fooled  by  the  wily  Chaplin,  tripped  by  the  innocent 
Arbuckle,  vamped  by  the  scintillating  Mabel — and  they 
became  an  institution. 

It  may  interest  readers  of  this  magazine  to  glimpse  a 
copy  of  the  clothing  contained  in  the  shipment  which 
helped  to  make  film  history,  and  it  so  happens  that  the 
writer  of  this  story  saved  a  list  of  the  contents  of  the 
various  trunks  which  went  to  the  Keystone  Company 
in  1912. 

The  Original  Bill 
Oere  it  is : 

n       Policemen's    outfits. — Thirty    uniforms    consisting 

of  short  coats,  long  coats,  double-breasted,  single-breasted, 

{Continued  on  page  74) 


35 


She       j 

WANTS 
to 

SUCCEED 


By  Alice  L.  Tildesley 


T 


Clara  Bow  has  been  called  variously  "a  little  roughneck," 
"the  screen's  madcap"  and  "the  Happiest  flapper  of  them  all" 


HE  girl  is  Clara  Bow. 
The  idea  is  success. 

And  I  defy  anybody  or  anything  to  keep 
her  from  her  goal. 
She.  has    been   called    variously,    a    "little    rough- 
neck,"   "the    screen's    madcap,"    and    "the    flappiest 
flapper  of  them  all." 

But  she  is  a  human  dynamo,  overcharged  with  ambition 
and  energy — a  frank  and  amusing  child  possessing  the 
grit  and  determination  of  an  army. 

Back  in  Brooklyn 

\X7hen    she   was   a   Brooklyn    high    school    freshman. 
'     even  then  movie-mad,  Wallace  Reid  made  a  personal 
appearance    at    a    local    theater. 


36 


Clara  Bow 

has  one  goal 

— Fame 

Nothing  else 
counts 


"I  got   there  at  noon 

ami  sat  in  the  trout   row 

until  he  came  on  at  half 

seven,"      remem- 

sd  (lara.    "1   wanted 

iee  him  close  up — 
ami  1  did.  I  thought  he 
was  marvelous.  1  de- 
cided that  I'd  like  to  act, 
too,  and  1  knew  I'd  do 
it.  some  day. 

"I  dont  know  why  I 
had  the  nerve  to  think  I 
could.  I  was  fat  and 
short  and   funny-looking 

irt  of  an  ugly  little 
thiiiL 

The  dark-eyed  young 
beauty  on  the  chaise- 
longue  in  the  studio 
bungalow  hugged  her 
tweed-k nickered  knees 
and  tossed  back  the  red- 
gold  glory  of  her  hair. 
The  ugly  duckling  has 
repeated  the  history  of 
the  swan. 

"The  minute  the  fan 
magazines  were  on  the 
stands  I  bought  'em.  I 
read  Classic  and  Mo- 
tion Picture  and 
Shadowland  and  all  of 
'em — and  one  day  I  saw 
a  Brewster  contest  men- 
tioned. It  said.  'Send  in 
your  picture'  —  and  I 
went  to  a  cheap  pho- 
tographer that  very  day. 
"The  pictures  were 
rather  bad,  I  thought, 
but  I  sent  'em  anyway. 

I  waited.     I  dont  think  I  even  hoped  very  much.     I  could 
see  what  I  looked  like  in  the  mirror. 

"One  day  I  went  down-stairs  for  the  mail  and  saw  the 
postman  standing  with  a  long  envelope  in  his  hand. 
Before  I  took  it  I  called  up-stairs :  'Daddy,  I've  got  in 
pictures !' — It  was  marked  'Brewster  Publications'  and 
it  read  that  I  was  to  come  to  the  office  for  a  test. 

The  Contest  Test 

T  was  fifteen  and  I  hadn't  any  fancy  clothes.  I  wore  a 
gingham  dress  and  went  with  my  father  on  the  street- 
car. When  I  got  there,  other  girls  were  getting  out  of 
automobiles.  They  all  seemed  to  be  wearing  silk  or  velvet 
or  chiffon.  I  wanted  to  go  home,  but  my  father  wouldn't 
let  me. 

"The  judges  were  there — Mr.  Brewster  and  some 
others.  I  suppose  they  were  surprised  to  see  me  but  they 
didn't  say  anything.  They  had  someone  make  us  up 
for  the  screen  tests. 

"I  watched  the  others.     They  looked  at  me  as  if  I  was 


'I'm  never  going  to  give 
I  can 


up  the  screen.     I  have  to  have  an  outlet  for  all  this  energy, 
pour  it  into  pictures — and  I  love  pictures!" 


Orphant  Annie — sort  of  down  the  side  of  their  noses — 
but  I  saw  what  they  did  and  when  the  director  said : 
'Dont  do  this  or  that,'  to  them,  I  thought  'I'll  remember 
that's  a  bad  thing  to  do.'  The  trouble  was,  I  thought, 
that  they  were  all  trying  to  do  it  like  somebody  they 
had  seen  on  the  screen,  not  the  way  they'd  do  it — the 
way  they'd  feel  themselves.  When  it  came  my  turn,  I 
did  it  the  way  I'd  do  it  myself. 

"Nobody  said  anything.  We  all  went  home.  Fretty 
soon  there  were  more  tests — eight  in  all — and  finally 
nearly  everybody  was  eliminated. 

Clara  Wins! 

"all  this  time  I  had  to  go  to  school,  but  I  was  late  and 
never  knew  my  lessons.  I  was  always  kept  in  and  I 
simply  couldn't  study.  All  1  could  think  of  was  picture- ! 
I  figured  out  what  to  do  for  tests  and  what  tests  they 
might  give  me — I  was  a  nervous  wreck  from  hoping  and 
worrying. 

{Continued  on  page  90) 


37 


MORE  IMPRESSIONS 


AT  the  Pickford-Fairbanks  studio  they  have  an 
/A  Arabian  desert  so  perfect  that  the  sun  seemed  to 
beat  down  upon  my -bare  head,  the  sand  got  in  my 
shoes,  and  many  miles  away  (apparently)  I  could  see 
shadowy  trees  and  mountains  of  sand.  Arabs  and  all 
kinds  of  queer  characters  were  wandering  around,  and  it 
was  for  all  the  world  just  like  the  edge  of  the  great  desert 
I  saw  last  spring. 

It  was  a  scene  in  "Son  of  the  Sheik,"  and  Fitz- 
maurice  was  directing.  Vilma  Banky  and  Rudolph 
Valentino  soon  appeared,  and  after  a  few  rehearsals 
Rudy  made  violent  love  to  the  fair  and  voluptuous  Vilma 
and  carried  her  not  unwillingly  off  while  the  camera 
clicked.  But  one  of  the  rocks  overturned  and  they  both 
fell  down  in  a  heap.  They  tried  it  again,  but  this  time 
they  got  tangled  up  in  some  of  Rudy's  flowing  robes  and 
Vilma's  gauzy  draperies  and  again  they  sprawled  in  the 
sand.  They  both  took  it  good-naturedly  and  even  Fitz- 
maurice  enjoyed  it.  Four  more  times  they  tried  it  and 
at  last  they  did  it  perfectly. 

"I  doubt  if  you  have  ever  had  or  ever  will  have  a 
handsomer  couple  than  that  to  direct,"  I  said  to  Fitz. 

"Quite  true,"  he  replied,  "and  they  are  both  splendid 
to  work  with.  Rudy  is  a  fine  fellow  and  a  true  artist. 
He's  always  ready  to  work  and  he  likes  the  rough  stuff 
as  well  as  these  tender  scenes.  He's  as  strong  as  an  ox, 
too,  and  he  loves  to  get  in  the  fights  and  treat  'em  rough. 
Vilma  is  also  one  hundred  per  cent,  and  it  is  a  pleasure 
to  work  with  such  artists." 


At  the  Fox  studio  the  other  night  they  gave  a  little  re- 
*^  ception  and  dinner  to  some  of  the  stars  and  a  few 
invited  guests,  and  there  I  met  lots  of  my  old  friends, 
including  Paul  Panzer,  and  made  a  few  new  ones,  includ- 
ing Edmund  Lowe.  It  was  hard  to  believe  that  this  was 
the  tall,  handsome,  straight,  dark  Edmund  that  I  have 
admired  so  much  on  the  screen.  He  gave  me  the  im- 
pression of  being  a  blonde,  or  red-headed,  and  blue-eyed 
— quite  different  than  I  expected,  and  not  so  good- 
looking.  Yet,  he  was  very  democratic,  unassuming  and 
likable.  Olive 
Borden  was  also 
there,  a  vivid 
brunette  and 
beautiful,  but 
what  attracted 
me  most  was  a 
pair  of  midget 
stars  —  Georgie 
Harris  (male) 
and  Barbara 
Ludder.  They 
are  both  well  un- 
der five  feet  and 
they  were  like 
grown-up  chil- 
dren not  yet 
grown  up. 
Georgie  was  ter- 
ribly "cute"  and 
conversed 
sparklingly  and 
all  the  women 
were  flocking 
around  him. 
Barbara   was 


equally  so  and  very  charming  and  pretty,  and  all  the  men 
were  flocking  around  her.  They  are  playing  together  in 
two-reel  comedies  and  are  getting  quite  popular  I'm  told. 


Mot  a  great  way  from  Los  Angeles  is  Arrow  Head  Lake 
on  the  top  of  a  huge  mountain  where  -many  players 
go  for  the  week-end.  The  lake  is  over  a  mile  higher  than 
the  road  at  the  base  of  the  mountain,  and  it  is  some  climb 
in  a  car,  the  narrow  road  winding  up  like  a  snake  going 
up  a  telegraph  pole.  And  it  makes  your  ear-drums  sing. 
Before  you  are  half-way  up  you  begin  to  gasp  for 
breath,  but  you  soon  forget  this  when  you  look  out  upon 
the  gorgeous  scenery  and  the  towering  mountain  peaks 
and  the  placid  Pacific  in  the  distance.  And  it  is  thrilling 
because  you  realize  that  one  little  slip  of  the  steering- 
gear  or  a  moment  of  inattention  by  the  driver  and  you  all 
will  go  plunging  down  the  abyss  over  the  rocks  and  cliff 
below  for  perhaps  half  a  mile,  where  you  will  wake  up 
and  find  yourself  in  Heaven — or  the  other  place. 


[  spoke  before  the  Wampas  at  a  dinner  given  by  them 
recently,  and  before  the  Wasps,  a  couple  of  weeks 
previous.  The  former  are  the  pressmen  of  these  parts, 
the  latter  the  presswomen,  and  a  fine  lot  of  fellows  and 
girls  they  all  are. 


B 


obby  Vernon  took  me  out  for  a  day's  outing  last 
Sunday  in  his  beautiful  motor  yacht.  We  sailed  all 
around  the  harbor,  and  out  in  the  Pacific  nearly  to  Cata- 
lina  Island  and  he  pointed  out  all  the  yachts  of  film  celeb- 
rities and  others,  many  of  which  were  very  pretentious, 
indeed.  Bobby  himself  was  at  the  wheel,  in  yachting 
costume,  and  he  made  a  jolly  and  capable  captain.  His 
yacht  is  about  fifty  feet  over  all  and  contains  every  mod- 
ern convenience  including  sleeping  accommodations  for 
about  a  dozen.  In  the  party  were  his  charming  little 
wife,  Mr.  and  Mrs.  Pat  Bowling,  of  Christie  Comedies, 
Corliss  Palmer,  the  skipper,  and  myself,  but  Bobby  was 

the  life  of  the 
party.  He  is  a 
regular  fellow  in 
every  way,  .  a 
good  host  and 
quite  a  wit.  His 
.  boat  was  so  spick 
and  span  every- 
where that  it 
gave  the  impres- 
sion of  having 
never  been  used 
— even  the  en- 
gine-room where 
the  brass  work 
shone  like  gold 
with  not  a  speck 
of  dirt  or  grease 
anywhere. 


Ul    R    G    I 
v  B     R     o 


Eugene  V.  Brewster  visits 


Laura  La  Plante  while  Director  Mel  Brown 
acts  as  reporter 


N    I  A 

W     N 

Faire  favored 
me  with  an  invi- 
tation   to    dinner 


38 


of  HOLLYWOOD 


By  Eugene 
V.  Brewster 


Saturday  night  at  the  Biltmore  Hotel  and  I  found  her 
just  u  charming  as  she  was  in  1919  when  as  a  mere  child 
ted  her  in  her  first  screen  tests  which  won  1km  a 
•i  the  Fame  and  Fortune  Contest.  All  she  needs 
ood  part  ami  she  will  yel  stage  a  big  comeback. 
•stewart.  Edmund  Lowe  and  Mice  Calhoun  were 
ind  were  very  good  to  look  upon. 


\nv  where  some  four  hundred  guests  were  as 
tnbled  to  do  honor  to  Carl  Laemmle,  J.  Stuart 
Bkckton  made  a  splendid  speech,  followed  hy  Edwin 
.  arewe.  Bert  Lytell  and  others.  They  also  showed  some 
novies  mimicking  "Uncle  Carl"  and  doings  at  Universal 
,'ity.  Among  the  jokes  was  a  topical  song  satirizing  the 
fact  that  there  are  several  dozen  Laemmles  employed  at 
Universal,  the  chorus  being: 

"Send  all  the  extras  off  the  lot, 
(  >nly   Laemmles  will  be  in  this  shot." 

There  was  also  a  movie  of  several  thousand  men  walk- 
ng  in  procession,  introduced  by  a  title : 
"S<>me  of  the  recent  business  managers  of  Universal." 


They  are  still  wrangling  at  Universal,  and  poor  little 
Mary  Philbin  has  been  doing  nothing  for  many  months 
except  draw  her  salary.  'Tis  a  crime,  says  I,  for  this 
wonderful  little  lady  would  soon  be  at  the  top  if  they 
would  only  give  her  a  chance.  Erich  von  Stroheim  tried 
:o  borrow  her  recently  for  a  very  important  part  but  the 
L'niversalites  are  not  particularly  fond  of  Von  and  they 
would  not  let  Mary  go.  True  'tis  'tis  pity,  and  pity  is 
tis  true. 


|i\st  after  seeing  a  private  view  of  "Tramp,  Tramp, 
Tramp,"  Colleen  Moore  took  me  to  a  corner  where 
>tood  several  men  and  said,  "I  want  to  introduce  you  to 
Harry  Langdon."  I  looked  them  all  over  before  holding 
Dut  my  hand  and  then  said,  "Which  one?"  They  all 
aughed  and  one  of  them  held  out  his  hand.  "You  dont 
mean  it !"  said  I.  But 
le  did  mean  it.  It 
was  really  he.  He 
wore  a  regular 
Fedora  hat  with  the 
jrim  pulled  down 
:>ver  his  forehead, 
ind  glasses.  I  would 
never  have  believed 
:hat  it  was  Harry  or 
iny  other  actor.  We 
:alked  about  the  pic- 
ture and  he  showed 
:hat  he  was  about  as 
wise  as  they  make 
:hem,  and  thoroly 
businesslike.  Fur- 
:hermore,  there  was 
nothing  funny  about 
aim.  But  wait  till 
you  see  that  picture! 
If  you  dont  get  a 
:housand  laughs  out 
3f  it.  you  haven't  got 
i  funny-bone. 


|  DiM.i)  with  Larry  Semon  and  his  wife,  Dorothy  Dwan, 

at   their  tine  home   which  is,  i,f   <"iirse,  up  on  top  oi  a 
hill.     Why  is  it  that   SO  many  players  always  try  to  ^' 

high  as  possible  in  the  world?     Perhaps  because 

want  to  get  near  Heaven.  Larry  is  very  happy,  in  spite 
of  the  fact  that  he  le.uhed  the  high  spots  in  pic  turedom 
a  few  years  BgO  and  has  imt  been  able  to  keep  himself 
there.  But  he  told  me  that  he  was  only  thirty-five  and 
full  of  fight  and  that  the  world  would  SOOU  hear  from 
him  again  in  a  big  way.  He  is  now  doing  another 
feature-length  picture  and  is  full  of  hopes.  So  am  1. 
He  deserves  to  win  out. 

*  *         * 

Dudolph  Valentino  invited  Pola  Negri,  Corliss 
Palmer  and  me  to  dinner  recently,  but  at  the  last 
minute  Pola  phoned  that  she  had  been  vaccinated  the 
previous  day  and  that  she  was  sick  in  bed  with  a  fever. 
I  found  a  large  photo  of  Pola  in  Rudy's  bedroom,  how- 
ever, and  it  was  the  only  one!  Rudy  has  a  fine  Italian 
villa  on  a  mountain  top  in  Beverly  Hills,  and  while  it  is 
all  white  within  and  without,  the  hangings  are  mostly  of 
a  brilliant  red  everywhere,  and  the  woodwork  in  his 
bedroom  is  bright  dark  green.  His  brother  and  sister- 
in-law  were  the  only  other  guests  and  we  enjoyed  a 
pleasant  evening  together. 

*  *         * 

Dobby  Vernon  will  have  his  little  joke.  In  all  serious- 
ness  the  other  day  at  luncheon  he  said  he  had  picked 
up  quite  a  little  money  by  teaching  Spanish.  He  said  he 
got  a  dollar  a  lesson  and  guaranteed  to  teach  the  language 
in  one  lesson.  I  bit,  paid  him  a  dollar,  and  took  a  lesson. 
Pointing  to  a  knife,  fork,  spoon,  etc.,  he  said:  el  knifo, 
el  forko,  el  spoono,  etc.,  and  now  I  am  a  full-fledged 
Spaniard. 

*  *         * 


V 


Eugene  V.  Brewster  drops  in  to  call  upon  Mary  Philbin 


alextino  is  considering  whether  he  will  play  a  double 
role  in  "Sor  of  the  Sheik,"  and  he  has  been  making 
some  tests  as  the  old.  father.  He  is  strongly  in  favor  of 
playing  both  parts,  but  Director  Fitzmaurice  fears  that 
double  roles  are  inclined  to  detract  from  the  story  and 
destroy  reality.     However,  if  the  tests  prove  excellent,  he 

will  probably  yield 
the  point.  Hence,  I 
think  you  will  see 
Rudy  playing  both 
parts.  And  you  will 
see  a  newer  Valentino 
than  you  saw  in  "The 
Eagle."  He  is  full 
of  confidence  now. 
and  chuck-full  of  en- 
thusiasm and  ambi- 
tion, which  is  plainly 
showing  in  his  work. 


A  shower  was 
given  to  Kathleen 
Clifford  the  other 
night  at  the  beautiful 
and  elaborate  home 
of  Mr.  and  Mrs. 
Tom  Mix.  Mr  s. 
Clarence  Brown  is  a 
society  leader  here 
and  she  got  it  up. 
{Cont'd  on  page  73) 


:J9 


CELLA  LLOYD  SOLVES 


Scene  I 

Pa    Lloyd    spends    all    his    time    with    the 

property-men  and  all  the  rough  boys  on  the 

lot.    Where  else,  demands  Pa,  can  you  find 

honest  guys? 


J[l    ^ETURH 
n^WPKOP! 

Lathis  meai^$  VooJ 


40 


THE   PROBLEM   OF   PA 


WHAT'S  GONE  ON  BEFORE 

Now  that  Cella  Lloyd,  winner 
of  a  bathing-girl  contest,  is  safely 
established  as  a  Hollywood  lumi- 
nary, the  problem  of  Pa  Lloyd  be- 
comes a  serious  one.  Like  all 
movie  pas,  Mr.  Lloyd  cant  accli- 
mate himself  to  the  glories  of  the 
film  world.  He's  just  his  natural 
self — and  where,  in  Hollywood,  is 
there  a  place  for  such  a  gent? 
Now  read  on! 


Scene  III 
So  Ma  and  Cella  bundle 
Pa  off  home.  Pa  is  a  little 
depressed,  but  he  re- 
members how  good  the 
fishing  is  along  Spruce 
Creek 


Scene  IV 
Now  every  evening  Cella  and 
Ma  are  seen  at  the  Alameda 
Gardens,  dancing  and  having  a 
jood  time  with  one  of  the  re- 
:ently  imported  Swedish  leading 
men  and  Dr.  Wienberg,  the 
popular  psychoanalyst.  Continued 
next  month  I 


41 


Another 

Bathing 

GIRL 

Makes 
Good/ 


Right  out  of  the  Polytechnic  High 
School  in  Los  Angeles,  Vera  Reynolds 
started  her  screen  career  in  Mack 
Sennett  and  Al  Christie  comedies.  Vera 
had  read  all  the  stories  of  the  screen 
stars  and  she  knew  just  the  right  place 
to  start.  Her  first  mild  hit  was  scored 
as  Gloria  Swanson's  daughter  in  "Prodi- 
gal Daughters."  Then  Cecil  B.  De  Mille 
found  her.  She  was  in  "Feet  of  Clay." 
And  recently  in  "The  Road  to  Yesterday" 


42 


Starring 

LADY 
LUCK 


By 

Norma  Johnstone 


JANE   WIN  TON  is  a  favorite  of  the 
god   of    Chance — possesses   a   potent 
rabbit's  foot — or  is  vibrating  on  the 
right  plane. 
Take  your  choice. 

To  most  of  us  Luck  is  a   fugitive  elf, 
never  around   when  needed,  but   to  Jane 


Luck  has  played  a 
big  part  in  Jane 
Winton's  career.  A 
few  years  ago  she 
ran  aw  ay  from 
school.  Now  she 
has  a  prominent 
role  in  John  Barry- 
■'-   r'Don    Juan" 


mores 


Melbour 


Winton  he   is   constant  as  a  shadow   on   a   sunny   day. 

She  had  never  studied  dancing,  yet  she  was  in  the 
Fokine  ballet.  She  had  no  stage  experience,  yet  Ziegfeld 
put  her  in  his  "Follies" ;  no  screen  training,  yet  Lasky 
made  her  sign  a  contract ;  no  roles  of  any  importance,  yet 
John  Barrymore  gave  her  a  coveted  part  in  "Don  Juan." 

And  so  it  goes. 

Her  loveliness  may  account  for  Luck's  faithfulness. 
Her  hair  is  bright  brown,  her  eyes  long-lashed  and  gray, 
her  features  perfect,  and  her  hands  have  been  a  sculptor's  inspiration.  But 
besides  beauty,  she  has  brains,  and  besides  brains,  she  has  ambition.  .   .   . 

Makes  the  Ballet 

hen  Jane  was  a  little  lonely  girl  in  New  York,  a  runaway  from  Phila- 
delphia, trying  to  make  two  dollars  do  the  work  of  six,  she  heard  that 
Fokine  was  selecting  girls  for  his  ballet. 

She  had  not  had  a  lesson  in  her  life,  but  she  had  always  danced.  Attired  in 
a  one-piece  bathing  suit,  Jane  sat  in  the  orchestra  of  the  theater, 
watching  the  other  applicants  being  tried  out  on  the  bare  stage. 

"Oh,  why  did  I  come?"  she  kept  saying  to  herself,  as  girl  after 
girl,  attired  in  delicately  beautiful  ballet  costume,  and  carrying  her 
own  special  music,  appeared  behind  the  "foots." 

Jane  had  just  decided  to  vanish  unobtrusively  when  her 
name  was  called. 

"Where's  your  music?"  asked  the  pianist. 
"It's — I  thought  you'd  know  how  to  play  it,"  she  sparred, 
struggling  to  think  of  some  music — any  music!    "I   didn't 
bring  it.    It — it's  'Kiss  Me  Again.'  " 

(Continued  on  page  77) 

43 


N 


OW   that  Hollywood   has   sat 
isfactorily     disposed     of     tru 


FLASH 


By  F.  J.  S. 


German  film  menace,  a  new 
screen  ogre  has  arisen.  The  new 
bugbear  has  its  habitat  in  Russia 
and  isn't  going  to  be  dislodged  so 
easily. 

The  ogre,  to  be  exact,  is  the  Rus- 
sian Goskinprom  producing  practi- 
cally all  the  Russian  motion  pic- 
tures. This  organization  has  the  backing  of  can  film  industry.  "Variety"  was  a  story  of  the 
the  Soviet  Government,  which,  for  a  long  time,  circus,  the  romance  of  an  acrobat  and  a  pretty 
has  been  studying  the  screen  from  both  propa-  aenahst.  In  the  German  story  the  acrobat  was 
ganda  and  amusement  angles.  Only  recently  married  and  had  several  children.  This  original 
it  is  said  that  an  invitation  was  extended  to  film  was  shown  with  success  in  London,  without, 
Charlie  Chaplin  to  come  to  Russia  for  a  single  we  think,  seriously  damaging  the  morals  of  the 
picture.     Just  before  Doug  Fairbanks  and  Mary  British  Empire. 

Pickford    sailed    for    their    European    vacation,  However,  the  story  is  being  reconstructed  for 

which,  by  the  way,  will  take  them  into  Russia,  our  delicate  tastes.     The  acrobat  no  longer  will 

it  is  said  an  invitation  came  from  the  Russian  be  guilty   of  moral  turpitude.      In   fact,    he   will 

Goskinprom.  be  the  father  of  the  firetty  aerialist,  who,  by  the 

We    doubt    that    the    Russians    will    win    over  way,  is  no  other  than  Lya  de  Putti.     This  f>rob~ 

Mary,   Doug   or  Charlie   right   now.      But   there  ably  isn't  going  to  helfi  the  story  any,  but  it  will 

is  no  question  but  that  the  Russians  are  reach-  keeji  the  screen  safe  for  Americans. 

mg  out  for  stars  and  directors.     Fritz  Lang,  the  It  is  interesting  to  note  that  one   of  the  last 

director    of    "Siegfried,"    has    just    accepted    an  Ufa  films  was  "Manon  Lescaut,"  starring  Miss 

offer    from    the    Russian    Goskinprom    and    has  de  Putti.     Is  this  screen  version  to  be  shelved 


gone  into  the  land  of  the  Soviets  to  produce. 

We  can  imagine  the  problem  the  offer  pre- 
sented to  Lang,  torn  between  the  adventure  of 
Russia  and  the  lure  of  money  in  America.  Lang, 
incidentally,  has  just  completed  "Metropolis, 
which,  if  reports  from  Berlin  are  to  be  believed, 
is  likely  to  prove  a  sensation.  It  is  a  mingling 
of  satire  and  fantasy,  a  picture  of  a  strange 
Utopia  of  the  future. 


now  that  John  Barrymore  is  to  do  the  story? 
Or  are  we  to  have  two  "Manons,"  one  with  the 
ornate  de  Putti  and  the  other  rebuilt  to  fit  the 
needs  of  a  highly  fiaid  male  star. 


Right  now  the  metropolitan  critics  are  greatly, 
exercised  over  the  fact  that  D  .W.  Griffith  is  to 
film  Theodore  Dreiser's  two-volume  "American 
Tragedy.  '      Many   of  the   commentators    appear 
Lang's  first  Russian   picture  is   adapted  from      to  have  thought  of  a  number  of  other  directors 
a  native  story  and  will  be  called  "Panther  Skin."      they  would  like  to  have  direct  the  Dreiser  tale. 
Meanwhile,  the  film  industry  has  due  warning  This  story,  by  the  way,  concerns   the   son  of 

an  evangelist  who. 


of  its  latest  men 
ace.  We  doubt  if 
it  will  swallow  the 
Russian  Goskin- 
prom as  easily  as 
it  downed  the  Ufa 
organization.  The 
Soviet  Govern- 
ment stands  in  the 
way. 


Sneaking  of 
Ufa  reminds  us 
that  the  local  film 
magnates  are  at 
present  tinkering 
with  "  V ariety," 
the  last  Emil  Jan~ 
nings  picture  to  be 
made  before  Ufa 
became  a  subsidi- 
ary of  the  Amen- 

44 


Hollywood  now   has  a  baseball  team  in  the   Pacific   Coast 

League.     Clara   Bow  is  its   mascot.     The   gent   behind  the 

bars  is  Lester  Cook 


upon  ruining  and 
killing  a  girl,  dies 
in  the  electric 
chair.  It  is  a  trag- 
edy of  small-town 
morals,  being 
based  upon  an 
actual  murder 
case  up  York 
State. 

As  we  have  said, 
some  of  the  critics 
have  taken  it  upon 
them  selves  to 
worry  about  Grif- 
fith's probable 
treatment.  They 
intimate  that  he 
may  even  insert  a 
ride  to  the  rescue 
and  point  out  that 


BACKS 


About  Pictures  and  People 


tfon.     No  eotnodp,  utuoot  vou  got  a 

chuck),-    out    Of    Francts    X.    Bushman 
in    armor.  I  he    St-u    Beast    ?       An- 

other leg  lost  here  and  the  whole 
effort  studded  with  B  arry  more  s 
ga-ga  emotionalism  on  the  loose. 
Not  a  chuckle,  unless  you  got  one  out 
of  the  whale.  La  Boheme  ?  A  gal 
doing  a  Camille  while  Jack  Gilbert 
slides  in  and  out  of  scenes  after  the 
he  has  already  saved  a  gangster  from  the  chair  fashion  of  Ty  Cobb  making  third  base.  A  mild 
in   the   modern   episode   of   "Intolerance.  giggle    in    this.      "Stella    Dallas"?      A     veritable 

Personally,  we  cant  see   anything  wrong  with      handkerchief  extravaganza. 
the  choice   of  Griffith.      In  fact,  there  s   a   lot  in  No,  we'd  hirdly  call  it  comedy  year. 

common  between  the  two.     Surely  both  are  dis-  

tiriL-tlv   American.      Both    have    the    same    weak-  Last  month  we  started  naming  our  twenty-five 

nesses  and  strengths.  They  weave  loosely,  in-  hits  of  the  oncoming  screen  year.  We  presented 
sert  a  lot  of  extraneous  matter,  love  to  dawdle  fourteen  of  them  and  postponed  predictions  as 
over  details,   and  every   now   and   then   evolve   a      to  the  remaining  eleven  to  this  issue.    The  added 


crashing,   tearing   interlude. 

We  would  like  to  see  a  Griffith  discovery  of 
the  past,  Charles  Emmett  Mack,  in  the  role  of 
Clyde  Griffiths.  George  Hackathorne  would  be 
our  second  choice. 

Anyway,  here  is  an  interesting  slant  upon 
changing  public  opinion.    In  1900  or  thereabouts 


eleven 


Ernst  Lubitsch  s  "Revillon. 

W.  C.  Fields'  three  comedies. 

Pola   Negri's   film   directed   by   von    Stroheim. 

Griffith's  "American  Tragedy.'' 

James  Cruze's  version  of  Copek  s  "R.  U.  R. 

Harold    Lloyd's    next    comedy,    said    to    be    a 


Dreiser's  first  novel,  "Sister  Carrie,     was  throt-  mountaineer    story.      But    Lloyd  s    next    comedy, 

tied  by  its  frightened  publishers.     Fifteen  years  whether  or  not  it  is  a  mountaineer  story, 

later   his    "The    Genius''   was    the    storm    center  The  other  three  places  we   reserve   for  what- 

of  a  concerted    attack   by   the   Comstockians    of  ever  big  pictures   are   attempted  by  King  Vidor 

the    day.     American    literary    tastes    developed  and  John  Robertson. 

in  the  interim.     Now  Dreiser  is  to  be  filmed.  

Incidentally,  the   Devil  s   advocate   of   twenty-  While  were  on  the  subject  of  screen  authon- 

six  years  ago  receives  $90,000  for  his  "American  ties,    we   want   to   take   uj>   the   subject    of   "The 


Tragedy''  and  a  pretty 
definite  guarantee  from 
Herr  Lasky  that  it  is  to 
be  produced  as  is. 


Only  a  few  months  ago 
the  screen  authoriti e s 
were  naming  the  mcom~ 
mg  season  as  the  great 
comedy  year.  The  twelve 
months  were  to  be  de- 
voted to  laughter  and 
giggles,  it  was  to  be  the 
year  in  which  our  come- 
dians came  into  their 
own.  The  good  old  drama 
was  to  be  crowned  with 
a  custard  jSie. 

Let  s  jSause  to  consider 
how  these  jSredicti  ons 
have  made  out.  No,  not 
so  good.  Take  "The  Big 
Parade,"  without  much 
comic  relief.  And  the 
hero  loses  a  leg.  "Ben- 
Hur  ?  An  orgy  of  Chau- 
tauqua    religious     emo- 


Pacific  &  Atlantic 

Doug  and  Mary,  accompanied  by  Mary's  adopted 

daughter,    Gwynne,    sailed    away    for    a    European 

vacation  early  in  April 


Tower  of  Lies.  every 
time  the  critics  want  to 
take  a  crack  at  the  Jowly 
taste  of  our  film  audi- 
ences,  they  comment 
ujion  the  lukewarm  re- 
ception achieved  by  this 
picture  produced  by  Vic- 
tor Seastrom. 

Even  my  confrere , 
Tamar  Lane,  is  ujSset 
about  this.  "That  the 
movie  industry  itself  has 
allowed  the  fineness,  the 
beauty,  the  brilliancy  of 
The  Tower  of  Lies  to 
ftass  by  unnoticed  is  not 
unusual,"  he  sobs  — but 
he  cant  arouse  an  an- 
swering sob  in  our  flint- 
like  bosom. 

We  considered  The 
Tower  of  Lies'  to  be 
jSseudo-arty.  It  was  the 
story  of  an  old  feasant 
who  became  the  local 
(Continued    on    page    89) 

45 


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Bessie  Love  is  proud  of  her  dancing  ability.    Between  scenes 

of  "Lovey  Mary"  she  takes  lessons  from  Flynn  O'Malley,  a 

professor  of  the  Charleston 


Left:  June  Marlowe  demon- 
strates the  newest  thing  in 
Deauville  bathing  attire.  The 
suit  is  of  silk  and  wool,  the 
hat  of  vari-colored  woven 
straw  and  the  parasol  also  of 
straw 


Lower  left:  Leatrice  Joy  and 
Helen  Ferguson  at  the 
Hawaiian  party  given  by 
Miss  Joy  in  honor  of  Don 
Blanding,  artist  and  writer, 
upon  his  return  from  Hawaii 


■ 


Pacific  &  Atlantic 


International  Newsreel 


46 


Coach  Dean  Cromwell,  of  the  University 

of    Southern     California,     shows     Greta 

Oarbo  the  fine  points  of  running.     "The 

start's  the  thing,"  says  Cromwell 


Compare  the  Deauville  costume  with  the 
California     bathing-suit     style     demon- 
strated by  Barbara  Worth.     Local  style 
makes    good,   say  we 


Don  Gillum 


A  bird's-eye  view  of  Charlie  Chaplin's  studio,  with  the  "big  top"  now 

being  used  in  the  circus  comedy.     Charlie  used  to  live  in  the  house  at 

the  left,  just  back  of  the  tennis  court 


47 


How  the  Charleston 
would  have  looked  to  the 
staid  Puritans.  Edna 
Lyons  and  P  a  u  1  e  1 1  e 
Neville,  extras  in  "The 
Scarlet  Letter,"  demon- 
strate their  Charleston 
dexterity 


The  newest  thing  in  bath- 
robes on  the  California 
beaches  is  a  Navajo  blan- 
ket. Here  is  Pa^sy  Ruth 
Miller  illustrating  its 
effectiveness 


Do  you  want  to  take  off  ten 
pounds  or  so,  without  injury  to 
your  health?  Estelle  Clarke 
says  this  exercise  will  do  it.  Lie 
flat  on  the  ground  and,  keeping 
the  arms  straight,  touch  the 
toes  to  the  ground  back  of  your 
head.  How  many  times?  Oh, 
forty  or  fifty,  says  Estelle 


International  Newsreel 


48 


Charlie's  FIND 


International  Ncwsreel 


Altho  she  was  born  in  Chicago,  Miss  Kennedy  was  raised  in  Los  Angeles. 
She  has  known  Lita  Grey  (Mrs.  Chaplin)  since  childhood.  They  went 
to  the  same  dancing  school.  Later  Miss  Kennedy  appeared  in  vaudeville 
with  her  brother.  They  were  dancing  at  the  Hotel  Ambassador  when 
Lita  and  her  grandmother  happened  to  see  them  again.  This  meeting 
led  to  Chaplin's  signing  of  Merva  as  the  little  bareback  rider  of  his  new 
comedy.    Meanwhile,  Doug  Fairbanks  has  been  reported  as  interested  in 

Miss  Kennedy 


Pacific  &  Atlantic 


49 


Ball 


Frederick  James  Smith 


HAROLD  LLOYD  has  hit  the  comedy  gong  again 
with  his  newest  laugh  effort,  "For  Heaven's  Sake." 
This  comedy  isn't  another  "Freshman."  it  should 
be  explained.  "The  Freshman"  is  still  the  high  point  in 
Lloyd's  humorous  career. 

"For  Heaven's  Sake,"  however,  is  highly  diverting. 
If  anyone  but  Lloyd  were  its  star,  it  would  be  looked 
upon  as  a  sensation.  This  time  the  spectacled  Boy,  other- 
wise Lloyd,  is  a  young  millionaire  without  an  aim  in  life 
until  he  meets  the  Girl.  The  Girl  is  the  daughter  of  an 
East  Side  evangelist.  There  are  a  half-dozen  amusing 
episodes,  starting  with  the  way  the  Boy  gets  the  tough 
gangsters  of  the  neighborhood  into  the  newly  opened 
mission.  The  Boy,  of  course,  becomes  eventually  the  pal 
of  the  East  Side  gentry.  There  is  a  hilarious  finish  when 
the  Boy  attempts  to  keep  to- 
gether his  wedding  reception 
committee  of  five  gangsters, 
in  hired  dress  suits  and  ex- 
pensively acquired  buns. 

Lloyd  is  admirable  in  this 
comedy  and  he  is  given  excel- 
lent assistance  by  Jobyna 
Ralston.  You  will  find  "For 
Heaven's  Sake"  well  up 
among  Lloyd's  second-best 
comedies. 

Lardner's  Baseball   Hero 

T  liked  Thomas  Meighan's 
1  "The  New  Klondike"  im- 
mensely. This  is  far  and 
away  ahead  of  anything  this 
star  has  contributed  to  the 
screen  in  a  long  time. 

"The  New  Klondike"  is  an 
amusing  story  of  the  devas- 
tating effect  the  Florida  real- 
estate  madness  has  upon  a 
baseball  team.  It  is  written 
with  a  fine  sense  of  humor  by 
Ring  Lardner,  who  knows 
more  about  ball  players  than 
anyone  I  know.  The  story 
itself — of  a  baseball  star  who 
is  canned  by  a  crooked  man- 
ager and  who  wins  his  place 

50 


THE 
CELLULOID 

CRITIC 


on  the  team  along  with  the  managership — isn't  much. 
The  Lardner  slant  upon  these  grown-up  children  of  the 
diamond  and  upon  the  Florida  Klondike  (that  was) 
makes  it  diverting.  The  direction  of  Lewis  Milestone, 
too,  is  excellent. 

Thomas  Meighan  plays  Tom  Kelly,  the  baseball  star 
who  is  so  basely  treated  by  the  scoundrelly  manager. 
Meighan  is  just  himself  in  a  role  that  shrieks  for  char- 
acterization. This  star  was  once  an  excellent  actor.  Re- 
member his  work  in  "The  Miracle  Man"  ?  Now  he 
seems  afraid  to  characterize. 

The  real  honors  of  the  comedy  go  to  Paul  Kelly,  as  a 
boob  bush  leaguer  breaking  into  big  company.  There  is 
a  delightfully  done  bit,  of  a  real-estate  shark  at  work 
upon  the  boobery,  by  an  unnamed  comedian.  The  man- 
ager is  well  played  by  J.  W.  Johnston,  an  actor  capable 
of  far  better  roles  than  this. 


Norma  Talmadge  and  Ronald  Colman  in  "Kiki 


Norma    Talmadge's    Kiki 

D  rob  ably  Norma  Talmadge's  screen  version  of  the 
A  Andre  Picard's  comedy,  "Kiki,"  will  be  highly  popu- 
lar.     We   had   difficulty   getting   into   the   huge   Capitol 

Theater  in  New  York  to  view 
it.  Furthermore,  the  observ- 
ers about  me  gave  every  evi- 
dence of  liking  the  celluloid 
"Kiki"  immensely. 

Unfortunately,  when 
Lenore  Ulric  played  Kiki, 
some  seasons  ago,  we  fell  cap- 
tive to  her  performance. 
Kiki,  you  know,  is  a  little 
gutter  gamine  who  works  her 
way  into  the  chorus  of  a 
Paris  music  hall,  sets  her 
queer  little  cap  for  the  hand- 
some manager,  and  actually 
outwits  the  prima  donna  who 
has  him  in  her  train.  In  fact, 
Kiki  ends  by  winning  the 
manager  completely. 

Miss  Ulric  made  Kiki,  for 
all  her  sordid  gamine  tricki- 
ness,  saucy,  sparkling  and 
wholly  captivating.  Miss  Tal- 
madge follows  the  Ulric  in- 
terpretation in  every  detail, 
even  to  the  costume  and  the 
queer  little  walk.  There  the 
comparison  ends.  She  sugars 
Kiki  and  sentimentalizes  her. 
The  Ulric  verve  isn't  there. 

Still,  as  we  have  said,  pic- 
ture  audiences   will   probably 


Frederick  James 

Smith 

Reviews  the  New- 

Photoplays 


like  Miss  Talmadge's  Kiki.  All  of 
which  can  not  keep  us  from  thinking 
of  other  players  who  could  have 
done  so  much  better  with  Kiki. 
Constance  Talmadge,  for  instance. 

In  one  thing  the  silverscreen 
"Kiki"  far  surpasses  the  stage  ver- 
sion. The  footlight  "Kiki"  cer- 
tainly did  not  have  Ronald  Colman. 
Ami  Marc  MacDermott  does  very 
well  with  the  role  of  Baron  Rapp. 
The  direction  of  Clarence  Brown  is 
adequate,  revealing  a  fine  variety  of 
camera  shots.  It  is  workmanlike 
but  not  distinguished. 

1926  "Taming  of  the  Shrew" 

Uannie  Hurst  received  $50,000  for  writing  '"Manne- 
quin." We  dont  know  how  much  she  got  for  "The 
Untamed  Lady,"  but  she  owes  some  of  it  to  Will  Shake- 
speare, since  the  story  is  a  modern  adaptation  of  "The 
Taming  of  the  Shrew."  Yes,  this  comedy  has  been 
modernized  be- 
fore. 

The  only 
item  of  interest 
in  "The  Un- 
tamed Lady"  is 
Gloria  Swan- 
son.  The  star 
plavs  the  self- 
w  i'  1  1  ed  St. 
Claire  Van 
Tassel,  spoiled 
young  lady  of 
wealth.  Larry 
Gastlen  starts 
out  to  break  her 
spirit  and,  hav- 
i  n  g  accom- 
plished this, 
marries  her. 

The  comedy 
limps  along  un- 
der the  direc- 
tion of  Frank 
Tuttle.  Nor 
does  Lawrence 
Gray,  the  over- 
praised leading 
man,  add  any- 
thing to  the 
general  effect. 
Miss  Swanson 
has  a  few  inter- 
esting moments 
—and  that's  all. 


Dorothy  Mackaill  and  Conway 
Tearle  in  "The  Dancer  of  Paris'' 


Harold  Lloyd  and  Jobyna  Ralston  in  "For  Heaven's  Sake" 


"The  Dancer  of  Paris,"  based  upon  a  story  by  the 
much-talked-about  Michael  Arlen,  is  just  a  carefully  de- 
vised boob  shocker.  Altho  Arlen  has  passed  from  the 
center  of  the  spotlight  in  the  literary  and  stage  world,  the 
remnants  of  his  fame  will  still  carry  a  screen  story  or 
two  to  success  in  the  hinterland. 

Aden's  Boob 
Shocker 

"The  Dancer 
of  Paris"  is 
the  ornate  yarn 
of  a  rich  spend- 
thrift  flapper, 
who,  upon  be- 
ing spurned  by 
a  sick  English- 
man, starts  out 
to  wreak  her 
vengeance.  She 
becomes  a  pro- 
fessional dancer 
and  follows  him 
about  the 
world,  taunting 
him  with 
her  unattain- 
able loveliness 
which,  if  we 
may  believe 
Arlen,  is  "like 
the  gold  dust 
that  lies  on  the 
floors  of  the 
dungeons  of 
gaiety."  Fur- 
thermore, her 
laughter  is  "like 
lightning  against 
a  tortured  sky." 
(Continued  on 
page  83) 


Norma    Shearer    and     Charles 

Emmett  Mack  in  "The   Devil's 

Circus" 


51 


RASTERS  OF  THE 


By  Matthew  Josephson 


"  A  FTER  all,  the  motion  picture  is  only  at  the  beginning 
/A  of  its  greater  career.  It  has  its  own  medium  of 
motion  within  pictorial  beauty,  to  which  it  adds 
whatever  it  can  use  from  literature,  painting,  dancing, 
drama,  and,  above  all,  music.  But  we  are  still  groping, 
and  we  are  simply  going  to  take  ideas,  wherever  they 
come  from  and  whenever  we  think  we  can  apply 
them.  ..." 

Thus,  King  Vidor,  one  of  our  most  talented  and  far- 
sighted  directors.  At  which  the  writer  conceived  the 
somewhat  ambitious  design  of  setting  forth  thru  a  longish 
ramble  over  the  ground  of  the  past  and  present  "master- 
pieces" of  the  cinema,  trusting  that  by  means  of  a  fair 
and  reasonable  analysis  of  them,  a  sifting  to  the  bottom 
of  their  actual  accomplishments,  some  light  might  be 
thrown  on  what  the  movies  have  gone  thru  and  where 
they  are  going. 

What  Are  Masterpieces? 

I  et  us  consider  the  great  films  of  the  past  as  explora- 
tions in  an  unknown  land.  We  are  looking  at  them 
only  from  the  point  of  view  of  the  more  or  less  sensitive 
animal  who  sits  in  the  darkened  theater  peering  at  the 
dancing  black  and  white  of  the  screen.  After  all,  the 
powers  that  be  in  the  movies  are  concerned  with  what 
happens  in  the  brain  of  him  who  consumes  their  millions 
of  feet  of  reel. 

And  what  is  a  "masterpiece"  of  the  cinema?  Is  it  not 
one  of  those  pictures  that  is  hard  to  forget,  perhaps  im- 
possible to  forget?  As  to  the  qualities  that  force  us  to 
remember  them,  we  shall  recognize  them  better  by 
examining  the  pictures  we  have  not  been  able  to  forget. 

"The  Birth  of  a  Nation"  is  still  running  somewhere  in 
the  United  States ;  it  must  be  nearly  a  decade  since  it 
was  made.     In  some  respects,  the  movies  during  this  time 
(and  Griffith  him- 
self)    have    never 
exceeded  it. 

This  picture 
marks  a  period, 
when  the  movies 
ceased  to  be  a 
form  of  cheap  en- 
tertainment, 
nickelodeon,  a 
"joke,"  a  "lot 
of  photography." 
Griffith,  the  pio- 
neer, gave  the 
world  a  new  shud- 
der;  that  is,  a 
thrill  such  as  they 
could  not  have  got 
out  of  books, 
plays,  operas.  He 
had  a  big  enough 
mind  to  deal  with 
a  universal  theme, 
war  and  peace,  in 
a  big  and  serious 
way,  altho  in  the 
movies.      First,  he 


utilized  the  ability  of  the  cinema  to  spread  over  a  large 
slice  of  history  and  over  a  vast  panorama  of  events, 
armies,  men,  dramas.  To  realize  graphically  the  sweep 
and  power  of  a  story  that  spread  over  many  years  and 
many  states  was  a  new  "effect"  that  the  book  which  gave 
germ  to  the  film  never  approached.  It  was  a  revelation, 
and  showed  that  you  could  do  serious  pictures  on  a  heroic 
scale,  and  that  you  could  hold  a  public  a  whole  evening 
thru  ten  or  a  dozen  reels.  The  handling  of  groups, 
mobs,  in  order  to  secure  the  utmost  emphasis  on  the 
action  they  symbolized ;  the  composing  of  these  pictures, 
some  of  them  so  precise  that  they  are  of  historical  value ; 
the  intelligent  direction  of  the  actors,  so  that  they  were 
deeply  convincing  and  never  looked  like  foolish  movie 
people — all  this  marked  a  great  forward  step. 

Griffith's  Film  Dramatics 

Altho  Griffith  thru  this  picture  and  afterward  became  a 
master  of  tempo,  a  wizard  at  building  up  everything 
to  the  single  concentration  point  of  action,  "The  Birth  of 
a  Nation"  seemed  to  fall  distinctly  into  two  episodes :  the 
Civil  War,  and  the  post-war  reconstruction  period.  The 
war  period  was  very  loosely  put  together,  and  weakened 
the  structure  of  the  whole  film,  to  my  mind,  by  provid- 
ing an  anti-climax.  But  in  the  second  episode  Griffith  did 
some  amazing  things  in  the  way  of  film  dramatics.  He 
had  three  or  four  stories  going  on  at  the  same  time,  all 
working  to  their  common  climax,  in  their  various  ways. 
The  besieging  of  the  little  party  of  whites  in  the  cabin; 
the  attempted  violation  of  the  girl ;  the  rising  disorder 
and  debauchery  among  the  blacks ;  all  are  brought  to  a 
happy  and  just  (it  is  supposed)  solution  by  the  tremen- 
dous raid  of  the  Klansmen.  And  as  for  the  Klansmen, 
he  had  created  them  dramatically  by  providing  in  a 
logical   sequence   one   scene   after   another   of   mounting 

horror,  calculated 
to  make  revolt  and 
violence  inevitable 
for  the  down- 
trodden whites. 

Early  Chaplin 
Comedies 

Among  the  things 
we  must  drag 
back  out  of  the 
past  are  the  early 
Chaplin  films. 

Chaplin  in  "A 
Dog's  Life,"  "The 
Rink,"  "The 
Immigrant,"  pre- 
sented the  dance 
of  life.  He  was 
the  greatest  dancer 
of  all ;  and  in  his 
pictures,  every- 
thing danced,  his 
walking  stick,  his 
splay  feet,  his 
mouth,  his  mus- 
tache,    his     hands. 


Gilliams  Service 

Scene  from  a  new  German  film  drama  based  upon  the  life  of 
Frederick  the  Great 


52 


C7H0TI0N  PICTURE 

A  Critical  Discussion  of  the  Screen's  Advance 


his  trousers  It  was  not  the  minuet,  or  the  old- 
fashioned  waltz,  or  even  the  fox  trot  It  was  the  rhythm 
and  balance  of  an  infinite  variety  of  movement!  and 
•ires,  from  the  wildest  shocks  and  rebounds  to  the 
it  delicate  twirlings  or  nuances  of  his  facial  muscles. 
It  was  such  a  mirroring  of  life  as  we  would  rather  look 
it  in  the  tilin^  than  read  in  a  book,  or  hear  in  music, 
or  look  at  in  a  painting.  In  his  own  style  he  was  a  poet 
of  motion  ;  and  his  own  energy,  his  dynamo  of  a  figure 
was  hurled  against  a  world  that  was  inert  and  insensitive, 
the  world  of  Mack  Swains,  of  policemen,  of  order  and 
peace.  Sometimes  he  set  everything  to  dancing  about 
him.  as  in  "The  Immigrant"  where  we  are  convulsed  by 
the  backward  and  forward  sliding  of  the  food  on  the 
peerage  table.  But  always  he  possessed  this  secret  of 
skidding,  skating,  careening  thru  life  at  a  pace,  or 
rhythm  that  created  a  new  laughter,  a  new  happiness,  that 
we  should  all  have  been  much  poorer  not  to  have  had. 

Nobody,  of  course,  could  ever  duplicate  the  personality 
which  Chaplin  created  as  well — the  Mona  Lisa  like  smile, 
a  certain  wistfulness  combined  with  insolence  toward  all 
the  things  that  are  proper  and  sacred. 

Harold  Lloyd  adopted  cunningly  all  the  farcial  ma- 
chinery Chaplin  used,  which  had  really  been  hatched  in 
Mack  Sennett's  studios.  Here  we  have  again  an  uproari- 
ous poetry  of  motion,  which  is  inimitably  of  the  cinema. 
It  is  exquisitely  created  in  the  elaborate  farces  of  Lloyd ; 
and,  characteristically  enough,  his  face  is  a  perfect  mask 
while  his  body  never  stops  moving.  Lloyd  developing 
from  Chaplin  mastered  also  some  of  the  secrets  of  tempo. 
That  is.  starting  at  a  given  speed,  he  would  work  up  to 
a  frenzy  of  motion  in  different  directions,  when  until 
we  were  convulsed  he  would  devastate  us  by  a  still  more 
outrageous  combination. 

One  of  those  German  scientists  who  write  books  on 
the  cinema  said : 
"The  reason  why 
the  American  come- 
dies are  so  infinitely 
superior  to  Euro- 
pean comedies,  is 
that  they  realize  the 
humor  of  motion, 
kinetic  farce." 


Deaders  of  The 
Motion  Picture 
Classic  will  recall 
that  the  tvpical  prod- 
ucts of  1915-1920 
were  the  old  Triangle 
society  drama,  the 
cowboy  films  of 
William  S.  Hart, 
and  an  occasionally 
high-minded  piece 
of  work,  such  as 
John  Barrymore's 
"Dr.  Jekyll  and  Mr. 
Hyde,"  "The 
Miracle  Man,"  or 
"The  Spoilers." 


Scene  from  a  new  German  trick  film,  "In  the  Land  of  Fortune," 
soon  to  be  seen  in  America 


Many  of  the  old  thrillers  realized  the  beaut)  ol  mo 

tion   Unconsciously,      The  cowboy   pictures   mure  than   the 
others.     The  attraction   of   B   William   S.    Hart   ;i>   a   <W- 
perado    fleeing    from    justice,    or   as   an    avenging    f< 
was  that   of   the  primitive  animal   power   in   men.   which 
the  cinema  could  already  rive  so  graphically.     It  was 
wholly   Visual.     As   to   the   literary   content    of    these   old 
thrillers,   those   of   us    who   still   can.   sometimes    brash 
over  it.     But  if  they  could  be  revived,  and  the  titles  r< 
written    by    such    wits    as    Marc    Connelly    and    I  >■ 
Kaufman,  I  imagine  that  they  might  reveal  a  native  and 
ingenuous  charm  all  their  own. 

"The  Spoilers,"  based  on  Rex  Beach's  novel,  and  again 
exceeding  the  literary  work,  had  one  of  those  herculean 
struggles  that  we  are  glad  enough  to  witness  from  a 
seat.     But  the  fight  was  perfectly  logical,  in  the  film  at 
any  rate.     Moreover,  the  villain  in  this  case  had  a  per 
fectly  sound  chance  of  getting  away  with  the  hero's  gold 
mine,  in  view  of  his  power  and  the  lawlessness  that  pre 
vailed  in  Alaska. 

The  same  sense  of  a  struggle  on  a  heroic  scale  is  found 
in  "The  Miracle  Man,"  altho  in  this  case  the  hero,  played 
by  Thomas  Meighan  at  his  very  best,  seems  to  be  in 
opposition  to  a  supernatural  force,  spiritual  faith. 

"Dr.  Jekyll  and  Mr.  Hyde,"  belonging  to  approximately 
this  same  period  which  ended  five  years  ago,  was  a  piece 
of  serious  film-drama,  seriously  conceived,  intelligently 
directed  by  John  Robertson  and  cast,  so  that  everyone 
played  with  great  skill  and  sincerity.  However,  we  seem 
now  to  have  gone  very  far  from  even  the  acting  of  John 
Barrymore,  which  completely  lacked  that  "movie-way" 
that  the  stars  have  now. 

None  of  the  three  films  just  mentioned  overcomes  the 
handicap  which  exists  in  our  minds  now  as  a  result  of 
the  tremendous  strides  made  in  camera  technique.     None 

of  them  is  equal  to 
modern  pictures  in 
the  firm,  clear 
beauty  of  their 
cinema  composi- 
tions. 

It  is  impossible  to 
have  seen  every- 
thing; life  is  too 
short  for  that.  Al- 
tho  it  is  now 
possible  to  revive 
nearly  everything, 
thanks  to  the  en- 
lightened Film 
Guild.  We  can  re- 
call enough  from 
the  already  dim  past 
of  the  movies  to 
feel  that  the  early- 
work  realized  a  tiny 
part  of  the  broad 
medium  which  the 
cinema  offers.  They 
kept  things  moving 
before  our  eyes,  in 
(Con.    on   page    72 1 

53 


Nealson  Smith 


We 

SHEIK 
Returns 


With    the    big    Fairbanks-Pickford    lot    trans 
formed    into    a    sandy    stretch    of    the    Sahara, 
Rudolph  Valentino  has  been  at  work  upon  his 
"Son    of  the  Sheik"  for  some  time. 

"Son  of  the  Sheik"  is  E.  M.  Hull's  attempt  to 
duplicate  her  best-selling  shocker  of  several  years 
ago.  The  film  version,  bad  as  it  was,  helped  to 
lift  Rudy  to  his  meteoric  popularity. 

Will  "Son  of  the  Sheik"  turn  the  trick  of 
denting  the  box-office  for  Valentino?  We  shall 
see.  Anyway,  Rudy  will  have  the  glamourous 
assistance  of  Vilma  Banky,  who  has  been  termed 
the  Hungarian  rhapsody.  And  the  superb  direc- 
torial aid  of  George  Fitzmaurice. 


54 


r»S0 


The  Off-Stage  Laugh 

The  Part  Played  by  Mrs.  Raymond  Hatton 
in  Her  Husband's  Career 


By   GLENN  CHAFFIN 


THE  thing  began  when  the  Hattons 
were  youngsters  together  "on  the 
road."  They  had  been  married 
only  a  short  time,  but  had  already 
missed  a  few  meals  together.  They 
played  a  different  show  and  a  different 
town  every  week.  Sometimes  the 
changes  were  more  often  than  that. 
Pay  envelopes  were  at  a  premium. 

One  night  when  Raymond  was  doing 
a  comedy  bit  in  a  play  his  humor  failed 
to  create  more  than  a  mild  ripple  of 
enthusiasm  from  the  Middle-Western 
audience.  He  had  gone  without  dinner 
and  he  felt  more  like  playing  for  tears 
than  laughs. 

Suddenly   from  the  wings  off  stage 
he  heard   the   half-hushed   laugh   of  a 
girl.     A  laugh  subdued,  but  in- 
toxicating. 

Its   effect    on    the 
comedian  was  electric. 
He  told  me  the  other 
night    that    it    was 
as  cheering  as  tho 
somebody   had 
tossed  him  a  ham 
sandwich,    or    a 
five-dollar  bill. 

"That's    a    left- 
handed    tribute    to 
Frances,"  he  added, 
"but  you  see  in  those 
days  we  got  most  of 
our   inspiration    from 
lunch     counter.       It's 
right    for   the   philosophers    to 

parade  the  theory  that  genius  is  born  of  want,  but  it's 
hard  to  act  funny  when  the  thing  you  want  is  a  square 
meal. 

Then  Frances   Laughed 

"  J  glanced  off  stage  and  there  stood  Frances,  laughing 
to  beat  the  band.  I  dont  know  yet  just  what  my  re- 
action was,  but  in  a  few  minutes  I  had  everybody  in  the 
house  roaring.  Say,  neighbor,  I  swaggered  off  that  stage 
with  the  world  at  my  feet.  And,  no  joking,  I  could  have 
taken  bows  out  there  for  an  hour." 

Aside  from  the  fact  that  I  spent  a  great  many  of  my 


Raymond  and  Frances 
Hatton  have  been  mar- 
ried for  years,  since 
they  played  together  in 
road  shows.  Now  she 
does  her  bit  out  of 
sight  of  the  camera 


week-ends  last  summer  as  the 
guest  of  the  Hattons  and 
Milt  Howe,  who  have  adjoin- 
ing beach  cabins  near  Santa 
Barbara,  I  have  never  actual- 
ly been  a  neighbor  of  Ray's. 
But  it  is  a  term  that  he  uses 
frequently  to  his  friends  and 
he  has  a  way  of  saying  it  that 
makes  you  feel  as  tho  you'd 
fought  Indians  with  him.  Or 
homesteaded  by  his  side  in 
the  great  open  spaces.  The 
kind  of  fellow  you  feel  that 
you  can  ask  for  a  free  meal 
without  losing  his  friendship. 
The  idea  for  this  expose  of 
the  Hatton  professional  alli- 
ance originated  in  an  incident 
which  occurred  on  a  stage  at 
the  Famous  Players-Lasky 
studio  in  Hollywood  a  short 
time  ago.  Ray  was  playing  a 
scene  with  Mary  Brian  in 
"Behind  the  Front,"  a  war 
comedy  in  which  Hatton  and 
Wallace  Beery  clown  their 
way  thru  barbed  wire  en- 
tanglements, shell  holes  and 
what-not. 


Evans 


"Behind  the  Front" 

Crances  and  I  were  stand- 
ing off  stage  watching  Ray 
fill  his  coat  sleeves  full  of  silverware.  The  thing  was 
funny,  but  at  first  I  confined  my  enjoyment  to  a  grin, 
figuring  that  my  cue  was  to  be  neither  seen  nor  heard 
while  there  was  action  in  the  air. 

Not  so  Mrs.  Hatton.  She  laughed  outright  and 
heartily.  The  camera  was  grinding  away  and  I  made  the 
faux  pas  of  my  young  life  by  trying  to  "shush"  her. 

She  looked  at  me  in  amazement. 

"Dont  shush  me,  silly.  I'm  doing  this  for  Raymond's 
benefit.  This  is  my  contribution  to  his  art.  I'm  the 
'off-stage  laugh  that  you  hear  so  much  about  in  the 
'speakies'  realm." 

Just  as  soon  as  the  scene  was  finished,  Ray  came  over 
to  where  we  were  standing. 

{Continued  on  page  81) 

55 


All's 

FAIR 

in 

Love 


By  Mary  B. 
Chapman 


Melbourne  Spurr 

At  fifteen  Elinor  Fair  made  her  debut  as  the  little  cripple  girl  in 
"The  Miracle  Man."    Remember  that  touching  performance? 

THERE   is   much   controversy   in    Hollywood — and    elsewhere — 
concerning  careers  versus  matrimony,  and  many  and  varied  are 
the  opinions  advanced  on  the  subject. 
But  there  is  one  girl  in  town  who  found  the  passport  to  success  in 
both  lines  handed  to  her  because  a  director  spent  one  spare  hour  in  a 
certain  picture  house. 

%  The  girl  is  Elinor  Fair,  the  director  is  Cecil  B.  De  Mille,  and  the 
p'icture  was  one  starring  Buck  Jones  and  with  scenes  laid  in  a  Western 
lumber  camp. 

Found  by  De  Mille 

/~)nce   during  the  picture,  Elinor  in  a  sudden 'flare  of  mimic 

temper  slapped  Buck  Jones 
in  the  face  ;  at  another  time,  she 
opened  a  door,  smiling,  and  be- 
fore she  had  closed  it  her  ex- 
pression had  changed  from  joy 
to  bitter  tragedy.  Mr.  De  Mille 
observed  and  made  mental 
note  at  nine  o'clock  one  eve- 
ning. 

At  ten  next  morning,  the 
brown-eyed  Elinor  was  in- 
formed over  the  telephone  that 
Mr.  Goodstadt,  casting  direc- 
tor for  De  Mille  productions, 
wished  to  see  her. 

56 


Elinor  Fair  as  the  princess  in  Cecil 

De    Mille's   new  production,   "The 

Volga  Boatman" 


*-**.• 


How  Elinor  Fair 

Met  and  Married 

Bill  Boyd 


"I  thought  he  wanted  to  see  me  about 
a  lead  with  Rod  La  Rocque,"  said 
Elinor,  dimples  dancing  in  the  rose. of 
her  cheeks,  "but  instead  he  took  me  up 
tu  Mr.  De  Mille's  office,  and  1  learned  1 
wts  In-iti};  considered  for  the  part  of  the 
princess  in  'The  Volga  Boatman.' 

"No,  1  wasn't  nervous.  I've  never 
a  afraid  to  meet  anyone.  I  believe  1 
could  go  and  talk  to  the  president  and 
feel  no  more  impressed  than  if  I  were 
conversing  with  the  Moorman  of  the 
stiulio. 

"Sign  Her  Up!" 

"Mk.  De  Mii.i.k  told  me  the  story  of.  the 
picture,  asked  me  a  few  questions 
ahout  work,  and  then  we  discussed 
foreign  countries  and  men,  women  and 
dogs.  At  the  end  of  half  an  hour,  he 
called    Mr.    Goodstadt   and    said:    'Take 


William  David  l\ 


your  girl  down-stairs  and  sign  her  up,'  and  that's  all 
there  was  to  it." 

It  was  her  work  in  this  picture  that  caused  Mr.  De 
Mille  to  give  her  a  contract  calling  for  featured  roles. 
But  the  most  important  development  of  her  signature  on 
the  dotted  line,  according  to  Elinor  herself,  was  the  ac- 
quiring of  a  bridegroom. 

Shortly  after  the  name  "Elinor  Fair"  had  been  ap- 
pended to  the  paper  on  Mr.  Goodstadt's  desk,  the  owner 
of  it  was  given  a  screen  test  for  hair-dressing  and 
costume. 

As  she  stepped  up  on  the  set,  she  noticed  a  tall,  fair 
youth  standing  near  the  camera,  doing  nothing  in  par- 
ticular. 

"Miss  Fair,  let  me  present  Mr.  William  Boyd." 
mumbled  the  director  of  the  test,  and  in  the  same  breath 
began  to  explam  the  action  of  the  scene. 


At   the   left,   Elinor   Fair   in   a  scene   of   "The 

Volga    Boatman"   with    William    Boyd.     Two 

months  and  four  days  after  she  met  Bill,  the 

two  were  married 


The    two   young    people    looked    at    one    another 
briefly,     bowed,    and     walked    awray — one    to    her 
place  before  the  Kleigs,  the  other — but  where  Bill  Boyd 
went.  Elinor  doesn't   know,   for  she  was  so  little  inter- 
ested that  she  failed  to  notice  wffiether  or  not  he  was  still 
on  the  set  when  the  test  was  over. 

Meets  Bill  Boyd 

Co  much  for  love  at  first  sight. 

They  met  again  when  Mr.  De  Mille  read  the  story 
to  the  cast,  and  a  week  later  found  them  together  on 
location  near  Sacramento. 

"We  played  around  with  each  other,  as  leading  players 
of  a  picture  always  do,"  admitted  Elinor,  "hut  until  the 
last  day  of  our  stay  there  was  no  more  to  it.  Then — it 
happened." 

What  "it"  was  is  to  be  interpreted  by  those  who  have 
been  in  love. 

*AYe  were  to  leave  that  day.  and  Mr.  De  Mille  hoped 
to  make  one  last  shot  of  me  by  the  river,  so  I  had  m\ 
make-up  and  costume  on,  while  Bill  was  in  civilian 
clothes  ready  to  go  home.  We  were  waiting  for  the  sun 
to  come  out,  you  see,  so  we  sat  on  the  barge  by  the  river 
with  the  clouds  hanging  low  and  a  chill  wind  blowing. 
(Continued  on  page  78) 


57 


International  Newsreel 

Clara  Bow  again  is  reported  engaged.     This  time  to  Gilbert 

Roland,  a  film  player  of  some  prominence.    The  wedding  date 

is  still  unnamed 


Pacific  &  Atlantic 

Mr.  and  Mrs.  Buck  Jones  drop  in  to  call 
upon  Will  Hays  before  sailing  for  Europe.  Both 
Will  and  Buck  spent  their  boyhood  in  Indiana 


Letters  to  King  Dodo 


Hollywood. 
Dear  Majesty: 

ONE  of  the  strangest  phenomena  of  Hollywood  is 
the  Writers'  Gub  of  the  Screen  Writers'  Guild  of 
the  Authors'  League  of  America.  -I  hope  to  have 
the  pleasure  of  conducting  Your  Majesty  to  dine  there 
incognito  when  you  visit  this  country.  The  busy  writers 
do  not  frequent  the  club  by  day,  but  in  the  cool  of  the 
evening  they  come  down  to  feed  on  the  tender  asparagus 
tips  and  the  young  squabs  provided  under  the  careful 
management  of  Major  Hughes,  Our  President. 

Here  Your  Majesty  will  observe  a  discreet  nook, 
reserved  for  the  celluloid  samurai,  palpitant  with  well- 
bred  interest.  A  Maker  of  Stars  is  revealing  to  a  chosen 
few  the  secret  of  her  success.  Voluminous  in  a  batiked 
frock  that  encloses  her  as  in  the  nimbus  of  an  ample 
sunset  cloud,  she  rolls  her  eyes  expressively. 

"I  take  no  credit  to  myself.  I  realize  that  my  hand 
is  guided  by  the  souls  of  generations  long  since 
departed !" 

The  table  stiffens,  gaping. 

"Well  do  I  remember  those  wonderful  nights  on  the 
Nile!" 

She  sighs  voluptuously. 

"I  was  his  mother  in  that  incarnation.  But  I  wronged 
him." 

The  table  buzzes  with  respectful  comment. 

"And  listen !  I  take  no  credit  for  my  wonderful 
screen  stories.  They  are  all  written  for  me.  I  go  to 
bed  at  night  and  promptly  at  4  A.  M.  the  subconscious 
mind — heritage  of  generations  of  the  best  brains  of  all 
lands — begins  to  work  for  me.  When  I  wake  up,  the 
story  has  been  completed." 

The  table  twitters  its  appreciation. 

"But  this  gift  of  recalling  the  past  so  vividly  has  its 
drawbacks." 

58 


She  looks  coyly  sidewise. 

"Just  the  other  day  on  the  set  a  tall,  dark,  East  Indian 
gentleman  stepped  up  to  me.  He  looked  me  right  in  the 
eye  and  in  a  deep,  magnetic  voice  he  said,  as  he  held  my 
hand :  'Do  you  remember  that  night  in  Babylon  four 
thousand  years  ago  ?' 

"I  was  so  embarrassed !" 


New  York. 
Dear  King: 

Pjoubtless,  you  are  interested  in  knowing  about  Alastair 
Mackintosh,  who  married  your  favorite,  Constance 
Talmadge.  The  Hon.  Alastair  departed  from  California 
shortly  after  the  wedding,  sojourning  in  Palm  Beach  and 
other  Florida  points  for  a  time.  Thus  Connie  spent  part 
of  her  honeymoon  alone. 

My  spies  report  to  me  that  the  Hon.  Alastair  is  a 
personal  friend  of  the  Prince  of  Wales  and  a  former 
captain  in  the  Seaforth  Highlanders.  He  is  a  member 
of  the  prominent  Inverness  family  and  was  at  one  time 
equerry  to  Princess  Beatrice.  Later  he  acted  as  A.  D.  C. 
to  the  governor  of  Bombay. 

Still,  that  doesn't  explain  to  your  highness,  I  know, 
how  a  bridegroom  could  ramble  off  to  Palm  Beach, 
leaving  the  fair  Connie  behind. 


Hollywood. 

Dear  Majesty : 

Jean  Hersholt  told  me  the  other  day  that  he  hopes  to 

be  able  to  work  with  Erich  Von  Stroheim  and  also  to 
play  "The  Return  of  Peter  Grimm"  for  Fox.  If  he  per- 
forms this  feat,  Fox  will  have  to  hurry  Peter's  return  to 
enable  Jean  to  begin  with  Von  the  next  month. 

The  sudden  but  determined  rise  of  jean  Hersholt  will 
interest  Your  Majesty,  because  it  was  not  an  accident  as 
most    movie    careers    happen    to    be,    but    was    actually 


irnulioiul  Xewtrtcl 

Laura  La  Plante  and  Hedda  Hopper  come  to 
New  York  for  a  brief  visit.  The  CLASSIC 
cameraman  met  them  at  Grand  Central  Station 


The  dangerous  difficulties  of  being  a  cameraman.     John  Boyle, 

from  Director  Lambert  Hillyer's  car,  films  a  race  at  thirty-five 

miles  an  hour 


By  Don  Ryan  and  Frederick  James  Smith 


engineered  by  the  climber,  who  used  business  methods  on 
the  business  men  who  make  the  pictures.  His  salary  is 
now  something  scandalous. 

Hersholt  had  been  a  small-fry  director  for  years.  He 
played  the  villain  with  Mary  Pickford  in  "Tess  of  the 
Storm  Country."  The  shrewd  eyes  of  Von  Stroheim 
noticed  him  and  gave  him  the  part  of  Martin  Schuler  in 
"Greed."  Hersholt  scored  and  was  promptly  deluged 
with  demands  that  he  play  the  identical  character  in 
other  pictures — this  is  the  system  when  an  actor  makes 
a  hit  in  a  certain  part. 

But  Jean  was  not  to  be  caught  in  this  vicious  system. 
He  managed  to  slip  in  some  characterizations  that  were 
not  Martin  Schuler1 s  but  were  equally  good  ones.  And 
his  last  impersonation,  that  of  The  Old  Soak,  places  him 
definitely  as  the  first  character  actor  of  the  screen.  I  am 
excepting  Lon  Chaney,  whose  genius  lies  in  the  direction 
of  eccentric  characterizations. 

"It's  a  joke,"  laughed  Hersholt,  telling  me  about  his 
sensational  arrival. 

"If  I  had  suggested  playing  a  Warfield  role  a  few 
years  ago,  the  producers  would  have  laughed  at  me. 
Yesterday  I  found  myself  up  against  this  situation.  Von 
wants  me  to  be  co-starred  in  'The  Wedding  March.' 
Fox  wants  me  to  play  'The  Return  of  Peter  Grimm.' 
Lasky  wants  me  for  'The  Rough  Rider,'  a  story  about 
Roosevelt — all  at  the  same  time." 

If  necessary,  Jean  will  choose  to  go  with  Von  Stroheim, 
the  director  who  really  made  him,  and  sacrifice  the  other 
parts.  His  part  in  "The  Wedding  March"  is  a  butcher, 
the  rival  of  the  aristocratic  militarist  to  be  played  by  Von 
himself. 

"In  The  Old  Soak,'  "  said  Jean,  with  the  remnants 
of  a  Danish  accent,  "I  had  to  laugh.  They  were  afraid 
to  keep  the  ending  of  Don  Marquis'  play  because  the 
play  was  a  flop  in  the  middle  of  America  where  the  senti- 


ment is  dry.  So  they  added  a  scene  to  the  picture  in 
which  the  old  man  repents  and  sits  there  crying — smash- 
ing all  his  whisky  bottles!  It  may  satisfy  the  censors, 
but  the  old  soak  would  never  have  done  that  in  real  life." 


Xew  York. 

Y'our  Highness : 

VOUR  telegram  for   further  facts  about  Lya  de  Putti 

was.  acted  upon  at  once.  Lya,  as  you  know  has  re- 
covered from  her  operation  and  is  working  in  the  Grif- 
fith effort,  "The  Sorrows  of  Satan."  My  spy  Xo.  47, 
located  in  Berlin,  tells  me  that  Lya's  real  name  isn't 
de  Putti,  after  all.  It's  Amalia  Janke.  She  was  at  work 
at  the  Ufa  studios  when  she  signed  up  with  Famous 
Players.  She  finished  the  film  on  a  Saturday,  where- 
upon she  boarded  a  train  without  informing  anyone. 

Various  claims  as  to  debts  were  advanced  immediately. 
These  claims  amounted  to  eighty  thousand  gold  marks. 
One  of  the  creditors  complained  to  the  police  and  Lya 
was  held  up  at  Cologne.  She  was  allowed  to  continue, 
however,   after  depositing   five   thousand   gold   mark-. 

Other  alleged  creditors  appeared,  but  Lya  was  across 
the  border.  Her  motor  car  and  other  valuables  left 
behind  in  Berlin  were  seized.  For  a  time  it  seemed  that 
Lya  might  not  sail  to  these  shores.  Finally,  some  sort 
of  arrangement  was  made  and  Lya  departed. 

The  fair  Lya  is  reported  to  be  getting  $1,000  a  week 
at  Famous. 


Hollywood. 
Dear  Majesty: 

In  my  last  epistle  I  had  the  honor  to  comment  to  Y'our 
Majesty  upon  the  bizarre  practice  in  moviedom  of 
altering  the  intention  of  a  play  in  order  to  escape  censor- 
ship. Better  not  make  it,  at  all,  you  would  think — but  the 
producers  believe  they  must  have  the  play  for  its  name. 


69 


CLASSIC 


-  . 


Buster   Keaton   gets   encouragement   during   the   filming   of 

the     comedy,     "Battling     Butler,"     from     Mickey     Walker, 

welterweight  champion 


Alice  Lloyd,  the  English  comedian,  calls  upon 

Charlie  Chaplin.    Years  ago  they  played  on  the 

same  bills  in  the  English  music-halls 


The  Puritan  thread  which  runs  thru  American  life  is 
evidently  just  as  tough  as  it  was  in  the  days  of  the  Salem 
witchcraft.  There  always  has  been,  of  course,  plenty  of 
opposition.  But  Your  Majesty  could  never  guess  the 
quarter  from  which  the  latest  anti-Puritan  propaganda  is 
coming.  Lillian  Gish  is  making  "The  Scarlet  Letter" 
into  a  picture  for  Metro-Goldwyn-Mayer,  acting  on  her 
own  initiative.  Her  own  ancestors  were  New  England 
roundheads  and  she  always  wished  to  reproduce  Haw- 
thorne's masterpiece  as  a  movie. 

Securely  hidden  behind  a  tall  "nigger,"  I  watched  the 
frail  Lillian  making  a  scene  for  the  picture — the  scene 
in  which  Hester  Prynne  meets  her  husband  after  she  has 
been  decorated  with  the  letter  of  shame.  I  never  saw  so 
much  pains  being  taken  with  any  scene — and  I  have 
watched  Von  Stroheim  at  work  again  and  again.  Lillian 
was  rehearsing  her  own  scene  apparently  without  any 
direction  from  Victor  Seastrom,  who  was  just  sitting  on 
the  side-lines. 

But  the  most  pains  were  being  taken  with  the  lights. 
The  lights  were  the  invention  of  Lillian's  own  camera 
wizard,  the  former  Herr  Professor  Hendrik  Sartov,  of 
Rotterdam.  This  physicist,  weaned  from  his  university, 
but  not  from  his  long  pipe  and  flowing  tie,  was  putting 
one  band  of  light  over  Lillian's  eyes  while  with  another 
arrangement  he  was  getting  rid  of  her  cheek-bones.  He 
is  undoubtedly  a  monumental  asset. 

Lillian  and  her  friends  are  going  to  make  "The  Scarlet 
Letter"  without  softening  the  hard  Puritan  character,  I 
was  told.  It  will  be  a  lesson  for  the  long-hairs  of  today, 
the  same  lesson  that  Griffith  attempted  to  convey  in  "In- 
tolerance" and  failed  magnificently  in  the  doing. 

This  picture  begins  to  look  like  another  big  success  for 
Metro-Goldwyn-Mayer ;  and  with  such  a  bright  young 
man  as  Joseph  Hergesheimer  for  her  press-agent,  I  see  a 
bright  future  for  Lillian. 


Hollywood. 
Dear  Majesty: 

John  Gilbert  is  being  fitted  at  the  Western  Costume 

Company  for  the  trunk-hose,  the  doublets,  the  velvets 

and  laces  and  armor  he  will  wear  as  the  hero  of  a  piece 

the   title    of    which,    when    he    pronounced    it    for    me, 


sounded  like  a  savory  sauce:  "Bordelaise,  the  Magnifi- 
cent," or  something  of  the  sort — by  Rafael  Sabatini,  the 
modern  romancer  of  the  Middle  Ages. 

I  am  inclined  to  agree  with  the  opinion,  expressed  after 
viewing  "The  Big  Parade"  at  Your  Majesty's  theater  in 
Oz,  that  Jack  Gilbert  eclipses  in  sheer  histrionics,  any 
leading  man  who  heretofore  has  graced  the  celluloid 
drama.  In  answer  to  Your  Majesty's  question  anent  the 
secret  of  his  outstanding  superiority,  it  seems  to  me  that 
Jack  possesses  all  the  qualities  of  the  others  with  the 
addition  of  a  more  subtle  personality.  He  is  of  a  finer 
grain.  His  acting  never  jars.  Watching  Gilbert  gives 
the  same  satisfaction  as  riding  in  a  perfect  foreign-built 
motor-car. 

It  is  almost  impossible  to  believe  that  the  drab  and 
wrinkled  extra  whom  I  encountered  the  other  day  wait- 
ing for  some  scrap  to  be  thrown  from  the  casting  window 
at  the  Fox  Studio  could  be  Jack  Gilbert's  father.  Yet 
such  is  his  claim,  and  Jack  himself  does  not  attempt  to 
deny  it.  The  son  sends  a  monthly  check,  but  he  does  not 
wish  any  closer  contact  with  the  man  who  says  he  is  his 
father. 

"He  didn't  show  himself  till  I  was  on  top,"  said  Jack. 
"When  I  needed  a  father,  he  wasn't  there.  To  save  my 
neck  I  cannot  feel  any  affection  for  this  man  who  is  a 
stranger  to  me." 

Physically,  there  is  no  resemblance  between  the  mouse- 
colored  old  stock  actor,  whose  name  is  John  Pringle,  and 
the  dark,  vivid,  romantic-looking  Gilbert,  who  resembles 
his  mother.  She  was  Ida  Adair,  once  a  favorite  on 
Broadway — a  flower  that  quickly  withered  and  died  in 
the  hectic  glare  of  the  calciums.  As  a  boy,  Jack  knew 
little  of  either  parent.  He  was  indeed  a  Dazid  Copper- 
field  of  the  stage. 


Hollywood. 
Dear  Majesty : 

Here  is  one  of  the  odds  and  ends  of  movie  life  which 
n  may  afford  Your  Majesty  some  amusement.  Three 
years  ago  a  girl  named  Gladys  McConnell  graduated 
from  Hollywood  High  School  and  tried  to  break  into 
pictures.  For  weeks  she  haunted  Fred  Datig's  ante- 
chamber at  Universal  City — without  any  result. 


60 


Syd  Chaplin  demonstrates  the  only  safe 

way    to    be    a    cowboy.      However,    this 

pony  isn't  so  good  in  a  stampede 


Greta  Garbo  helps  Lew  Cody  make  up  as  Othello  for  an  episode 

of    "Toto,"     being     filmed     at     Metro-Goldwyn.       Would     you 

recognize  Lew?    We  wouldn't 


It  happened  then  that  her  sister  Hazel,  a  leading 
woman  in  West  Coast  stock  theaters,  took  a  six-hundred- 
test  of  herself  to  show  to  Datig.  In  the  last  scene 
Gladys,  the  sister,  appeared  as  a  maid,  handing  a  wrap 
to  the  aspiring  screen  actress.  After  the  test  Datig  said 
to  Hazel : 

"I  dont  think  we  can  use  you  but — who  was  that  girl 
who  appeared  in  the  last  scene?" 

"My  sister,"  replied  Hazel. 

"Send  her  out."  said  the  Universal  official,  and  the 
girl  who  had  given  up  hope  of  ever  getting  a  job,  was 
placed  under  contract. 

Gladys  has  been  playing  leads  for  Hal  Roach.  She 
recently  signed  a  five-year  contract  with  Fox.  What  hap- 
pened to  Hazel  ?    Oh,  she  got  married. 


Hollywood. 

Dear  Majesty  : 

There  was  a  time  when  Hollywood  looked  with  some 

contempt  upon  the  comedy  producer.  Comedies  were 
still  fill-ins.  However,  a  new  comedy  era  threatens  to 
make  the  bathing-girl  motif  an  antique,  according  to 
plans  that  are  blooming  at  Hal  Roach's  plant.  Roach 
possesses  in  Katherine  Grant,  Martha  Sleeper,  Glenn 
Tyron  and  othtrs  some  very  possible  feature  material. 
Whereas  they  were  merely  comedians  yesterday,  they 
have  now  become  factors  worthy  of  more  than  passing 
consideration.  For  under  the  new  regime,  Hal  Roach 
has  inaugurated  a  series  of  all-star  comedies  in  which 
such  personages  as  Virginia  Pearson,  Eva  Novak  and 
Lionel  Barrymore  have  already  appeared.  The  astute 
producer  recently  signed  Ethel  Clayton  and  will,  no  doubt, 
close  his  negotiations  with  Irene  Bordoni  to  come  West 
and  make  a  two-reel  comedy. 

It  may  soon  be  possible  for  the  big  studios  to  farm  out 
their  contract  players  to  Roach,  and  there  are  few  com- 
panies that  will  not  seize  this  opportunity  to  let  the 
comedy  producer  pay  for  their  players'  idle  hours.  The 
actors  realize  that  it  is  a  means  of  getting  a  greater  num- 
ber of  film  appearances,  and  while  comedies  are  comedies, 
business  is  business. 

Before  long  we  may  see  Norma  Shearer.  Jack  Gilbert, 
Madge  Bellamy,  Leatrice  Joy,  Belle  Bennett,  Francis  X. 


Bushman,  even   John   Barrymore,   engaging   in   the   idle- 
hour  game. 

Why    not?      Many   of    Mack    Sennett's    comedies    are 
better  than  the  heavy  dramas  they  burlesque. 


New  York. 
Dear  Rex : 
[    know   your  highness   will  be  amused  at   the   way    an 

executive  of  a  big  New  York  newspaper  whipped  a 
certain  motion  picture  company  into  line. 

A  former  member  of  this  paper's  editorial  staff  had 
been  a  scenarist  in  Hollywood.  The  company  advanced 
the  writer  to  the  post  of  director.  In  the  course  of 
events  something  happened.  The  writer-director,  on 
location,  was  relieved  of  his  post  and  ordered  back  to 
the  studio.  Someone  in  power  hadn't  taken  a  fancy  to 
him,  it  seems. 

Back  at  the  studio,  the  writer-director  resigned.  By 
chance  he  told  his  story  to  the  executive  of  his  old  news- 
paper, who  happened  to  be  visiting  in  Los  Angeles.  The 
executive  dropped  around  to  see  the  president  of  the 
film  company,  also  in  town.  He  intimated  that  the  whole 
thing  was  unethical,  and  that  the  writer  ought  to  be  paid 
the  full  amount  of  his  contract.  The  film  president 
stalled — but  the  executive  was  obdurate.  Finally,  the 
writer-director  was  paid  in  full. 

Unfortunately,  your  highness,  few  screen  workers  have 
powerful  friends.  If  they  did,  there  would  be  fewer 
dirty  tricks  pulled  in  what  we  pleasantly  term  the  fifth 
great  industry. 


Hollywood. 
Dear  Majesty : 

My  friend  Carey  Wilson  has  never  ceased  to  talk  about 
the  halcyon  days  when  the  "Ben-Hur"  company  was 
spending    Marcus    Loew's    money   so   gaily   in   that   dear 
Italy. 

It  has  been  nearly  a  year  now  since  Carey  was  resur- 
rected from  an  ancient  Roman  tomb.  Carey,  who  is  a 
professional  scenario  writer — but  that  should  not  be  laid 
too  heavily  against  him — still  delights  to  tell  about  the 
Bragaglia  Cafe. 

(Continued  on  page  84) 


61 


Filming  "Beau  Geste" 


(Continued  from  page  26) 


picture,  as  we 
watched  the  lower- 
ing of  the  colors 
at  sundown — two 
Americans  folding 
the  Stars  and 
Stripes,  two  Eng- 
lishmen folding  the 
Union  Jack,  and 
two  Frenchmen 
the  flag  of  France. 

A  Cast  of 
Veterans 

IV/Iost  of  the  cast 
are  veterans  of 
the  World  War 
and  take  to  soldier- 
ing naturally. 

Victor  McLag- 
len,  Hank  of  the 
picture,  was  cap- 
tain of  police  in  the 
city  of  Bagdad,  and 
has  dealt  with  the 
children  of  the  des- 
ert first  hand. 

"Killing  a  white 
man  brings  an 
Arab  nearer  his 
heaven,"  he  ex-. 
plained,  his  eyes 
on  the  long  line  of 
mounted  Arabs, 
whose  flowing 
robes  and  giant 
shields  no  longer 
terrified  their 
trained   steeds. 

Training  the 
horses  to  bear  such 
garbed  and  yelling 
riders  was  part  of 
the  task  of  Jack 
Moore,  in  charge 
of  all  stock  used 
in  the  picture.  His 
was  also  the  feat 
of  "breaking"  the 
150  mules  ridden 
by'  the    Senegalese 

troops,  bringing  them  within  two  weeks 
from  the  status  of  wild  mules  on  the  range 
to  army  steeds  working  in   formation. 

It  was  the  war  that  put  Victor  McLag- 
len  in  close  sympathy  with  Herbert  Brenon 
on  the  making  of  "Beau  Geste."  Victor 
is  one  of  eight  brothers  all  over  six  feet 
tall,  and  England's  declaration  of  war 
brought  all  of  them  home  from  various 
parts  of  the  world  to  enlist. 

Fred  was  Victor's  elder  and  favorite 
brother. 

"He  used  to  be  always  talking  about 
'my  young  brother  Vic,' "  remembered  Vic- 
tor, "and  people  would  expect  to  meet  a 
youngster  about  thirteen.  Then  I'd  come 
in — bigger  than  the  side  of  a  house!  Well, 
anyway,  when  I  left  home  the  first  time, 
I  was  seventeen  and  Fred  took  rne  to  the 
boat.  .    .    . 

"I  met  him,  when  we  gathered  to  en- 
list, on  a  corner  in  Piccadilly.  'Leaving 
tomorrow  for  Mesopotamia!'  he  greeted 
me,  and  presently :  T  say,  do  you  remem- 
ber how  I  took  you  to  the  boat  when  you 
first  went  away?  I'd  like  you  to  do  the 
same  for  me  tomorrow,  Vic.  That  will 
be  our   last   good-bye.' 

"I  was  horrified.  'Oh,  you'll  come  back, 
old  man !'  I  assured  him.  He  shook  his 
head.  .  ,  .  He  was  right.  He  never 
did  come  back." 

There  are  brothers  of  the  blood — and 
there  are  brothers  of  the  heart.  Of  the 
latter    are    Ronald    Colman    and    William 


Alice  Tildesley  on 
Paul    McAllister, 
Tildesley,  Norman 


location  with  the  "Beau  Geste"  company.  Left  to  right: 
William  Powell,  Noah  Beery,  Victor  McLaglen,  Miss 
Trevor,  Director  Brenon,  Ronald  Colman  and  Neil  Hamilton 


Powell,  who  share  a  tent  on  "Beau  Geste 
Square."  (The  twenty-five  streets  in  camp 
are  named  for  the  various  pictures  made 
by  Director  Brenon.) 

Not  since  the  filming  of  "Romola,"  when 
the  two  spent  an  idyllic  year  together  in 
Italy,  have  they  appeared  in  the  same 
cast. 

There  is  a  certain  tender  memory  be- 
longing to  these  two  concerning  a  table  at 
a  sidewalk  cafe — a  table  always  reserved 
for  them.  It  was  here  they  sat  on  their 
last  day  in  Italy,  under  the  budding  green 
of  an  April  now  two  years  past.  Ronald 
was  called  back  to  New  York,  William 
was  headed  for  the  North. 

"When  shall  we  two  meet  again?"  was 
the  burden  of  their  thoughts. 

"Beau  Geste"  is  the  answer. 

Wherever  Noah  Beery  goes,  the  records 
of  Tito  Schipa,  that  brother  of  his  heart, 
go  also.  When  the  terrible  Lejaune  of  the 
picture  rests  in  the  shade  of  his  tent,  the 
golden  voice  of  the  tenor  is  heard.  And 
so  wherever  Tito  Schipa  travels,  the  first 
thing  he  does  on  arrival  in  a  town  is  to 
scan  the  theatrical  bill  of  fare  and  choose 
one  of  Noah's  pictures.   .    .    . 

Norman  Trevor,  Beaujolais  of  the  story, 
was  born  in  India ;  when  he  was  grown 
he  visited  Morocco  and  saw  the  Foreign 
Legion  in  its  desert  forts. 

"The  only  difference  between  our  lo- 
cation   here    and    the    country    there,"    he 


observed,  "is  tfo 
color  of  the  sand 
Ours  is  a  rich  gok 
— theirs  is  paler 
But  in  the  dawn  01 
at  sunset  you  not( 
the  same  effects.  A 
sunrise  the  dune; 
take  on  a  rosy  tint 
with  a  faint  blue 
in  the  shadows;  al 
the  close  of  day 
they  are  a  strange 
Nile  green,  deepen- 
ing to  purple." 

Difference  in 
Deserts 

A  nother  differ- 
ence  in  deserts 
was  pointed  out  by 
Paul  McAllister 
(St.  Andre)— the 
trail  of  a  bobcat 
over   the   hills ! 

"You  can  dig 
down  in  our  desert 
and  strike  water — 
so  men  and  animals 
lost  on  it  can  live," 
explained  Mr.  Tre- 
vor, "but  in  Africa, 
except  in  an  oasis, 
you  would  dig  in 
vain." 

One  of  the  laws 
of  the  Foreign  Le- 
gion is  that  when 
something  is  stolen 
the  man  from 
whom  it  is  stolen 
is  punished  instead 
of  the  thief. 

"I  have  watched 
a  legionnaire  wasli 
his  hands,"  said 
Mr.  Trevor.  "Xot 
daring  to  lay  down 
his  soap,  he  holds 
it  in  his  mouth.  An 
article  of  clothing 
he  is  not  wearing  is  securely  fastened  to 
a  board.  If  by  chance  someone  gets  his 
belt  or  button,  he  promptly  steals  from 
another." 

But  we  need  not  depend  on  second-hand 
tales  on  this  location,  for  Leo  Sleeman  is 
a  seven  years'  veteran  of  the  real  Foreign 
Legion  and  carries  with  him  his  "Livre 
de  la  Legion  Etrangere." 

The  little  book  contains  the  "thou  shalt 
nots"  of  the  legion  and  the  grim  word 
"Mort"  follows  twenty-six  of  the  com- 
mandments. 

Three  medals  of  the  legion  decorate  the 
breast  of  this  genuine  legionnaire,  but  one 
of  his   hands   is  minus   a   finger. 

"Arab,"  he  explained,  to  the  listening 
group  lounging  in  the  oasis  beyond  the 
fort.  "I  am  smoking  the  cigaret  in  the 
night  outside  the  walls.  I  have  come  off 
from  sentry-go.  I  take  the  cigaret  from 
my  lips  and  hold  it  out — so — while  I  blow 
forth  the  smoke.  Ping !  An  Arab  sharp- 
shooter from  the  great  dark  aims  at  the 
light   and    gets    my    finger." 

And  once,  when  Sleeman  was  guard  on 
duty  in  the  barrack  room,  a  fellow  soldier 
got  "le  cafard,"  drank  too  deeply,  and  in 
a   drunken   rage   killed   a  comrade. 

The  commandant  of  the  fort  called  the 
clerk,  had  him  read  above  the  unconscious 
form  of  the  murderer,  who  had  slumped 
down  over  a  table  in  a  stupor,  the  legion 
rule  pertaining  to  his  offense — one  of  those 
(Continued  on  page  73) 


62 


Tents  in  Canaan 

(Continued  from  page  V>  I 


rkshop — a  home — by  Gadl    He  seeks  ■  reference 
mething.   We  rise  and  follow  him  into  Ins  bedroom 

where  Jack  has  a  few  immediate  books.    His  library  lias 
ft\  arrived. 

The  door  turns  at  the  clutch  of  a  great  black  key  three 
feet  long,  duplicated  from  the  product  of  a  sixteenth- 
century  workshop.  The  books  are  in  a  small  rack  at  the 
foot  of  the  bed,  a  massive  four-poster,  heavily  hung  in  rose 
brocade.  The  books  Jack  has  just  been  reading — "Arrow- 
stuith."  "The  World's  Illu- 
sion'," "Haunch,  Paunch  and 
fowl,"  "Husbands  and  Lovers," 
Sadakichi  Hartmann's  mad 
"(  untucius." 

Yes,  presented  by  the  author. 
The  old  satyr  had  presented  me 
likewise,  then  called  and  carried 
away  two  books  written  and 
presented  by  Ben  DeCasseres. 
There  is  a  method  in  his  mad- 
ness, for  he  played  on  Jack  the 
same  trick. 

Typical  of  Gilbert 

Jack  belongs  —  in  this  house 

of  neo-Spanish  feeling.  His 
brown,  liquid  eyes,  his  hair 
with  the  oily  gloss  of  a  raven's 
back,  definitely  place  him  here. 
One  lock  of  long  hair  is  falling 
carelessly  down  his  forehead, 
curling  like  a  dark,  lively  vine 
— a  graveyard  vine,  somber 
with  youth  matured  before  its 
time.  For  Gilbert,  a  poet  at 
heart,  an  actor  by  the  gift  of  a 
great  power  of  feeling,  has  a 
mottled  groundwork  of  back- 
stage life  instead  of  a  boydiood. 

He  benefited  in  that  he  grew 
up  an  unconscious  philosopher. 
It  is  give  and  take  with  Jack, 
in  that  elegant  casualness  which, 
the  world  over,  betokens  a 
gentleman  aware. 

Casually  talking,  we  stroll 
thru  Jack's  rooms,  joking 
about  his  saints  and  virgins 
which  adorn  ceiling  and  niche. 
Jack's  bathroom  is  what  an 
ancient  Roman  would  have  done 
with  modern  plumbing. 

Nobody  except  Jack  Gilbert, 
who  doesn't  give  a  damn  what 

the  lady  fan  writers  write,  could  get  away  with  his  break- 
fast-room— canary  yellow,  with  a  window  full  of  yellow 
canaries.  Out  in  his  garden,  up  a  pathway,  is  the  water- 
fall and  Jack's  beloved  fish.  At  hand,  an  athletic  diversion 
— a  new  Hollywood  perversion — a  court  for  the  game 
called  Dougledyas,  invented  by  the  inimitable  Fairbanks. 
A  big  swimming-pool  with  its  miniature  beach  of  shingle 
and  dressing-rooms  labeled  Senoritas,  Caballeros. 

Casually  talking  about  women,  a  plaything  of  which 
we  have  grown  sufficiently  contemptuous,  but,  unwilling 
to  abandon  it,  continue  to  experiment  with  new  color  series. 
Agreeing  that  light  browns  are  most  desirable  but  arguing 
about  which  browns,  Jack  extolling  the  Plantation  enter- 
tainers of  the  Great  White  Way  while  I  am  all  for  Creole 
Carolynne's  gals  of  the  local  Cotton  Club. 


Pola  and  the  Borgia  atmosphere  of  her 
home 


Out  at  the  gate,  poised  on  the  ledge,  from  which,  if  he 
felt  temperamental,  the  star  could  hurl  empty  bottles  down 
on  the   mansion   of    his   director,    King    Vidoi  fully 

(lumbering  beneath  him.  And  so  along  the  steep  Tower 
Road  descending  toward  the  scattered   settlements. 

Evening.  The  white  Spanish  house  cool  without  and 
dark  within,  touched  by  fulgurous  streaks  in  rich  tapestries 
and  occasional  glints  of  steel.  Repose.  Meditation.  And 
B  hiur  of  melancholy. 

The   Ray   Home 

I  F  early  evening  is  the  time  to 

visit  Gilbert^  house,  then 
early  morning  is  the  only  pos- 
sible hour  to  invade  the  Eng- 
lish cottage  inhabited  by  Mr. 
and  Mrs.  Charles  Ray. 

It  stands  down  on  the  level, 
still  in  Beverly,  but  actually  on 
Sunset  Boulevard.  The  rubber- 
neck busses  ploughing  by  merely 
slow  up  while  the  distant  voice 
of  the  megaphone  shouter  is 
wafted  over  the  hedge  to  those 
within. 

Ray's  garden  is  the  dream  of 
a  nostalgic  Anglo-Saxon  made 
to  come  true  as  nearly  as  pos- 
sible in  the  unfitting,  semitropic 
flora  of  Southern  California. 
Hedges  and  fountains  and 
velvet  turf.  A  swimming-pool 
like  a  four-leaf  clover,  designed 
by  Charley  himself. 

Mjs.  Hemans  would  have 
loved  his  place.  Of  Charley's 
place  we  can  repeat  reverently 
the  original  of  the  parody  with 
which  I  led  this  story : 

The  stately  homes  of  England, 
How  beautiful  they  stand! 

Amidst  their  tall,  ancestral  trees 
O'er  all  the  smiling  land. 

An  English  maid  in  stiff 
white  peers  thru  the  wicket. 
Charley  comes  down — in  carpet 
slippers  and  flowered  bath-robe, 
with  his  thin  tenor  voice  which 
seems  to  fit  the  drawing-room 
admirably.  It  is  the  same  voice 
as  that  possessed  by  his  marvel- 
ous glass  clock,  a  bower  of  thin- 
spun  fragile  posies  in  which  a 
pair  of  shepherd  lovers  nest. 

The  clock  speaks  the  early  hour  of  nine  in  its  thin, 
melodious  voice.  Light,  light,  pale,  fair,  English  rooms. 
Cupids  and  dolphins,  filigree.  A  priceless  fan  of 
Watteau's  in  a  glass  case.  Even  the  piano  painted  after 
the  style  of  Louis  Quinze  with  one  of  the  absurd  scenes 
in  which  lords  and  ladies  play  at  being  shepherds  and 
shepherdesses. 

There  are  a  few  books  scattered  neatly  about.  Most 
of  them  relate  to  the  theater.  Charley  takes  his  work 
seriously.  There  are  no  books  about  movies.  There  is 
a  copy  of  The  House  Beautiful  and  Theatre  Magazine, 
which,  I  recall  bitterly,  still  owes  me  for  that  story  on 
Hollywood  that  Papa  Hornblow  printed  in  1924.  The 
{Continued  on  page  82) 


The  Answer 
Man 


Just,  Canton. — Dolores  Costello's 
first  starring  picture  for  Warner 
will  be  an  adaptation  of  Winston 
Churchill's  "The  Crisis."  I  say 
little,  but  I  think  more.  A  flow  of 
words  is  no  proof  of  wisdom. 

K.  A.  Med. — You  say,  if  I  am  a 
bachelor,  I  must  be  a  singular  man. 
Quite  right.  I  have  never  mar- 
ried.    You   see,    I   didn't  want   to 

marry  when  I  was  young,  and  when  I  got  old,  no  one  wanted  to 
marry  me.  Madge  Evans  has  gone  to  Europe  to  travel  and  study. 
Her  last  picture  was  "Classmates." 

Mary  L.  P. — Thanks  for  the  drawings.  So  you  really  dont 
think  I  am  an  old  man  of  some  eighty  years.  You'll  have  to  take 
my  word,  Mary.     Buster  Keaton  in  "The  Engine  Driver." 

Pat,  Detroit. — So  you  are  going  to  California.  Are  you  going 
to  Ford  it?  Yes,  I  would  like  to  have  one  of  your  kittens,  but 
where  could  I  keep  it,  here  in  my  hall-room?  Then  I  would  have 
to  get  milk  instead  of  buttermilk.  Why,  Mae  Murray  is  playing 
in  "Altars  of  Desire,"  directed  by  Christy  Cabanne. 

Mary  S. — I  have  stopped  at  the  Plaza,  Havana.  Couldn't  afford 
the  Sevilla-Biltmore.  Yes,  Lon  Chaney  is  married.  Baby  Peggy 
is  playing  in  "April  Fool." 

Grant  K. — Never  mind  the  business  outlook.  Be  on  the  look- 
out for  business.  I  cant  give  you  Clara  Bow's  home  address, 
but  you  can  reach  her  at  Famous  Players-Lasky,  1520  Vine  Street, 
Los  Angeles,  California.  Gertrude  Short  and  Creighton  Hale  in 
"A  Poor  Girl's  Romance."     See  you  later. 

Bill,  U.  S.  N. — Heave  ho,  my  lads,  heave  ho.  Wait  until  you 
see  "The  Black  Pirate."  It  certainly  is  thrilling,  and  Doug  is 
marvelous  in  it.  Mary  Astor  at  First  National,  5341  Melrose 
Avenue,  Los  Angeles,  California.  Maria  Eugenia  Reachi  is  the 
daughter  of  Agnes  Ay  res,  born  March  25,  1926. 

Neil. — I  should  say  you  are  ambitious.  Keep  it  up.  Ambition 
is  an  appetite  never  satisfied,  a  spur  that  never  spares  us.  You 
know  that  courtship  is  a  bow-knot  that  matrimony  pulls  into  a 
hard  knot.  Renee  Adoree  does  not  give  her  age.  Your  letter 
was  a  gem,  and  it  had  some  sparkle. 

Sarah  K. — See  here,  what's  this.  Why  is  a  dog  biting  his 
tail  a  good  manager?  Because  he  makes  both  ends  meet.  No, 
William  Haines  is  not  married.  And  some  men  are  known  by 
the  company  they  cant  get  into. 

E.  K.,  N.  Y.  C. — No,  I  never  get  tired.  This  is  the  time  of  the 
year  I  like  to  take  a  hike  out  into  the  woods.  But  try  and  find 
the  woods  around  here.  Yes,  it  is  true  that  D.  W.  Griffith  is  to 
do  Theodore  Dreiser's  "An  American  Tragedy"  for  Famous 
Players-Lasky,  with  Glenn  Hunter  in  the  lead.  Famous  will 
guarantee  Dreiser  that  the  book  will  be  filmed  exactly  as  it  was 
written.     Write  Richard  Dix  direct. 

Slippery  Sue. — Put  on  your  brakes.  You're  skidding.  William 
Boyd  is  married  to  Elinor  Fair.  You  know  they  met  while 
playing  together  in  "The  Volga  Boatman"  and  were  married 
about  six  weeks  after.  Harry  Pollard  directed  "The  Cohens  & 
Kellys." 

De  W. — No.  Edwin  Carewe  and  Arthur  Edmund  Carewe  are 
not  one  and  the  same  person.  The  former  is  a  director.  Roy 
D'Arcy  doesn't  give  his  age.  Lou  Tellegen  was  born  in  Greece. 
Harold  Lloyd's  next  picture  will  be  laid  in  the  Kentucky  hills. 
We'll  probably  see  some  stills. 

Betty  S. — Your  joke  was  like  the  little  boy  who  asked  his 
father  if  the  2*ebra  was  a  black  animal  with  white  stripes  or  a 
white  animal  with  black  stripes.  What  is  that  which  is  put  on 
the  table  and  cut,  but  never  eaten?  A  pack  of  cards.  That's 
splenderiferous.     So  you  want  a  picture  of  Irene  Rich  and  Aileen 


THE  ANSWER  MAN  is  at  your  service.  If  you 
want  an  answer  by  mail,  enclose  a  stamped  addressed 
envelope.  If  you  wish  the  answer  to  appear  in  THE 
CLASSIC,  write  at  the  top  of  your  letter  the  name 
you  want  printed,  and  at  the  bottom  your  full  name 
and  address.  Address:  The  Answer  Man,  Motion 
Picture  Classic,   176  Dumeld  Street,   Brooklyn,  N.  Y. 


Pringle  in  The  Classic  soon.  You 
also  want  to  know  what  salutation 
to  be  used  when  writing  to  Rin-Tin- 
Tin.  Well,  you  can  address  him 
"Dear  Sir"  and  he  wont  know  the 
difference. 

Gloria. — Noah   Beery   is   an  old- 
timer,  having  made  his  first  screen 
appearance   some  fifteen  years  ago, 
and  he   got   five  dollars  a  day   for 
He  now  gets  more  than  that  an  hour.     Yes,  George  O'Brien 
the   lead   in    "The    Iron    Horse."      Esther    Ralston    in    "Old 


it. 

had 
Ironsides." 

Hamilton  W 
has  played  in : 


W. — Here  is  a  list  of  pictures  Ramon  Novarro 


Thy  Name  is  Woman 
The  Arab 
The  Midshipman 
Ben-Hur 

The  Lover's  Oath 
Trifling  Women 
Prisoner  of  Zenda 
Scaramouche 

Where  the  Pavement  Ends 
He  is  playing  in  a  new  picture  with  Sally  O'Neil  which  is  untitled. 

Cecil  S. — I  hardly  think  we  will  start  either  Shadowland  or 
Beauty  again.     Have  you  seen  a  copy  of  Movie  Monthly? 

Maurice  E.  N. — This  is  for  you — during  the  past  year  more 
than  21,000,000  letters  and  803,000  parcels  went  to  the  Dead  Letter 
Office  of  the  post-office  because  of  carelessness  in  addressing.  It 
has  been  estimated  by  the  postal  officials  that  every  year  more  than 
100,000  letters  are  sent  thru  the  mails  in  perfectly  blank  envelopes. 
During  the  same  period  about  $55,000  in  cash,  and  about  $12,000 
in  postage  stamps,  are  removed  from  misdirected  envelopes.  On 
account  of  misdirected  letters,  during  the  course  of  a  year,  some 
$3,000,000  in  checks,  drafts  and  postal  money  orders  never  reach 
their  proper  parties.  Write  to  Maurice  E.  Neel,  Route  3,  Forrest 
City,  Arkansas,  for  the  Carol  Dempster  Club. 

W.  J.  H.,  Hongkong. — You  show  good  taste  in  selecting  your 
favorites.  And  you  think  Esther  Ralston  is  more  beautiful  than 
a  rose.  George  O'Hara  and  Ralph  Lewis  are  playing  in  "Bigger 
Than  Barnum."     Write  me  again  some  time. 

Susie. — I  dont  quite  understand. 

D.  O.  M. — Emil  Jannings  is  to  play  in  Paramount's  "The  Thief 
of  Dreams,"  with  Betty  Bronson  and  Ricardo  Cortez.  This  will 
be  his  first  American  screen  debut.  Dolores  Del  Rio,  one  of  the 
Wampas  Baby  stars,  is  playing  in  "What  Price  Glory."  This  is 
just  the  time  for  buttermilk.     I  have  mine  every  day. 

Foster  J.  B. — "The  Fighting  Heart"  was  adapted  from  the 
novel  "Once  to  Every  Man,"  by  Larry  Evans. 

Alabama  Bound. — Why  all  this  demand  for  birthdays?  Birth- 
day presents,  eh?  Colleen  Moore's  will  come  off  August  12th, 
so  you  will  have  plenty  of  time  to  buy  her  a  diamond  necklace, 
Rolls-Royce,  yacht,  castle,  or  anything  like  that,  but  I  guess  she 
would  be  just  as  pleased  with  a  rose  or  a  card.  She  will  then 
be  the  ripe  old  age  of  twenty-four.  You  want  a  cover  of 
Esther  Ralston.  No,  Jack  Gilbert  is  not  married  now.  See  you 
later. 

N.  D.  P. — Well,  the  last  time  I  heard  of  Kitty  Gordon  she  was 
on  the  stage  playing  in  vaudeville. 

Mary  L.  M. — So  you  are  reducing.     You  know  more  than  half 
the  human  body  is  composed  of  water.     Keep  up  the  good  work. 
Just  write  to  D.  W.  Griffith  at  the   Paramount   Studio,  Astoria, 
Long    Island.     Cecil    De    Mille   at    Culver    City,    California. 
(Continued  on  page  71) 


64 


cthe  XrRay  of  the  Hair 

u  s^tMAM 


Th,is  machine  tests  a  small  straiul  o/  your 
hair.  It  gives  your  Permanent  Waver  advance 
facts  that  insure  Safety  and  Perfect  Results. 


NO  greater  step  forward  in  hair 
science  can  be  imagined  than 
the  NESTLE  METER  SCALE.  It  de- 
termines the  character  of  your  hair  in 
advance  of  your  permanent  wave — and 
eliminates  all  guesswork. 

Gone  is  the  possibility  of  individual 
error,  over-curling  or  under-curling. 
Gone  is  the  era  when  all  hair  was  put 
through  the  waving-machine  as 
though  all  hair  were  alike. 

Each  head  of  hair  is  now  waved  per- 
manently as  if  Nature,  herself,  had 
performed  the  duty. 

As  Revealing  as  the  X-Ray 

The  Nestle  Meter  Scale  discloses  an 
amazing  variety  of  hair  qualities.  It 
analyzes  the  individual  characteris- 
tics oiyour  hair— and  your  permanent 
wave  is  prescribed  in  advance  from 
the  Nestle  Laboratory  in  New  York. 


Will  your  hair 

"take" 
.  a  Permanent  ? 

This  free  book  tells 

you! 

Whetheryour  hair  Is  stron  g 
or  weak,  snow-white  or 
black,  bleached  or  dyed 
no  matter  whether  you've 
ever  had  a  permanent  or 
not — send  for  Mr.  Nestle'a 
new  book  on  the  Circuline 
Process.  It  ia  alive  with 
helpful  Information  on  the 
care  of  the  hair — material 
._  that  has  taken   a   lifetime 

to  assemble.     It  will  be  sent  to  you  absolutely  free — uss 

On  coupon  opponUI 


Nestled  new  invention  takes  the 
guess  out  of  permanent  waving 


From  this  examination  and  "pre- 
scription," the  Nestle  Permanent 
Waver  in  your  own  community  will 
then  wave  your  hair  by  the 

Nestle  Circuline  Process 

The  Circuline  Process  of  Permanent  Wav- 
ing carries  out,  "to  the  letter,"  the 
readings  of  the  Nestle  Meter  Scale — so 
that  each  head  of  hair  is  waved  ac- 
cording to  its  individual  needs. 

To  have  a  perfect  permanent  wave  is 
a  reasonable  expectation.  With  Cir- 
culine you  will  not  be  disappointed 
no  matter  what  kind  of  hair  you  may 
have— whether  it  be  normal,  snow- 
white,  black,  blond,  bleached  or 
dyed— whether  you  want  a  tight, 
medium  or  loose  wave. 

Have  Your  Hair  "Read" 
Before  You  Have  It  Waved 

The  Reading  and  Recommendation 
Cost  You  Nothing 

Just  fill  out  the  coupon  below  and 
send    a   small    strand    of  your   hair 


(about  as  thick  as  the  lead  in  any 
ordinary  pencil  and  at  least  5  inches 
long.)  Do  not  send  combings.  Enclose  $i 
deposit  to  cover  cost  of  testing. 

TheNestleLaboratoricswill  then  send 
you  a  card  showing  the  result  of  your 
hair  test. This  card  contains  directions 
to  your  Permanent  Waver,  giving  the 
exact  Circuline  lotion  required  for 
any  type  of  wave  you  may  want. 

Your  $1  deposit  will  be  deducted  from 
the  price  of  your  next  permanent 
wave — given  anywhere  in  the  United 
States  where  the  Circuline  Process  is 
used.  The  Nestle  Company  guaran- 
tees the  refund  of  this  deposit.  Over 
6,000  hair  dressers  and  beauty  parlors 
use  Nestle  permanent  waving  apparatus. 

Why  not  send  us  your  hair  sample  at 
once  or  write  for  free  descriptive 
booklet? 

NESTLE  LANOIL  CO.,  LTD. 

12  East  Forty-Ninth  Street,  New  York  City 
Originators  of  Permanent  Waving     (Est.  1903) 


Nestle  Lanoil  Co.,  Ltd.  .Laboratory 

12  Eaat49tbSt..      Dep«.  *-H      New  York 

Endoaed  find  $1  Deposit  and  sample  of  my  hair 
for  an  official  laboratory  reading  on  the  Nestle 
Meter  Scale  .it  ia  understood  that  my  tl  will  be 
deducted  from  the  coat  of  my  ntxt  permanent 
wave  at  any  hair  waving  establishment  using 
the  Nestle  Circuline  Process.  You  are  to  send 
me  a  record  of  your  findings  and  your  free 
booklet  on  permanent  waving. 


\jflw. 


:lrs»«  writ*  plainly. 


Iffree  booklet  only  is  wanted,  check  here-j 


65 


Milton  Brown 


The     | 

Scarlet 
Letter 


Lillian  Gish  has  just  completed 
Nathaniel  Hawthorne's  umance 
of  Puritan  days,  "The  Scarlet 
Letter."  Who  doesn't  remember 
the  tragic  story  of  Hester  Prynne, 
doomed  to  wear  a  scarlet  "A"  em- 
broidered on  her  breast  as  a  penalty 
for  her  adultery  with  her  husband's 
friend?  Miss  Gish's  Hater  should 
be  an  interesting  addition  to  her 
gallery  of  suffering  heroines 


On  this  page  are  three  striking  moments  of  "The 

Scarlet    Letter."     At    left,    Miss    Gish    with    Lars 

Hanson,  who  plays  the  Puritan  clergyman,  Arthur 

Dimmesdale,  who  shares  Heater's  illicit  romance 


66 


i 


^Beauty  is  a  ^Matter  of^ 
(Common  ^ense  and  Judgment 


IWfUO. 


*=    "  S-- 


^~^^\    (PI 

I    /i*^\  r* 


■ 

: 


LETTUCE 


/ 

v 


I   CREAM 


SEAUTY  is  not  a  question  of  miracles  and 
magic.  It  is  the  result  of  common  sense, 
good  judgment,  and  everyday  habit,  just  the 
same  as  other  successful  things. 

For  instance,  in  the  care  of  your  skin,  the  per- 
fectly logical  first  step  is  cleansing.  And  the 
logical  cream  to  use  is  one  specially  and  particu- 
larly designed  to  cleanse  —  and  nothing  else. 

Marinello  Lettuce  Cream  does  but  one  thing — 
keeps  your  skin  clean.  Does  it  expertly  and 
thoroughly  as  a  specialist  should.  And  that 
clean  skin  is  the  place  to  begin  to  build  beauty. 
Without  this  habit  of  cleanliness,  beauty  will 
neither  develop  nor  continue. 


The  common-sense  thing  to  do,  then,  is  to  make. 
a  habit  of  this  cleansing.  At  the  end  of  every 
day  —  and  always  before  make-up,  use  Lettuce 
Cream.  There  are  9000  Marinello  Beauty  Shops 
using  Marinello  Lettuce  Cream  daily  in  prepar- 
ing the  skin  for  almost  every  sort  of  treatment. 

After  the  cleansing  the  next  logical  step  is  nour- 
ishing with  Marinello  Tissue  Cream.  A  skin 
food  with  but  one  purpose  —  to  keep  the  skin 
nourished  so  that  it  can  be  beautiful.  Each  of  the 
Marinello  Creams — one  for  every  skin  condition 
—  has  one  specific  thing  to  do  —  and  does  it. 

Marinello  Creams  may  be  had  at  Marinello 
Shops,  drug  stores  and  department  stores. 


MARINELLO  COMPANY 

71  Fifth  Ave.  and  366  Fifth  Ave.,  New  York  800  Tower  Court,  Chicago 

Philadelphia.  St.  Louis  Cincinnati  Minneapolis 

Denver  Detroit  Los  Angelbs  Portland 

LYMANS — Toronto,  Montreal,  Ottawa  and  Vancourer — A%tnti  fir  Ca 


■  S 


ARINELLO  k  , 

I  ^   V     rh£  j?argest  beauty        <ftf^; 

ion  in  the  World     MgyfflCJflj 


IPOLIS  ,-r    ,  '     '    Mtf/P 

DALLAS  ^2HffeJ«^ 

"   1 


The  £arges 
Organization 


jfii      few      FlyMS^^ 

0  Wmk2 


-m 


67 


Four  Writers  Condemn  the  Films 


FRANK  SWINNERTON 

(Continued  from  page  2A) 

always   find   Charlie  doing  something  you 
had  never  thought  of." 

That  was  all  I  could  get  out  of  him  at 
the  time.  Later,  however,  when  I  spent 
the  day  with  him  at  St.  Raphael  on  the 
Riviera,  he  explained  some  of  his  reac- 
tions. The  surroundings  were  less  trying, 
for  one  thing ;  we  sat  out  on  a  balcony 
over  the  Mediterranean.  Instead  of  the 
cold  and  penetrating  London 
fog  surrounding  us,  we  were 
bathed  in  a  warm  Riviera 
sun  over  a  cigar  and  cognac 
after  a  French  dinner  that 
does  not  grow  in  London. 

"English  films  are 
smashed,"  he  said  regret- 
fully. "That  is  due  largely 
to  the  fact  that  there  is  no 
duty  on  American  films  which 
come  into  England  cheap,  to 
say  the  least.  On  the  other 
hand,  English  films  never  did 
quite  arrive.  The  producers 
never  seemed  quite  to  realize 
what  a  stupendous  job  they 
had  attempted.  For  one 
thing,  they  started  on  insuf- 
ficient capital.  For  another 
thing,  while  they  may  have 
spent  a  great  deal  of  money — 
ask  the  stockholders  and  they 
will  tell  you  they  did  ! — they 
did  not  give  either  enough 
thought  or  money  to  organi- 
sation. That  is  wherein  you 
Americans  excel  in  business 
— in  your  organization ;  we 
depend  on  tradition.  Only 
in  the  case  of  the  films,  there 
was  no  tradition.  And  now, 
England  has  not  the  money 
to  spend — we  are  all  poor 
over  there  in  trying  to  pay 
our  debts.  It  shocks  us  to 
see  how  much  America 
spends." 

He  waited  until  the  band 
in  the  near-by  stand  finished 
its  piece  of  American  jazz. 
This  seemed  to  bring  him 
back  to  his  original  bellig- 
erent strain  of  thought.  I 
confess  that  I  felt  a  bit  irri- 
tated at  the  musical  selection 
myself.  Neither  of  us  had 
come  over  here  for  that  sort 
of  thing. 

"I  think  the  movies  are  a  menace  to 
civilization  I"  He  held  up  his  hand.  "What 
I  mean  is,  the  average  motion  picture  that 
I  have  had  the  misfortune  to  see  points  in 
that  direction.  They  malign  life."  (Bear 
in  mind  that  Mr.  Swinnerton  is  a  realist 
in  fiction.) 

"They  mislead  the  simple-minded  —  I 
mean  that  in  a  commendatory  sense — into 
leading  the  same  tawdry,  artificial  life 
they  see  portrayed  on  the  screen  several 
nights  a  week. 

"It  is  all  made  so  attractive,  so  easy  and 
so  alluring.  I  think  in  that  way,  the  films 
are  molding  half  the  universe  today  in  a 
way  that  is  bound  to  lead  to  universal 
mischief  as  time  goes  on." 

When  asked  if  any  of  his  novels  had 
been  filmed,  he  said,  "  'Nocturne'  was  sold 
and  will  be  put  on  shortly — but  I  hope  they 
never  put  it  on,  unless  they  intend  to  por- 
tray my  story  and  not  do  what  I  under- 
stand they  have  done  to  the  works  of  so 
main-  others." 


A.  A.  MILNE 

(Continued  from  page  24) 

who  wrote  "When  We  Were  Very  Young" 
would  talk  and  go  on?  And  Milne  is  just 
like  that — a  great  big  young  fellow  with 
the  spirit  and  imagination  of  a  child ;  but 
the  mind  of  a  man,  decidedly. 

"Now,  when  they  came  to  put  on  'Mr. 
Pirn'— that  was  from  the  novel,  by  the 
way,  not  the  play — they  never  asked  me 
either  to  see  it  or  have  anything  to  do  with 


SAYS  HENRY  ALBERT  PHILLIPS: 

ON  this  particular  trip  in  foreign  lands,  I  am  more  im- 
pressed than  ever  by  the  appreciable  advance  that  the 
motion  picture  has  taken  in  the  mind,  the  imagination  and 
amusement  of  the  world,  since  I  was  last  abroad.  I  find 
that  London  at  last  has  a  real  cinema  palace,  American 
financed  and  built;  that  Paris  is  cinema  mad;  that  even 
Portugal  howls  itself  hoarse  for  Charlie  Chaplin;  that 
Vienna  could  never  do  without  its  kinema,  and  that  in 
Monte  Carlo  the  movie  attracts  the  fashionable  crowd  from 
the  Hotel  de  Paris  and  plays  second  fiddle  only  to  the 
gaming  tables  in  the  world-famous  Casino. 

But,  the  significant  point  is  that  nine-tenths  of  all  the 
pictures  are  American!  Most  of  those  produced  by  other 
nations  are  very  bad — with  the  possible  exception  of  Ger- 
many. And,  from  my  point  of  view,  a  large  percentage  of 
those  produced  by  America  are  not  so  good  as  they 
might  be. 

The  moment  we  probe  behind  the  scenes,  we  find  or 
hear  three  discordant  cries.  The  first  is  a  perfect  wail 
from  the  producers:  ."Stories!  For  heaven's  sake,  give 
us  more  stories!"  It  is  the  cry  of  a  famished  and  waterless 
man  in  a  barren  desert.  I  dont  think  that  they  qualify 
their  demand  by  asking  for  better  stories,  altho  I  am  posi- 
tive they  are  always  asking  for  bigger  names. 

The  second  cry  behind  the  scenes  is  also  in  the  minor 
key,  and  it  comes  from  many  really  excellent  writers  who 
may  have  a  good  story  to  sell,  but  have  not  the  big  name. 
The  name  being  the  thing,  and  not  the  "play" — as  Shakes- 
peare would  insist — they  cannot  sell  their  work  as  often  as 
they  really  should.  So,  I  contend,  that  there  is  really  no 
dearth  of  good  stories,  if  producers  would  take  stories 
more  seriously  per  se,  and  the  big  names  less  so.  But  they 
pass  the  buck  and  tell  you  that  the  Public  demands  the 
Big  Names!    So  there  you  are. 

The  third  cry  comes  from  the  Big  Names.  They  make 
no  complaint  about  the  eager  acceptance  of  their  stories 
and  the  prices  paid  for  them,  but  they  do  object  to  what 
the  producers  do  with  their  brain  children. 


it.  It  was  typical  of  them,  wasn't  it? 
Wouldn't  even  let  me  see  it  privately!" 

It  was  plain  that  he  was  piqued. 

"And  when  it  did  appear,  they  didn't 
bother  either  to  spell  or  punctuate  the  text 
in  the  captions.  So  the  errors  in  story  and 
composition  stood  without  my  having  a 
word  to  say  in  the  matter.  And  to  nine 
out  of  ten  who  saw  that  atrocious  misrep- 
resentation that  bore  my  name,  that  was 
my  work!" 


hill.  Artists  and  natives  live  togetht- 
amidst  considerable  unsanitariness  here 
The  new  town — where  Mr.  Oppenheim 
lives  —  is  disappointingly  like  a  modern 
suburban  development  on  the  environs  of 
any  of  our  large  American  cities.  The 
Nice  golf  course  runs  right  back  of  hi? 
house. 

"Ah,  the  films?"  he  said  blandly,  as  we 
sat  over  coffee  after  dinner  on  his  open-air 
veranda    that    overlooked    the    gardens    in 
which   the   February   roses   were  blooming 
and  the  trees  were  hanging 
heavy  with  oranges,  tanger- 
ines  and   lemons.     "Well,  I 
find    the     films     enormously 
disappointing — I  mean  in  ac- 
tual progress.     That  is,  they 
seem    to    have    fallen   back, 
got    into    a    rut,    instead  oi 
getting  on." 

I  knew  that  he  had  many 
of  his  stories  screened  and 
I  wanted  to  hear  his  expe- 
rience in  that  particular. 

"Oh,  but  no  firm  will  al- 
low you  to  put  on  your  own 
story.  A  novelist  is  always 
encumbered  by  someone  who 
must  be  paid  for  mutilating 
his  story.  It  is  an  unfor- 
tunate' fact  that  the  film 
heads  seem  to  be  under  some 
mysterious  obligation  to 
people  in  their  employ  to  mu- 
tilate one's  story.  Take  my 
most  recent  film  —  called 
'Monte  Carlo,'  I  believe. 
Why,  to  suit  their  ulterior 
purpose  they  actually  had  my 
heroine  marry  a  different 
man  from  the  husband  I  had 
chosen  for  her  and  many  of 
my  principal  characters  they 
did  not  see  fit  to  use  at  all. 
In  the  construction  of  my 
stories,  it  so  happens  that  all 
the  characters  are  necessary 
to  the  plausibility  of  the  tale. 
However,  when  the  film  ap- 
peared, the  papers  remarked 
something  to  the  effect  that 
'the  picture  was  good,  but 
story  poor' !" 

Mr.  Oppenheim  passed  me 
some  fat  English  cigarets 
with  a  cynical  smile  and  a 
shake  of  the  head.  "No, 
there  is  something  wrong. 
The  creator  should  at  least 
be  asked  about  such  changes. 
A  technical  adviser  to  the  author  is  what  is 
wanted  by  authors — someone  to  bridge  the 
gap  that  now  exists  in  such  a  ghastly 
manner." 


E.    PHILLIPS    OPPENHEIM 

(Continued  from  page  25) 

But  Mr.  Oppenheim's  home — he  has  given 
up  England  as  his  residence,  he  told  me — 
is  at  Cagnes,  a  little  town  lying  on  the 
Mediterranean,  half-way  between  Nice,  the 
Atlantic  City  of  the  Riviera,  and  Cannes, 
the  Newport.  Cagnes  is  divided  into  two 
parts :  the  old  town  which  looks  like  a 
mass  of  ancient  plastered  houses  all  scram- 
bling  up  the  sides  of  a  single  precipitous 


E.   TEMPLE   THURSTON 

(Continued  from  page  25) 

He  pointed  down  to  Queen's  Gate  Road, 
where  a  taxi  driver  sat  in  his  cab  surveying 
passers-by  for  a  possible  fare. 

"The  only  view-point  in  life  that  he  has— 
and  it  is  perfectly  right  and  normal  for 
him — is  a  fare,  a  paying  passenger.  The 
British  producer  has  his  eye  only  on  fares. 
And  the  English  author's  attitude  is 
equally  culpable,  his  is  one  of  lucrative  in- 
difference. 

"He  knows  that  it  wont  affect  the  sales 
on  the  production  of  his  work  and  doesn't 
as  a  rule  even  go  to  see  its  production— 
possibly  because  he  might  be  ashamed 
of  it." 


68 


/ 


Firm  the  irtim   ligkl 
'»M«   do4l    »•' 

dnma>  tbe  uemuu 
u  kt  miti  bee  i  orrt, ;  MM 
»/  Pampeian  Blotm  for 
tbtJiiifiJ  Kilt »/  color 
/«  Arr  ,  keek  I 


»        ; 


Perfectly 
y^atural 

Pompeian  Bloom  gives 

your  cheeks  a  color 

exquisitely  natural 

By   MADAME   JBANNETTE 

Famous  cosmetician,  retained  by  The  Pompeian 

Laboratories   as   a    consultant   to  give  authentic 

advice  retarding,   the   care  of  the   skin    and    the 

proper  use  of  beauty  preparations. 


£7RFCrNTLY  overheard  one  of  my 
C/  friends  say  to  another:  "You,  for  one, 
need  no  rouge,  my  dear.  What  lovely 
natural  coloring!"  But  the  truth  was  this 
—  like  thousands  of  other  women,  she  had 
round  a  rouge  that  gave  her  cheeks  the 
exquisite  natural  coloring  of  a  girl  in  her 
'teens.  That  rouge  is  Pompeian  Bloom. 
Today  women  everywhere  realize  the 
necessity  of  using  rouge  that  matches 
perfectly  their  natural  skin-tones.  And 
when  they  use  the  right  shade  of  Bloom 
the  wholly  natural  effect  is  achieved. 

From  the  shade  chart  you  can  easily 
select  the  particular  shade  of  Pompeian 
Bloom  for  your  type  of  complexion. 

SHADE  CHART  for  selecting 
your  correct  tone  of  Pompeian  Bloom 

Medium  Skin:  The  average  American 
woman  has  the  medium  skin-tone — pleas- 
antly warm  in  tone,  with  a  faint  sugges- 


tion of  old  ivory  or  sun-kissed  russet. 
The  Medium  tone  of  Pompeian  Bloom 
just  suits  this  type  of  skin. 

If  you  are  slightly  tanned,  you  may  find 
the  Orange  tint  more  becoming.  And 
sometimes  women  with  medium  skin 
who  have  very  dark  hair  get  a  brilliant 
result  with  the  Oriental  tint. 

Olive  Skin:  Women  with  the  true  olive 
skin  are  generally  dark  of  eyes  and  hair — 
and  require  the  Dark  tone  of  Pompeian 
Bloom.  If  you  wish  to  accent  the  bril- 
liancy of  your  complexion,  the  Oriental 
tint  will  accomplish  it. 

Pink  Skin:  This  is  the  youthful  skin, 
most  often  found  in  blondes  or  red-haired 
women,  and  should  use  the  Oriental  tint. 

White  Skin:  If  you  have  this  rare  type 
of  skin,  use  the  Light  tone  of  Bloom. 

Special  Note:  An  unusual  coloring  of 
hair  and  eyes  sometimes  demands  a  dif- 
ferent selection  of  Bloom-tone  from  those 
above.  If  in  doubt,  write  a  description  of 
your  skin,  hair  and  eyes  to  me  for  special 
advice. 

Pompeian  Bloom,  6oc  (slightly  higher 
in  Canada).  Purity  and  satisfaction 
guaranteed.        -7 

Specialtile    .      en   Beautr 


The  blonde  with  very  (air 

skin  finds  a  natural  tone 

for  her  cheeks  in  the  Lith: 

Bloom  or  the  nrw 

Oriental  tint. 


SPECIAL      OFFER 

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peian Panel  entitled  "Mo- 
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Be,  in  the  Mint  of  Memory." 
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69 


$SSft A®0  inonf 

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The  Truth  About  Film  Salaries 

(Continued  from  page  17) 


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70 


Dix  is  receiving  about  $2,000  on  a  contract 
which  has  almost  a  year  and  a  half  to 
run.  Famous  Players  is  offering  a  new 
contract  for  considerably  more,  but  for  a 
long  period  of   time. 

John  Gilbert  is  getting  $2,000  from 
Metro-Goldwyn.  Ramon  Novarro  is  re- 
ceiving the  same  amount  from  the  same 
company.  Ronald  Colman  is  said  to  be 
getting  but  $1,700  from  Samuel  Goldwyn. 

Against  this,  check  the  fact  that  Conway 
Tearle  and  Eugene  O'Brien  get  $3,000  a 
week.  So,  too,  does  Lewis  Stone.  Wal- 
lace Beery  gets  $3,000,  likewise.  On  the 
other  hand,  William  Boyd  is  paid  but  $300. 

The  Underpaid  Favorites 

""There  are  several  reasons  for  this  odd 
difference  in  earning  capacity.  Dix  is 
working  out  a  long-term  contract.  Like 
Gilbert,  Colman  and  Novarro,  he  is  more 
concerned  in  getting  good  roles  than  with 
a  top-heavy  remuneration.  These  shrewd 
young  men  have  studied  the  elemental  les- 
son of  the  screen,  that  a  big  star  salary 
lasts  but  briefly.  They  want  to  stay,  de- 
velop and  progress  in  pictures.  Hence, 
their  willingness  to  work  at  what  is 'really 
a  moderate  celluloid  salary. 

Consider  the  case  of  the  ill-fated  Bar- 
bara La  Marr.  When  she  was  overtaken 
by  her  fatal  illness,  Miss  La  Marr  was 
earning  $2,000  a  week.  Yet,  after  her  death, 
it  was  found  that  she  had  saved  but  $6,000 
out  of  her  entire  life's  earnings.  She  had 
nothing  to  show  for  her  meteoric  success. 

Corinne  Griffith  is  receiving  more  than 
$3,000  a  week.  Milton  Sills  gets  $2,500. 
Florence  Vidor  is  said  to  get  $2,000  a  week 
under  her  new  Famous  starring  contract. 
Bebe  Daniels  gets  $2,000  as  a  Famous  star. 
This  same  amount  is  earned  weekly  by 
Owen  Moore,  Antonio  Moreno,  Nita  Naldi 
and  Anna.  Q.  Nilsson.  Adolphe' Menjou 
draws  $2,500.  As  a  First  National  star, 
Dorothy  Mackaill  gets  about  $1,200.  As 
a   free-lance,  she  got  $1,500. 

The    Character   Players 

("""onsider  the  character  men.  Jean  Her- 
^  sholt  gets  $1,500,  altho  he  is  frequently 
loaned  by  Universal  for  as  high  as  $2,500. 
Noah  Beery  gets  $1,500.  Ernest  Torrence 
finds  $1,750  in  his  Saturday-night  pay 
envelope.  George  Siegmann  finds  that  film 
villainy  pays,  to  the  tune  of  $1,000.  Wal- 
ter Long  also  gets  this  for  his  realistic 
leers.     Lon  Chaney  gets  $3,000. 

Francis  X.  Bushman  leads  the  old-timers 
in  earning  capacity.  He  is  asking  and  re- 
ceiving $2,000  a  week.  True,  he  didn't 
get  this  for  his  work  in  "Ben-Hur,"  but 
he  is  now  considered  a  strong  comeback. 
Hence,  the  $2,000.  Henry  B.  Walthall,  the 
"little  colonel"  of  unforgetable  memory, 
receives  $1,500.  Bryant  Washburn  gets 
$750.     Charles  Ray  receives  $1,500. 

Turn  to  the  comedians.  Harry  Langdon 
is  getting  $50,000  per  comedy  as  a  First 
National  star.  Raymond  Griffith  has  ma- 
neuvered his  salary  at  Famous  to  $3,000 
as  a  comedian.  Sydney  Chaplin  receives 
$2,000.  It  is  interesting  to  note  that  his 
"Charley's  Aunt"  was  one  of  the  big  com- 
edy hits  of  last  year.  It  earned  $1,500,000. 
Mack  Swain  gets  $750  as  a  comedy  foil. 
Charley  Murray  and  Chester  Conklin  draw 
down  $800  to  $1,000  as  first  aids  to  screen 
dramas.    Louise  Fazenda  earns  $1,250. 

The   Freak   Salaries 

""There  are  still  some  freak  salaries  in 
filmdom,  relics  of  old  high  salaries  of 
the  earlier  days.  Pauline  Frederick  still 
gets  $3,500  to  $4,000  when  she  works  be- 
fore the  camera.     Lionel   Barrymore  asks 


and  receives  $2,500.  Mae  Murray  is  said 
to  get  $3,000  under  her  new  Metro-Goldwyn 
arrangement.  Betty  Compson  js  asking 
$4,000  a  week.  Since  she  has  put  aside 
a  good  bank-account  and  is  the  wife  of  a 
successful  director,  she  doesn't  have  to 
worry  about  working  steadily. 

Pause  to  compare  some  of  these  abnor- 
mal salaries  with  the  small  sums  paid  some 
recent  foreign  newcomers.  Vilma  Banky 
is  reported  to  receive  $500  from  Samuei 
Goldwyn,  altho  she  is  loaned  to  other  pro- 
ducers for  as  high  as  $1,500.  Cecil  De 
Mille  offered  $50,000  for  her  contract. 
Greta  Nissen  had  climbed  from  $75  to  $500 
when  Famous  dropped  her  contract.  On 
the  day  she  was  released  Universal  offered 
to  borrow  her  for  $1,500.  Now  Universal 
has  her,  at  a  reported  salary  of  $750.  Greta 
Garbo  is  getting  so  little  that  Hollywood 
jokingly  remarks  that  she  is  being  paid  in 
kroner  and  canned  sardines.  Miss  Garbo 
really  receives  $400. 

Dolores  Costello  is  under  a  $300-a-week 
contract  to  the  Warners. 

Norma  Shearer  is  said  to  be  getting 
$1,500.  Sally  O'Neil  is  receiving  but  $300. 
Metro-Goldwyn  discovered  her — and  signed 
her  under  a  long  contract.  Lillian  Rich 
is  getting  $350  from  Cecil  De  Mille.  She 
is  loaned  frequently  for  $1,000.  Clara  Bow 
'gets  $750  a  week  from  Benjamin  Schul- 
berg,  now  an  official  of  Famous,  altho 
she  is .  frequently  loaned  for  far  in  excess 
of  this.  When  the  loan  figure  goes  over 
the  thousand  mark,  Schulberg  and  Miss 
Bow  split  the  difference. 

The  $2,500  Class 
Iet  us  return  for  a  moment  to  the  $2,500 
1-1  class.  Reginald  Denny  is  now  receiv- 
ing this  from  Universal.  This,  too,  is  the 
figure  earned  per  week  by  Bert  Lytell,  Anita 
Stewart,  Viola  Dana  and  Mae  McAvoy. 

Kenneth  Harlan  draws  down  $1,750.  Lew 
Cody,  Irene  Rich,  Monte  Blue  and  Helene 
Chadwick  each  earn  $1,700.  The  $1,500 
class  is  larger,  including  Jacqueline  Logan, 
Norman  Kerry,  Harrison  Ford,  Bessie 
Love,  Mae  Busch,  John  Bowers,  Marguer- 
ite de  la  Motte,  Huntly  Gordon,  Leatrice 
Joy,  Matt  Moore,  Rod  La  Rocque,  Conrad 
Nagel,  Marie  Prevost  and  Alice  Terry. 

Billie  Dove  and  Patsy  Ruth  Miller  get 
$1,250  each  week.  Receiving  $1,200  we 
find  Clive  Brook,  Jetta  Goudal,  Neil  Ham- 
ilton, Pauline  Starke,  Lois  Wilson,  Robert 
Frazier,  Pat  O'Malley  and  Virginia  Valli. 

Belle  Bennett  and  Louise  Dresser  were 
getting  $1,000  per  week  when  they  scored 
their  hits  of  last  year.  Doubtless  they 
are  getting  more  now.  Still  in  the  $1,000 
class  are  Wanda  Hawley,  Barbara  Bed- 
ford, Allan  Forrest,  Ricardo  Cortez,  Dor- 
othy Devore,  Laura  La  Plante,  Aileen 
Pringle  and  Claire  Windsor. 

Lois  Moran,  the  recent  find,  gets  about 
$750.  So,  too,  does  Margaret  Livingston, 
Claire  Adams,  Warner  Baxter,  Charles 
Emmett  Mack,  Herbert  Rawlinson  and 
George  O'Brien.  Mary  Philbin  is  now  re- 
ceiving $800  from  Universal.  A  year  ago 
she  was  the  poorest  paid  of  all  the  stars, 
getting  $300.  Betty  Bronson  receives  about 
$500  from  Famous.  She  was  getting  $300 
a  year  ago. 

Western  Melodrama  Remunerative 

Ctarring  in  Western  melodramas  pays 
•^  better.  Against  the  $15,000  received  by 
Mix,  check  the  $7,000  earned  by  Fred  Thom- 
son and  the  $4,000  by  Buck  Jones.  Hoot 
Gibson  is  trailing  a  bit  at  $2,500  a  week. 

Now  for  the  directors.     No  one  knows 
exactly  what  D.  W.  Griffith  receives,  but 
(Continued  on  page  87) 


The  Answer  Man 

(CVitftMifd  from  Pogt  f*-*> 

iMiujiiM   M      Yes,  that  wan  m\  erroi 

Claire    Windsor   ami    not    Mac    Murray    in 

Madness."     Douglas  Fairbanks,  Jr., 

j  las    l-'airbanks,    Si  's   son,   and   !li<-\ 

arc    nineteen    and    forty-three    years    old. 

Mar  Murray  is  rive  (eel  three. 

Makim\    I'      So  you   want   to  see  more 

■1    Normand.      1    clout    blame  you. 

Mabel's  birthday  will  be  on  November  10th, 

iml    she    -.t.it  ti  «t    in    pictures    at    the    old 

Biograph  under  Griffith  in   1°10.     For  ten 

years  at  least  she  was  noted  for  her  beau- 

<  ire   aiul    she    certainly   could   dive 

mi      You  saj    you  were  vaccinated 

yvith  a  phonograph  needle.     It's  no  secret. 

iy,  ]  enjoyed  yours. 

;  ie. — Be  careful  how  you  put  others 

inder    heavy    obligation    to   you — it    often 

•hem  to  detest  you.     Yilma   Banky 

.vas  born   in    Budapest,   January    9,    1902. 

Rudolph  Valentino  has  been  married  twice, 

wee  to  Jean  Acker  and  then  to  Winifred 

iludiiut,  but  isn't  now. 

Thkda  Birdie. — Yes,  Pauline  Frederick 
I  going  to  appear  in  "Uncle  Tom's  Cabin" 
ior  Universal.  Margarita  Fisher  is  to 
play  EHsa.  No,  I  dont  think  I  will  ever 
rim  my  whiskers.  If  I  did  I  would  lose 
ill  my  personality,  and  then  I  wouldn't  be 
ible  to  answer  questions.  May  Allison 
las  blonde  hair  and  blue  eyes. 

Tfrriblf.  Kit.— You  certainly  are.    You 
enow   the   fool   often   succeeds   where  the 
vise  man  fails,  for  the  former  usually  has 
he  courage  of  his  folly,  the  latter  fear  of 
lis  wisdom.    Jack  Mulhall  and  Carl  Miller 
n  "We  Moderns."     Fay  Lanphier  is  with 
-"anions    Players-Lasky    at    Astoria,    Long 
Island.    This  is  the  shortest  poem  I  know : 
We 
De 
Spise 
Flies 

John  C,  Alexandria,  Egypt. — So  Pearl 
kV'hite  is  in  Egypt  with  the  French  troupe, 
'La  Cigale,"  and  you  say  you  were  disap- 
winted  in  her.  Glad  to  hear  you  liked 
'The  Gold  Rush."  Right  now  Charlie 
Ihaplin  is  playing  in  "The  Circus."  Write 
ne  again  soon. 

Nan  C. — So  you  like  the  green  and 
irown  tints  in  the  Classic.  Theodore 
Roberts  will  celebrate  his  sixty-fifth  birth- 
lay  on  October  8th.  His  eyes  are  blue  and 
hey  generally  twinkle  with  humor.  Rin- 
rin-Tin  has  a  son  called  "Gin-Gin-Gin." 

Hope. — You  say  you  are  compelled  to  go 
o  church  every  Sunday,  that  your 
ireacher  is  very  dull,  and  you  want  me  to 
uggest  what  he  should  preach  about.  I 
vould  say  about  twenty  minutes.  Tell  him 
o  read  Hendrik  Van  Loon's  "Story  of 
he  Bible"  and  learn  how  the  best  story 
:w  told  can  be  told  in  the  best  possible 
vay.  He  will  never  be  dull  after  that.  So 
ou  like  the  Classic,  but  you  want  more 
ibout  Ernest  Torrence  and  Ricardo  Cortez, 
tut  less  of  Swanson  and  Valentino.  Aye, 
iye,  sir!     I'll  tell   Mr.  Smith. 

Ruth  G. — Well,  my  business  consists  in 
mswering  a  few  fool  questions,  and  a  few 
housand  sensible  ones.  No,  Ben  Lyon  is 
ot  married.  Madge  Evans  is  only  seventeen 
nd  she  has  brown  hair.  John  Barrymore 
s  playing  for  Warner  right  now.  No  in- 
leed,  I  dont  mind  answering  questions.  In 
act,  it  has  become  such  a  habit  that  I 
ouldn't  live  without  it  (nor  without  the 
15.00  a  week). 

Spinole   Hanks.— Please  dont   ask   me 

bout  religion — I  dont  know  whether  any 

>f  the  players  attend  church,  but   I  hope 

hey    all    do.      Jackie    Coogan    was    born 

(Continued  on  f>age  88) 


You 
Choice 


ce    JTI7CC  Coupon 


Win  Beauty 

and  keep  it —  as  I  did 

For  40  years  I  have  searched  the  world  for  the 
UtmCMt  In  fr.uilv  helps.  In  that  quest  I  have  made 
.14  trips  to  France,  have  consulted  famous  beauties 
and   great   experts   everywhere. 

Thui  I  acquired,  I  believe,  the  greatest  l>eauty 
aids  in  existence.  By  their  help  I  gained  a  glorious 
career  as  a  heauty  of  the  stage  and  61ms.  By  their 
help  I  have  preserved  my  youth.  At  a  grand- 
mother's age   I  still  look  a  girl  of  19. 

NOV  l  have  placed  these  supreme  helps"  at  every 
woman's  call.  All  drug  and  toilet  counters  supply 
them  as  Edna  Wallace  Hopper's  Beauty  Helps. 
And  I  am  doing  my  best  to  bring  to  millions  what 
jhey  brought  to  me. 


My  Qift  to  Qirls  •— 

who  want  more  beauty 

—  and  to  women  who  love  youth 

By  Edna  Wallace  Hopper 


MISS  HOPPER  «•  »h«    ipptin   today. 

Photo  by  Alfred  Cheney  Johnston 


These  are  my  chief  beauty  aids.  Each  combines 
from  six  to  sixteen  of  the  greatest  helps  I  found. 
Each  is  so  efficient  that  the  very  first  use  amazes 
and  delights.  This  is  to  offer  you  a  test  of  any 
at  my  cost.    I  want  you  to  know  what  they  mean. 

White  Youth  Clay 

This  i9  a  new-type  clay,  the  final  results  of  20 
years  of  scientific  stildy.  It  is  white,  refined  and 
dainty.  It  combines  with  three  clays  other  factors 
which  every  skin  requires.  So  don't  confuse  it 
with  the  old-type  crude  and  muddy  clays. 

Youth  Clay  purges  the  skin  of  all  that  clogs  and 
mars  it.  It  draws  out  the  causes  of  blackheads 
and  blemishes.  It  combat9  all  lines  and  wrinkles. 
It  brings  the  blood  to  the  skin  to  nourish  and 
revive  it.    The  quick  result  is  a  rosy  afterglow. 

I  have  seen  Youth  Clay  bring  to  countless  girls 
new  beauty  in  half  an  hour.  Older  women  often 
seem  to  drop  ten  years.  The  sample  will  prove  to 
you  that  no  girl  or  woman  can  appear  at  her  best 
without   it. 

A  Multiple  Cream 

My  Youth  Cream  comes  in  two  types  —  cold 
cream  and  vanishing.  One  is  for  night  use,  the 
other  for  day.  No  skin  should  ever  be  an  hour 
without  it. 

My  Youth  Cream  applies  many  valuable  factors, 
all  in  one  application.  These  include  products  of 
both  lemon  and  strawberry.  Also  all  the  best  that 
science  knows  to  foster,  feed  and  preserve  the  skin. 

The  first  night'9  use  of  my  Youth  Cream  will  be 
a  revelation  to  you.  And  my  baby-like  complexion 
shows  what  daily  use  can  do. 

My  Facial  Youth 

My  Facial  Youth  is  a  liquid  cleanser  which  I 
found  in  France.  Today  this  formula  is  recognized 
everywhere  as  the  greatest  of  skin  cleansers.  The 
leading  beauty  experts  advise  and  employ  it,  for 
nothing  else  known  can  compare.  But  my  Facial 
Youth  is  first  to  offer  this  great  cleanser  at  a 
modest  price. 

Facial  Youth  contains  no  animal,  no  vegetable 
fat.      It    cannot    assimilate    in    any    way    with    the 


skin.  It  simply  cleans  to  the  depths,  then  departs. 
And  with  it  goes  all  the  grime  and  dirt,  dead  skin 
and  clogging  matter. 

I  never  knew  what  a  clean  skin  meant  until  I 
found  this  product.  Nor  will  you.  And  a  clean 
skin  is  the  foundation  of  beauty.  I  urge  you  to 
learn   what   it  means. 

My  Hair  Youth 

Millions  marvel  at  my  hair.  It  is  thick  and  lus- 
trous, far  more  luxuriant  than  40  years  ago.  I 
have  never  had  falling  hair  or  dandruff  and  never 
a  touch  of  gray. 

This  I  also  owe  to  France.  Her  great  experts 
gave  me  what  is  now  combined  in  my  Hair  Youth. 
The  product  is  concentrated,  so  I  apply  it  with  an 
eye-dropper  directly  to  the  scalp.  There  it  combats 
the  hardened  oil  and  dandruff  which  stifle  the  hair 
roots.  It  tones  and  stimulates  the  scalp.  You  feel 
that  instantly.  Hair  thrives  on  a  scalp  so  cared 
for  as  flowers  thrive  in  a  well-kept  garden. 

The  sample  bottle  which  I  send  with  eye-dropper 
will  show  you  what   Hair  Youth  does. 


This  coupon  will  bring  you  a  sample  of  the  help 
you  most  desire.  My  Beauty  Book  unit  come  uith 
it,  also  some  samples  of  my  products.  Clip  it  and 
send  it  to  me. 


Your  Choice  FREE 

Mail  this  coupon  to  Edna  Wallace  Hopper. 

536  Lake  Shore  Drive.  Chicago.     Check  the 

sample  wanted.     My  Beauty  Book  will  come 

with  it,  also  samples  of  my  face  powders. 

D  Facial  Youth  D  White  Youth  Clay 

D  Hair  Youth  □  Youth  Cream 


Name 
Address 


One  sample  is  free.    If  you  want  more  than 

one,  enclose  10c  for  each  additional  sample. 

II  S7— M.  P.  C 


71 


A  necessity 

in  every 

bathroom 


Sani-Flush  has  made  the  closet 
bowl  the  easiest  part  of  the 
bathroom  to  clean.  It  has  done 
away  forever  with  the  old, 
disagreeable  tasks  of  scouring, 
scrubbing  and  dipping. 

Just  sprinkle  a  little  Sani- 
Flush  into  the  bowl.  Follow  the 
directions.  Flush.  Stains,  odors, 
incrustations  disappear. The  bowl 
has  become  clean  and  gleaming 
as  new.  The  unreachable  sedi- 
ment has  vanished  from  the  trap. 

Sani-Flush  is  a  necessity  in 
every  bathroom.  Harmless  to  all 
plumbing.     Keep   a  can   handy. 

Buy  Sani-Flush  at  your  gro- 
cery, drug  or  hardware  store, 
or  send  25c  for  a  full-size  can. 
30c  in  Far  West.  35c  in  Canada. 

Sam-Hush 

Cleans  Closet  Bowls  Without  Scouring 

The   Hygienic  Products  Co. 
Canton,  Ohio 


Develops  eBtist  Like  Maeic! 

During  the  past  17  years  thoiieamln  have 
added  to  their  captivating  glory  of  wom- 
anhood by  using 

GROWDINA 

for  bust*  nook  or  arm  development 
Great  Discovery  of   Parisian   beauty   ex- 
pert.    Harmless,    easy,    certain    results 
\      accomplished   quickly.     Marvelous    testi- 
.   monlafs  of  efficiency.    Confidential  proof 
'.   and  literature  (wealed)  on  request.  Write 
, '     now.      Mite.  Sophie  Kopel, 
I  *  Suite  B-g,  503  Fifth  Ave.,  Now  York 


COLORS 

gray  hair  in 
ONE  APPLICATION. 

*  Returns  youthful  color  so  you  can 
bob  it.  Bobbed  hair  takes  years  off  your 
iige,  but  not  if  it's  gray.  Not  affected  by  salt 
water,  perspiration,  oils,  tonics,  shampoos 
previous  dyes.  Does  not  stain  scalp  or  rub  ott 
Composed  Henna  Herbs;  Harmless.  Easily 
applied  at  home.  14  shades.  P.  P.  $1-60. 
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Harold  Lloyd  was  a  recent  New  York  visitor.     Here  is  Harold   (center)  with 
his  brother,  Gaylord,  and  Joe  Reddy,  his  publicity  man 

Masters  of  the  Motion  Picture 

(Continued  from  page  53) 


the  slap-sticks  or  the  Western  pictures ; 
or,  they  gave  us  a  huge,  eye-filling  spec- 
tacle ;  and  finally  they  had  begun  to  realize 
that  they  were  not  merely  translating  books 
or  plays  into  a  sort  of  dumb  play  of  what 
happened  in  a  book  or  a  theater,  but  that 
their  business  was  to  catch  the  "movie  way" 
of  representing  life,  so  that  it  was  quite 
clear  enough  and  forceful  enough  without 
the  words. 

Compared  to  what  we  choose  to  call  the 
modern  era  of  films,  they  were  still,  how- 
ever, giving  us  a  "lot  of  photography." 
There  was  a  great  deal  of  unnecessary  and 
unimportant  detail  in  even  the  best  pic- 
tures. And  as  for  the  handling  of  the 
camera  itself,  their  technique  might  be 
likened  to  the  thin  tone  of  the  harpsichord 
of  two  hundred  years  ago,  before  Bach 
invented  the  piano  with  its  immense  range 
and  richness. 

Flexibility  of  Today 

"The  modern  film  as  we  know  it  today, 
which  may  be  compared  to  a  full  or- 
chestra, with  its  variety  of  shade  or  tone, 
its  deepened  graphic  power,  its  lightness 
of  touch,  its  complete  flexibility  to  the  will 
or  whim  of  the  director,  was  ushered  in 
by  the  foreign  invasion  of  about  five  years 
ago.  . 

"The  Cabinet  of  Dr.  Caligari,"  which  I 
saw  in  1921,  made  a  profound  impression 
on  the  film  people  here.  Its  weird  con- 
tinuity, which  might  have  been  taken  from 
one  of  Poe's  alcohol  nightmares,  prompted 
the  director,  a  certain  Herr  Wien,  to  seek 
the  most  uncanny  and  fantastic  effects. 
He  did  this,  on  the  one  hand,  by  using 
"expressionistic"  studio  sets  that  transmit- 
ted the  exact  degree  of  insanity  he  wanted 
to  put  over ;  then  by  keying  up  his  players 
to  chime  with  the  "expressionistic"  sets ; 
and,  finally,  by  the  multitude  of  camera 
angles  which  he  resorted  to  in  order  to 
get  a  startling  effect  of  unreality. 

It  was  a  marvelous  experiment  if  we  con- 
sider merely  the  manipulation  or  control 
of   the  camera.     I  had  often  heard  direc- 


tors here  complain  about  the  "babylike" 
mind  of  the  movie  camera.  It  was  mad- 
dening, the  way  it  included  and  featured 
things  that  had  simply  escaped  the  direc- 
tor's eye  as  he  shot  his  sequence — things 
that  had  nothing  to  do  with  his  scheme. 
And  if  you  blurred  or  touched  up  the  film, 
the  whole  thing  looked  rotten.  And  now 
came  "Caligari,"  with  all  its  "distortions" 
and  its  completely  sustained  atmosphere  of 
unreality.  The  inspired  acting  of  Conrad 
Veidt  as  Cesare,  the  somnambulist,  and 
Werner  Krauss  as  Caligari,  was  easily 
superior  to  any  work  we  had  yet  seen.  And 
as  for  the  staging,  a  police  station  was  a 
mad  dream  of  leaning  walls  and  masked 
officials  sitting  on  absurdly  high  stools;  a 
prison  cell  was  a  high,  vaulted  room,  whose 
toppling  pillars  seemed  to  be  falling  eter- 
nally upon  the  prisoner  bound  in  massive 
chains  to  a  painted  disc  on  the  floor.  There 
were  bursts  of  poetic  motion  in  it :  Cesare 
carrying  off  the  girl,  leaps  thru  an  arched 
window,  her  dress  opening  like  a  great 
fan  and  describing  an  arc,  as  they  dis- 
appear;  Cesare  dancing  across  the  jaggedly 
pointed  roofs  of  the  village,  with  her 
swooned  body  in  his  arm.  .  .  .  Thruout 
there  was  the  perfection  of  related  move- 
ments. 

"Caligari"  suggested  immediately  the 
amazing  degree  to  which  you  could  control 
the  camera  to  secure  any  desired  effect  of 
fantasy  or  suggestion.  It  suggested  also 
a  complete  control  over  the  material  pho- 
tographed: the  use  not  only  of  artfully 
selected  background,  but  of  synthetic  back- 
ground, this  latter  stunt  being  taken  over 
bodily  from  the  modernistic  German  thea- 
ter of  Gordon  Craig  and  Max  Reinhardt. 

In  its  use  of  artificial  studio  sets. 
"Caligari"  went  too  far,  in  the  opinion  of 
many  keen  observers,  from  the  genius  of 
the  motion  picture.  The  completely  arti- 
ficial sets  have  the  same  effect  as  trick 
photography,  and  become  after  a  while 
very  stuffy  and  boring. 

With  the  immense  improvement  of  the 
(Continued  on  page  79) 


72 


Filming  "Beau  Geste" 

[Continued  from  /,'i</>" 

,-    which    was    the    dreadful    "Mort." 

Then  the  commandant   drew   his   pistol, 

handed  n  t"  Sleeman,  said:  "Legionnaire, 

ur  dut>  '"  and   Merman  put   the  pistol 

r  drunken  man's  temple  and  fired.  .  .  . 

uorc      Much  more 


T 


"The  Katienjammera" 
HERE    is    a    lighter    side    of    camp    lite, 

"The  K»t*enjammers"  Neil  Hamilton 
»nd  Donald  Stewart  (Digby  and  Buddy) 
—earned  their  title  thus : 

The  fust  night  in  camp,  Ronald  Colman 
and  William  Powell  were  called  outside 
their  tent  by  an  ingenuous  Neil  Hamilton, 
who  detained  them  for  some  five  minutes 
sting  starlight  walks,  a  raid  on  the 
mess  tent  (in  charge,  incidentally,  of  Holly- 
"<  smartest  cafe — Brandstatter's  Mont- 
martrc).  and  a  visit  to  the  commissary. 

When  the  two  pals,  having  refused  all 
lures,  re-entered  their  tent,  Ronald's  bed 
:uissing  (via  Donald  Stewart) — not  to 
be  recovered  until  the  dunes  about  the 
camp  had  been  secretly  searched  and  the 
east    was    beginning    to    brighten. 

They  are  all  boys  in  camp,  planning 
snipe  hunts  for  the  uninitiated,  seasoning 
>ne  another's  coffee  with  olives,  toothpicks 
or  cheese,  constantly  joking.  "Childish  idea 
of  humor."  they  scoff,  but  they  all  indulge 
in  it,  from  the  enigmatic  Ronald  Colman 
leil    Hamilton  of   the   "spiritual"    face. 

Until  the  bugle  blows  "assembly."   .    .    . 

The  "Beau  Geste"  cast  hits  the  trail 
over  the  sand-dunes   eagerly. 

The  picture  is  something  more  than  a 
picture  to  them  and  to  Herbert  Brenon, 
an  indefatigable  figure  in  white  under  a 
great  shade  hat,  who  waits  their  coming 
in  the  shadow  of  the   fort. 

The  song  of  the  legion  of  Arizona  comes 
ringing    back    to    camp : 

"Altons,  Brenon,  void  la  legion!" 
The  dream   is  coming   true. 


Hollywood  Impressions 

(Continued  from  page  39) 

Kathleen  recently  married  a  banker  and 
all  of  their  friends  brought  presents.  There 
were  about  sixty  present.  Mrs.  Mix  makes 
a  charming  hostess  and  Handsome  Tom 
an  interesting  host.  He  was  dressed  in 
a  double-breasted  black-velvet  suit,  and  he 
took  delight  it  showing  me  and  others  the 
numerous  relics,  trophies  and  curios  in  his 
gun-room,  which  is  about  20  x  30,  with  an 
arched  ceiling  about  twenty-five  feet  high, 
filled  with  guns,  pistols,  saddles,  lariats, 
steer  horns,  and  so  on.  There  was  no 
entertainment  except  conversation  and  oc- 
casionally a  little  dancing.  The  ladies  ar- 
rived at  seven  for  dinner,  and  the  men 
at  nine-thirty.  At  twelve  I  left  and  was 
nearly  the  last  to  go.  Another  one  of 
those  famous   wild   Hollywood  parties ! 

£vf.rybody  out  here  seems  to  have  a  joke 
"*  about  the  international  fame  and  wick- 
edness of  Hollywood.  And  this  alleged 
wickedness  is  a  joke.  According  to  these 
soothsayers,  every  sheik  on  the  Desert  of 
Sahara,  every  potentate  in  Asia  Minor,  and 
every  cannibal  chief  in  Central  Africa 
knows  more  about  Hollywood  than  Holly- 
wood herself  knows.  Thus  the  little  lies 
founded  on  false  facts  go  from  place  to 
place,  getting  bigger  and  fouler  as  they 
go,  like  a  snowball  rolling  down-hill,  which 
picks  up  all  manner  of  dirt  as  it  rolls. 


The 

June  MOVIE  MONTHLY 

The   Magazine  with   the   Punch! 

WHAT  is  a  Habit?  A 
Habit  is  Something 
which  takes  Possession 
of  You.  Our  plea  is  for  you 
to  get  the  Habit  of  buying 
Movie  Monthly  every 
month  and  reading  it  from 
Cover  to  Cover.  You  will 
admit  after  reading  it  that  it 
is  the  leading  Magazine  of 
the  Screen  in  youthful 
ideas.  Its  pages  are  crammed 
with  live  interviews,  live 
articles  on  subjects  pertaining 
to  the  celluloid  world,  live 
fiction — and  live  pictures. 

Movie  Monthly  has  been 
setting  the  most  rapid  pace 
of  any  film  publication.  Why? 
Because  it  gives  to  you  the 
brightest,  livest  pages  of 
Romance  and  Adventure. 
There  is  Spirit  and  Sparkle 
behind  it. 

The  Old  West  is  brought 
back  to  you — and  the  New 
West  lives  with  you.  And 
you  are  becoming  acquainted 
with  screen  people  who  have 
never  reached  you  through  any  other  magazine. 

The  June  issue  of  Movie  MONTHLY  continues  to  feature  the 
new  series,  Bandits  of  the  Border.  As  the  May  issue  gave  you 
the  James  Boys,  the  next  issue  will  devote  itself  to  the  Younger 
Brothers. 

The  June  number  will  also  offer  Chills  and  Chuckles  with 
Comedy  Lions,  an  article  featuring  the  laughs  and  thrills 
incidental  to  handling  the  king  of  the  jungle  before  the  camera. 

The  June  number  will  also  devote  itself  to  featuring  the  cameraman's  angle 
on  Shooting  the  Western  Stars.  There  will  be  highly  readable  interviews  with 
Myrna  Loy,  Eileen  Sedgwick,  Robert  Ames  and  Martha  Sleeper.  The  Cowboy 
Songs  will  continue — as  will  the  Special  Section  and  three  absorbing  noveliza- 
tions.  And  to  provide  the  intimate  touch,  several  pages  will  feature  exclusive 
photographs  of  bathing  girls  and  the  news  of  the  screen  world. 

So  get  the  Habit.  Once  you  have  this  Habit,  you'll  never  do  without  Movie 
Monthly.     The  Snappiest,  Punchiest  Magazine  of  the  Screen. 

Order  Your  JUNE  Issue  of 

MOVIE  MONTHLY  Now! 


73 


Something  different 
for  fobbed  Hair 

THERE  is  a  tremendous  difference 
in  bobs.  Some  are  wonderfully 
attractive  and  becoming,  while 
others,  well — which  kind  is  yours? 

I  wish  you  could  picture  the 
becoming  kind  I  have  in  mind  — 
the  sort  that  makes  men  turn  to 
admire.  I  can't  tell  you  what  the 
color  is,  but  it's  full  of  those  tiny 
dancing  lights  that  somehow  sug- 
gest auburn,  yet  which  is  really  no 
more  actual  color  than  sunlight. 
It's  only  when  the  head  is  moved 
that  you  catch  the  auburn  sugges- 
tion —  the  fleeting  glint  of  gold. 

You  have  no  idea  how  much 
your  bob  can  be  improved  with  the 
"tiny  tint"  Golden  Glint  Shampoo 
will  give  it.  If  you  want  a  bob  like 
that  I  have  in  mind,  buy  a  package 
and  see  for  yourself.  At  all  drug 
stores,  or  send  25^  direct  to  J.  W. 
Kobi  Co.,  656  Rainier  Avenue, 
Seattle,  Washington. 

Golden  Glint 

SHAMPOO 


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mal and  thus  Improve  your 
facial  features  100  per  cent 
My  new  appliance  Is  com- 
fortable, easy  to  adjust,  and 
Is  worn  at  night.  It  will  also 
promote  correct  breathing  and 
eliminate  the  harmful  and 
annoying  habit  of  snoring. 

Write  for  full  information, 
testimonials, etc.,  without  any 
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Blnghamton.  N.  Y. 


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How  the  Keystone  Kops  Happened 

(Continued  from  page  35) 


Mack  Sennett  as  the  police  sergeant  and  the  late 
Fred  Mace  as  the  copper  in  an  early  Sennett  comedy 


helmets,  caps,  clubs  and  sockets  and  belts. 

Gentlemen's  warbrobe. — Odd  coats,  pants, 
vests,  shirts,  shoes,  bell-boys'  suits,  trage- 
dian's clothes,  porters'  uniforms,  Mexican 
costumes,  tennis  blazers,  hunting  suits,  rube 
clothes,  railroad  jumpers,  eccentric  frock 
coats. 

Ladies'  wardrobe. — Dancing  girls'  cos- 
tumes, Spanish  costumes,  soubrette  dresses, 
bathing  suits,  old  maids'  costumes,  shirt- 
waists, wrappers,  kimonos,  waitress'  uni- 
forms, nurses'  uniforms,  wigs,  hats  and 
shoes. 

Incidentally,  Mack  Sennett  was  not  above 
appearing  in  Keystone  comedies  himself 
in  those  days,  and  it  is  undoubtedly  in  the 


reader's  memory  that  Mr.  Sennett  was  a 
laugh  producer  par  excellence,  working 
with  Ford  Sterling  and  the  late  Fred  Mace, 
and  in  these  pictures  he  wore  one  of  the 
police  uniforms  whic^h  has  played  so  promi- 
nent a  part  in  this  little  story.  (As  a  cap- 
tain, always,  of  course,  in  charge  of  the 
Keystone  police.) 

A  battered  police  club,  which  the  writer 
has  hanging  beside  his  bed  (in  the  interests 
of  self-defense  only,  of  course)  and  given 
to  him  by  Harry  Guttenberg  the  day  he 
purchased  the  Keystone  wardrobe,  is  a 
mute  and  constant  reminder  of  those  dear 
old  days — the  cheery  era  of  the  Keystone 
cops. 


Reviewing  Pictures  on  Broadway 


(Continued  from  page  22) 


letters,  which,  of  course,  are  uninteresting. 
The  Big  Films 

Dictures  like  "The  Black  Pirate,"  "The 
Big  Parade,"  "La  Boheme,"  "Stella 
Dallas,"  "The  Gold  Rush"  are  not  only 
an  entertainment  to  the  writer,  but  also  an 
inspiration  in  writing  of  them.  There  are, 
it  is  true,  numerous  other  bright  spots  m 
a  critic's  life  that  come  on  at  the  regular 
change  cinemas.  Poor  ones  come  along 
like  poor  plays,  but  there  are  more  of  them 
than  the  stage  efforts.  And  even  if  a  pic- 
ture be  wearying,  so  long  as  it  contains 
a  glimpse  of  originality  here  and  there,  the 
review  of  it  can  be  approached  in  a  humble 
and  hopeful  mood.  You  dont  have  to 
wiggle  on  your  seat  and  look  at  your  type- 
writer and  wonder,  after  all,  if  you  could 
not  do  better  with  a  pencil  or  a  pen  and 
ink  or  mayhap  an  old-fashioned  quill. 

No  matter  whether  it  is  a  delightful 
spring  day,  or  a  blizzard  is  blowing,  or 
it  is  as  hot  as  Yuma  in  the  summer,  you 
always  find  plenty  of  persons  in  the  mo- 


tion picture  theaters.  Sometimes  you 
wonder  why  the  people  dont  go  out  oi 
town  and  on  other  occasions  you  wonder 
why  they  dont  stay  home.  When  I  take 
my  seat  (to  work)  in  a  picture  theater, 
I  have  a  hope  for  comparative  quiet,  and, 
as  a  rule,  I  get  it.  But  now  and  again 
one  is  bothered  by  prattling  patrons  or 
sighing  fat  men  and  women  who  seem  to 
be  more  stirred  by  pathos  than  by  the  com- 
edy. One  afternoon  I  found  the  theater 
pretty  crowded  and  during  the  screening 
of  the  feature  one  small  boy  became  so 
excited  that  he  jumped  up  once  in  a  while 
and  came  down  on  my  foot.  Above  me 
was  another  of  his  ilk  who  sat  with  the 
toes  of  his  shoes  quite  near  my  neck.  But 
taking  it  all  in  all,  I  have  enjoyed  the 
youngsters  in  a  theater  because  of  their 
buoyant  spirits.  There  was  nothing  more 
inspiring  than  the  children's  laughter  at 
"Peter  Pan"  and  "A  Kiss  for  Cinderella," 
which  were  presented  during  the  Christ- 
mas holidays. 

(Continued  on  page  77) 


74 


in/hen  there's  singing 

and  dancing  on  the  lawn  —  and 

the  gay  crowds  swing  to  music 

under  the  lanterns  and 

the  canopy  of  trees 

—  have  a  Camel! 


No  other  cigarette  in  the  world  is  like  Camels.  Camels  contain  the 
choicest  Turkish  and  Domestic  tobaccos.  The  Camel  blend  is  the 
triumph  of  expert  blenders.  Even  the  Camel  cigarette  paper  is  the 
finest,  made  especially  in  France.  Into  this  one  brand  of  cigarettes 
go  all  of  the  experience,  all  of  the  skill  of  the  largest  tobacco 
organisation  in  the  world. 


WHEN  it's  evening  with 
merry  dancing  on  the  lawn. 
When  the  world  is  young 
with  youth  and  gay  with  age 
— have  a  Camel! 

For  no  other  cigarette 
made  was  ever  so  joyous  on 
carefree  evenings.  Camel 
is  fair  companion  to  busy 
days  and  glamourous,  rest- 
ful nights.  You  just  can't 
smoke  enough  Camels  to 
tire  the  taste.  Camels  never 
leave  a  cigaretty  after-taste. 
The  choicest  tobaccos  that 
nature  grows,  blended  to 
bring  you  their  purest  en- 
joyment, are  rolled  into 
Camels.  Camels  are  the 
found-true  friend  of  millions 
of  experienced  smokers. 

So  as  you  make  merry 
with  friends  on  this  most 
enjoyable  of  nights.  As  you 
join  the  gay  party  when  the 
work  is  done — taste  then  the 
kindliest  smoke  that  ever 
came  from  a  cigarette. 

Have  a  Camel! 


1926 


Our  highest  with,  if  you 
do     not     yet    know    and 
enjoy    Camel    quality,    it 
that   you    may    try   them. 
We    invite    you    to    com- 
pare    Camel*     with     any 
cigarette     made     at     any 
price. 
R.    J.    Reynolds 
Tobacco  Co. 
Winifon-Silem.  N.  C 


Kick  off! 

With  the  snap  of  a  well  coached  team 

This  greatest  of  football  pictures 

Rushes  into  action! 

Thrill  follows  thrill  as  quickly 

As  a  quarterback  barks  his  signals 

And  such  a  team  of  talent! 

Jack  Pickford  as  the  heroic  roommate — 

Mary  Brian  (she's  beautiful!) 

And 

William  Haines  as  Tom  Brown 

Who  played  a  great  game  of  football — and  love 

To  win  out  in  the  end! 

Take  "time  out"  to  see  this  College  Classic! 

Directed  by  Jack  Connvay,  adapted  by  Donald 
Ogden  Stewart  from  Rida  Johnson  Young's  cele- 
brated stage  play.    Screen  play  by  A.  P.  Younger 

"More  Stars  Than  There  Are  In  Heaven" 


Tom  {William  Haines)  is  good 

at  any  game. 

The  girl  {Mary  Brian) 


Starring  Lady  Luck 


Onl>  •'  few  bars  ol  the  musit   hid  been 

played  and  jane  had  gone  thru  no!   more 

hull    .i   dozen    movements,    when    Fo 

k„„-  said      "  rhat'll  do !"     She  crept  aw  i) 

(l,   ,:  t  fallen,    but    when    •.lie    «.h 

down    the    aisle    to    leave    the 

theater,    the   ballet-master's    sccretarj    ran 

hei 

ikine  wants   to  see  you      W  ait  I" 
Jane  waited,  .mil  discovered  that  she  had 

(Mi.'  cried  I  okine,  "have  1  seen  such 
mtiful  .11  nis  !" 

Hired  by  Ziegfeld 

I  luck  who  led  her  to  the  building 

wherein   Ziegfeld   has    Ins   offices,   on   a 
oa)   when  that  connoisseur  of  beauty  was 
ting  girls  foi  his  "Follies"  shows.   Girls 
||   sizes,  nationalities  and  complexions 
filled  the  theater,  the  lobby,  and  spilled  out 
into  the  hallways  of  the  office  building. 

Line  Mood  among  an  anxious  throng 
on  the  eleventh  floor,  punching  the  elevatoi 
bell  and  hoping  nobod)  would  think  she 
was  m  and  of  the  mob.  The  elevator 
didn't  come,  bul  '  did     merel)  pass 

ing  from  one  office  to  another,      lie  looked 
mi'.     Jane   jabbed  the  bell.     He  dis 
appeared    into   an   office   and    returned    with 
mpanion  just  as  the  elevator  door  rolled 
to  admit   the  girl. 

The  door  closed  after  her.  and  its  closing 
was    followed  by   an   imperious  knock. 

The)  want  me!"  thought  Jane,  hut  she 
was  too  sh)  to  say  so.  and  the  elevator 
hov.  with  the  arrogance  of  his  kind,  paid 
the  knock  no  attention. 

The  main  floor  readied.  Jane  lingered 
in  the  lobby,  a  moment,  then  took  her 
wa>  leisurely  to  the  door.  A  boy  ran  after 
her. 

"Hey— Ziegfeld  wants  you!" 

"I  low  do  you  know  ?" 

"Well,  he  phoned  down  to  stop  the  girl 
with  the  red  roses  and  you're  her!"  said 
the  boy,  more  emphatically  than  gram- 
matically. 

Even  so. 

Jane  signed  with  the  "Follies"  and  played 
with  them  nine  months. 

Zukor  Sees  Her 

It  was   a  bitter    winter   and   scanty  attire 
n    drat'ty    stages    went    hard    with    the 
latest  "Follies"  beauty.    Cold  after  cold  kept 
her  weak  and  ill. 

"1  wasn't  getting  anywhere,"  she  ex 
plains.  "1  didn't  feel  that  1  would  ever 
make  a  great  singer,  and  1  knew  I  had 
started  too  late  to  be  a  first-rank  dancer. 
1  should  have  begun  when  I  was  five !  I 
wanted  to  act.  I  have  such  terrific  ambi- 
tion." 

An  aunt.  Jane's  sole  living  relative,  hear- 
ing that  the  girl  had  decided  not  to  go  on 
with  the  "hollies."  expressed  regret  at  never 


Vork 


having   seen   hei    niece  on  the 
prompt  1)    invited  I 

foi  the  i i 

Sin  li   a    night  !       I  In     -.  tin  ii 

songs,    null  d  and  blew  ■   the  \  1 1 

She   had   a   lii.u  VeloUS   lime        \ll 

and  i    wondei  lid    tO   hi  i 

and    slu-    pressed    Jam     I"    take    hei     to    | 

where  the  eel  een, 

"We'll  go  to  the  Rita  '"ill  foi  lunch 
Monday,"    promised  Jane. 

I  ittle  god   I  ink   was  '.•Hiding  them.    'I  hev 
had     to    wait     foi     a     table    and     while    the) 
waited,  in  came    \do|ph  Zukor  and  JeS   I     I 
Lask)    tO   w  all    fl  'I    one.   too. 

Mi  Zukot  spoke  tO  Jane.  "Still  with 
the    'hollies.'   eh  .  " 

"I've  just  left  them,"  murmured  Jane. 
All  thru  luncheon,  she   i fl t   thi 

the   two   men   upon   her,   and   as   she   If  It    the 
room    Mr.    ZukoT  came  to  her  again. 

"M  i  .     I  a  ik  |      would     like     to     meet     )  on." 

he  said.     "Ever  thoughl  of  going  into  pic- 
tures?"   Resulting  in  a  year's  contract  with 

Paramount  ! 

Then — "Don   Juan" 

L-Ioi.i.Ywoop     brought     back     jeopardized 

health,    but    at    firsl    it    seemed    to 
no  opportunity.      Month   alter   month    went 
by.     Fitzmaurice  borrowed  Jane  for  "Mis 
Supreme  Moment"  and  she  was  condemned 
tn    "other    woman"    l 

Later,  Barrymore's  "Don  Juan"  was  in 
production.  Alan  Crosland,  the  direi 
sent  for  Jane.  "  \11  you'll  have  to  do  is 
to  look  gorgeous,"  be  was  explaining,  "mag- 
nificent clothes,  you  know,  that  will  show 
off  your  figure " 

"Oh,  no!"  cried  Jane.  "1  hate  that! 
Anybody  can  look  gorgeous.  Isn't  there 
something  with  acting  in  it?" 

"There's  lira  I  rice  in  the  prolog — but 
you've  had  so  little  experience,  and  that's 
a  heavy  part " 

"Let  me  try  !" 

Larry  more,  consulted,  gave  her  an  ap- 
praising look.  "Surely,"  he  said,  "she's 
Beatrice!" 

A  screen  test  confirmed  his  judgment, 
and  her  work  in  the  part  won  her  a  new 
and  remunerative  contract  with  Warner 
Brothers ! 

"I'm  to  play  leads,"  she  confided,  eagerly. 
"I'm  so  happy  !  I  hate  being  an  imitation 
Nita  Xaldi — first  because  there's  only  one 
Nita,  and  second  because  1  dont  fit  the 
part. 

"There's  no  good  reason  why  being  tall 
should  make  one  a  vamp,  is  there?  Vamps 
usually  are  no  more  than  clothes-horses. 
I  want  to  do  emotional  seems.  I'll  be  get- 
ting somewhere  if  I  can  do  real  acting. 
I'll  be  building  toward  a  future,  dont  you 
know?" 

She  has  ambition,  as  has  been  said  be- 
fore! 


FR  EE     10-Daj   i 


;  i  >     I  1 1 1 » i  • 


.!/«///  /      ( 


Reviewing  Pictures  on  Broadway 

(Continued  from  />((</<•  74) 


About  a  year  ago  I  went  to  the  Colony 
Theater  to  review  Norma  Talmadge's  film 
version  of  the  play,  "The  Lady."  I  had 
been  sitting  watching  the  newsreel  when 
two  grey-haired  ladies  passed  by  me  and 
took  seats  near  me.  Their  conversation, 
as  the  feature  was  unwound,  was  soft  and 
interesting.  They  were  evidently  harking 
back  to  the  period  of  the  picture,  some 
thirty-five  years  ago.  They  found  Miss 
Talmadge  reminded  them  of  a  relative,  and 
they   referred  gently   to  other  incidents   in 


the  picture.  In  my  review  I  mentioned 
these  two  grey-haired  ladies  several  times, 
and  when  I  came  to  the  end  of  my  article 
I  wrote:  "Take  it  from  the  two  grey- 
haired  ladies,  this  is  an  admirable  pro- 
duction." 

Unusual  Experiences 

Two    days    later    I    received    a    charming 

letter,   in    which   the   person,    who   signed 

it  "Two  Grey-haired   Ladies."  told  of  the 

(Continued  on  page  79) 


To  Whiten 
Dull  Teeth 


A  NEW  WAY,  based  on  advanced 

scientific   principles,   that    lightens 

cloudy  teeth;  that  restores  off-color 

teeth  to  charming  clearness 

T  !■"   you    want    whiter    teeth,    please    make 
this  remarkable  test.     It  will  prove  your 

teeth  are  not  naturally  "off  color"  or  dull, 

but  far  whiter  than  you  know. 

It    will    give    them    clear    and    beautiful 

whiteness.      It    will    firm    your   gums    to   a 

healthy  coral  color. 

You  are  hiding  your  teeth  -with  a 
film  coat  .      .   that  is  all 

Dental  science  now  traces  scores  of  tooth 
and  gum  troubles  to  a  germ-laden  film  that 
forms  on  your  teeth. 

It  clings  to  teeth,  gets  into  crevices  and 
slays.  It  lays  your  gums  open  to  bacterial 
attack  and  your  teeth  open  to  decay.  ( .erms 
by  the  millions  breed  in  it.  And  they,  with 
tartar,  are  a  chief  cause  of  pyorrhea. 

Now  nr-r  methods  arc  being  used.  A  dentifrice 
called  Pepsodenl  -different  in  formula,  action  and 
effect  from  any  other  known.  Largely  on  dental  ad- 
vice the  world  has  tunnel  to  this  method. 

Mere  brushing  won't  do 

It  accomplishes  tw,>  important  things  at  once:  Re- 
moves that  61m,  then  firms  the  gums.  No  harsh  grit, 
judged  dangerous  to  enamel. 

A  few  days'  use  will  prove  its  power  beyond  all 
doubt.  Send  the  coupon.  Clip  it  now  before  you 
forget. 

JFRRFPflPSQtlflivll 

I    ^.     i.|isfor  1  he  \e-r- Day  Qua! f.y  Dentifrice   j 

'    10-Day  Tube  to         Indorsed  by  World's  Dental 
I  .-ll«/iori/i« 

J   THE  PEPSODEN'T  COMPANY, 

370.  11(14  S.  Wabash  Ave., 
I    Chicago,  III.,  I'.  S.  A. 

I 

I    Name ■ 

I 

j    Address j 

Only  one  tube  to  a  family.  2146   j 


77 


All's  Fair  in  Love 

(Continued  from  pa;jc  57) 


Clear  Up 
Your  Skin 

Freckles  are  a  handicap,  both  to  good 
looks  and  social  popularity.  Get  rid 
of  them.  They  are  needless.  You  can 
remove  them  secretly,  quickly,  surely 
—and  no  one  will  ever  know  how  you 
did  it. 

Stillman's  Freckle  Cream,  double 
action,  not  only  dissolves  away  freck- 
les, but  whitens,  refines  and  beautifies 
your  skin.  After  using  this  snowy- 
white  magical  cream,  your  skin  will  he 
soft  and  white,  clear  and  transparent. 
Results  guaranteed. 

At  all  druggists  50/  and  $1. 
Try  it  tonight. 


freckli 


uimans 

Cream  mmz 

REMOVES    FRECKLES 
WHITENS    THE     SKIN 


FREE  COUPON 

The  Stillman  Co., 

3  Rosemary  Lane,  Aurora,  111. 
I  would  like  your  FREE  booklet,  "Beauty 
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skin  treatment  used  by  stage  stars. 

Name 

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CUSTOM  EH-Just  tolntroduce 

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"Then— It  Happened" 

"YY/k  had  just  been  playmates  before, 
laughing  and  joking  together,  but 
suddenly  we  became  serious.  He  told  me 
all  about  himself  and  I  told  him  all  about 
myself.  We  talked  for  three  hours,  mostly 
about  ourselves  and  our  ideas  on  life — and 
oh,  all  the  things  people  do  say  in  such 
a  case." 

The  sun  did  not  come  out  at  all  that 
day,  but  a  certain  small  god  who  wears 
little  or  nothing  and  carries  a  bow  and 
arrow  did.  Two  arrows  reached  their 
marks. 

"After  that,  we  went  everywhere  to- 
gether," beamed  the  happy  bride,  "and  two 
months  and  four  days  after  the  first  time 
we  met,  we  were  married.  It  was  this 
way:  We'd  talked  about  it,  of  course,  off 
and  on,  but  when  it  came  it  was  as  sud- 
den  as  our    falling   in  love. 

"The  picture  was  finished  and  we  were 
driving  thru  the  little  town  of  Santa  Ana 
one  day.  We  passed  a  sign  reading: 
'Justice   of    the    Peace.' 

"'How  about  it?'  said  Bill.  'Shall  we 
get    it   over?' 

"  'Surely,'   I   replied. 

"  'Mean  it?     Right  here — right  now?' 

"  'O.  K.,'  I  said,  and  right  there  and 
then  we  did  it !" 

Married  in  Santa  Ana 

The  lovely  Elinor  admits  that  before  the 
fatal  day  when  she  set  her  hand  and 
seal  to  the  contract  to  play  the  princess, 
she  had  belonged  to  the  Hollywood  fac- 
tion which  asserts :  "No,  I  would  not  marry 
an  actor !" 

"I  thought  that  two  actors  married  to 
each  other  had  less  than  half  a  chance  at 
happiness,"  confessed  Elinor.  "I  used  to 
say  that  the  jealousy  of  a  husband  who 
was  in  the  same  business  would  work 
against  us,  that  he  would  probably  criti- 
cise my  love  scenes  with  other  men,  and 
resent  it  if,  for  some  reason,  I  secured 
better  parts  or  better  pictures  than  fell  to 
his  lot. 

"But  I  dont  have  to  worry  about  Bill. 
There's  not  an  ounce  of  jealousy  in  him, 
and  as  I  have  none  and  we  trust  each 
other Oh,  well,  Bill  is  such  a  dear !" 

Elinor  and  Bill  have  just  taken  a  new 
house  and  the  things  uppermost  in  her 
mind  are  draperies,  lamps  and  matching 
the  bedroom  curtains. 

"The  living-room  is  thirty-four  by 
twenty,"  she  was  confiding,  eagerly.  "We 
are  so  anxious  to  get  it  fixed  up  before 
Bill  has  to  go  away  on  location.  He  may 
be  gone  a  month.     Isn't  that  terrible?" 

It  was  all  she  could  do  to  bring  her 
mind  back  from  the  fascinations  of  the 
new  house  to  a  consideration  of  advice 
to  girl  fans  who  would  like  to  get  into  a 
studio  and  appear  before  the  camera. 

But  when  she  had  left  the  dear  "honey- 
moon house,"  Elinor  had  sound  advice  to 
offer. 

Simplicity  and  Dignity 

"Cimplicity  is  the  one  vital  thing,"  she 
said.  "A  little  while  ago  it  was  the 
girl  who  jazzed  in  and  tried  to  get  over 
a  piquant  personality  who  got  the  chance 
to  try  out.  Anything  striking  enough  to 
attract  attention  helped,  whether  it  was 
make-up,  dress  or  a  certain  'line.' 


"But  not  today.  Producers  are  looking 
for  girls  who  can  look  and  behave  like 
real  ladies.  Anyone  can  take  on  the  man- 
ners of  a  tough,  but  no  one  not  a  gentle- 
woman  can   show   breeding. 

"Be  as  simple  as  you  can  in  clothes, 
colors  and  actions.  Select  plain  little 
dresses  that  become  you,  in  colors  that  set 
off  your  particular  personality.  Carry  your- 
self well  and  speak  in  a  low,  clear  voice. 

"Simplicity  goes  in  acting,  too.  It  is  far 
more  effective  than  chewing  the  scenery. 
For  example,  in  the  'Volga  Boatman,'  Vic- 
tor Varconi  has  to  strike  Bill  with  a  whip, 
after  showing  an  ungovernable  temper. 
Bill  does  no  more  than  narrow  his  eyes 
while  a  ghost  of  a  smile  plays  around  his 
mouth.  But  there  is  more  menace  in  his 
single  glance  than  in  all  the  raging  of 
Varconi." 

That  Elinor  Fair  follows  her  own  good 
advice  was  shown  by  the  dress  of  fine 
Alice-blue  flannel  she  was  wearing — a  dress 
simply  trimmed  in  the  daintiest  of  narrow 
braid,  and  matched  by  the  plain  felt  hat. 

And  talking  of  careers,  when  Elinor 
was  a  tiny  baby  in  Richmond,  Virginia, 
her  mother  dedicated  her  to  fame.  The 
baby  learned  to  dance  almost  as  soon  as 
she  began  to  walk.  When  she  was  eight, 
her  mother  took  her  to  Leipsic,  Germany, 
to  study  the  violin.  From  Leipsic  they 
found  their  way  to  Paris,  France,  where 
the  little  girl  was  given  masters  to  teach 
her  voice  culture.  She  can  remember  walk- 
ing with  her  nurse  in  the  Luxembourg 
springtime  doing  breathing  exercises  as 
they  went. 

Studied  Abroad 

Then    came    Brighton,    England,    and   a 
course  at  a  girls'   school. 

But  always  she  danced,  and  at  length 
at  the  ripe  age  of  fourteen  Elinor  ap- 
peared on  the  stage  of  the  Alcazar  Theater 
in  San  Francisco  doing  two  solo  dances 
in  a  musical  comedy. 

Moving  pictures  seemed  to  offer  greater 
opportunity  than  anything  else,  so  presently 
the  mother  and  daughter  journeyed  to  Hol- 
lywood. Fewer  girls  were  storming  cast- 
ing directors'  offices  then,  and  presently, 
on  Elinor's  fifteenth  birthday,  she  received 
the  plum  of  the  part  of  the  little  cripple 
girl   in   "The   Miracle   Man." 

"Lon  Chaney  used  to  make  me  up,"  re- 
membered Elinor,  "and  I  learned  so  much 
from  him.  That  picture  made  him  famous. 
Then  I  had  a  part  with  Adolphe  Menjou 
in  Mary  Pickford's  'Through  the  Back 
Door' — and  right  after  that  Menjou  be- 
came famous.     I  was  a  mascot,  they  said. 

"And  so  it  went — I  worked  nearly  al- 
ways, but  rarely  had  good  parts  in  g 
pictures.  I  was  beginning  to  be  terribly 
discouraged  when  I  was  cast  to  play  the 
girl  with  Buck  Jones.  .  .  .  And  see  what 
happened !" 

There  we  were  back  again  at  the  new 
house,  discussing  the  right  place  to  find 
those  clear  red  bowls  that  add  a  touch  of 
color  to  one's  living-room,  measuring  the 
width  of  a  window-seat,  and  arguing  about 
the  best  shade  for  the  summer  slip-over 
covers — if  one  should  decide  to  use  such 
things. 

"Marriage  and  careers  mix  very  well," 
observed  Elinor.  "We've  been  married 
two  months  and  I  still  think  of  Bill  as 
my    'boy    friend.'      Isn't    that    wonderful?" 


Y 


OU  cant   afford  to   be   without   the 
cTVTOTION   PICTURE    CLASSIC 


J     ^ 


Masters  of  the  Motion 
Picture 

learned   to  secure 

brilliant    effects    ol    distoi  n<>n   01    mi.  i 

i,    n. mi    nature    alone,    merch    l>\    I  he 
,  .it  which  the  camera  approached  its 
ial 
But  In   now   the  cinema  had  become  an 
anient  which   lent  itself  flexihlj    to  the 
n.ilioii        Willi    I  he    tit  •<  m  I    of 
•    Cierman   pictures,   such  as    l.uliitsch's 
ption"  and  "Passion,"  with  the  mak 
oheim's  "(.reed."  the  modern  era 
been   ushered   in.      Instead  of   beit 
j    for   spending    an  evening   gaping  .it 
star's     agreeable     physiognomy,    the 
a  vehicle  for  the  expt  cssion 
ol  pictorial  beauty,  relating  movement,  and 
■  and  tailing  tempo.    In  works  such  as 
t  haplin's  "  \  \\  oman  ol   l'.o  is."  01 

red  Wagon,"  the  photograph)  had 
become  so  clear  and  logical  that  the  clean 
Inns  of  a  picture  always  converged  directly 
upon  the  thing  or  figure  that  should  hold 
our  attention.      Their  touch  u.is  more  deli 

and  more  intimate  than  ever  before. 
The  >huttmg  of  a  door,  a  nudge,  the  grip 
hand  such  things  acquire  tremendous 
ificance  in  the  new  photograph)  and 
the  new  directorial  technique.  The  inven- 
tions and  experiments  of  Lubitsch  alone 
can  hear  the  fullest  examination,  "(Ireed" 
is  an  imposing  chapter  in  the  history  of  the 
new  art. 

It  is  interesting  to  note,  however,  that 
James  Cruze  had  followed  clearly  the 
American  tradition  of  (irillith.  as  well  as 
that  of  Sennett,  in  "The  Covered  Wagon" 
and  "Hollywood."  And  thru  Cruze  you 
re  finally  at  the  superb  achievement  of 
Kmg  Vidor  in  "The   Big   Parade." 

[Mr.  Josephson  will  contribute  a  second 
article  on  this  subject  in  the  July  Classic] 


Reviewing  Pictures  on 
Broadway 

(Continued  from  page  77) 

enjoyment  of  reading  about  themselves, 
adding  'now  gratified  they  were  to  observe 
that  they  had  "modulated,  cultured  voices." 
The  writing-paper  showed  that  they  were 
living    in   a    Fifth    Avenue    hotel. 

A  reviewer's  life,  as  you  may  have 
gathered,  is  not  all  beer  and  skittles.  There- 
are  days  when  the  theaters  are  terribly 
crowded  and  when  the  management  has 
forgotten  all  about  the  critics.  At  the 
opening  of  "The  Freshman,"  the  best  tlicv 
could  do  for  me  was  to  give  me  a  seat 
in  a  box,  from  which  Harold  Lloyd  looked 
to  me  about  twenty  feet  tall  and  a  fool 
wide.  I  explained  to  the  manager  that 
my  review  from  that  position  would  be 
hardly  what  he  wanted  to  see  next  morn- 
ing. He  then  escorted  me  to  the  other 
side  <n  the  house,  where  there  was  a  sim- 
ilar seat  in  the  opposite  box.  1  was  in- 
dignant and  the  manager  was  anything 
but  happy.  Nevertheless,  we  were  sur- 
rounded In  the  merriest  crowd  one  could 
hope  to  see.  Finally  they  found  a  seat 
for  me.  and  I  soon  joined  in  the  laughtei 
of  the  packed  theater. 

Just  to  be  a  little  original,  a  Xew  York 
theater  manager  decided  to  present  "The 
Gold  Rush"  a  little  before  midnight  last 
August.  Hence,  the  critics,  after  their 
day's  work,  had  to  get  down  to  business 
at  the  witching  hour.  Mr.  Chaplin,  look- 
ing spry  and  cheerful,  was  greeted  by 
(Continued  on  page  84) 


Mme.  Blanche  Arral,  Opera  Star 
Finds,  in  Java,  New  Way  to  Reduce  Fat 


Javanese  Woman 

The  secret  of  the  Javanese  women's 
slender  beauty  is  out  at  last.  The  method 
by  which  Madame  Arral  reduced  so  sur- 
prisingly has  been  used  in  Java   for  years. 

It  is  simple  and  harmless  yet  thoroughly 
scientific.  Xo  medicines,  starvation  diets, 
violent  exercises — no  Turkish  baths,  dan- 
gerous   purging   nor   reducing  garments. 

This  method,  it  is  said,  removes  fat  at 
the  rate  of  about  one  pound  a  day,  and  at 
the  same  time  strengthens  the  body  and 
benefits  the  general  health. 

"The  results  were  astonishing,''  says 
Mme.  Arral.  "Just  this  pleasant  simple 
native  treatment  took  away  my  surplus 
flesh,  restored  my  voice  and  my  health. 
Today  my  mind  is  clear  and  buoyant,  and 
I  truly  feel  as  though  I  had  stepped  from  a 
hazy  darkness  into  bright,  glorious  sunlight. 

"I  had  previously  tried.  I  believe,  every 
method  of  flesh  reduction  known  to  med- 
ical science.  I  used  drugs,  starvation  diets, 
purging,  rolling,  exercising,  long  walks, 
rubber  garments,  etc.,  but  they  did  me 
more  harm  than  good." 


Opera  Star  Reduces 

34  pounds  in  4  weeks  without 
Drugs,  Diet  or  Exercises 


When  Blanche  Arral  appeared  in  this 
country  some  time  ago  she  was  so  stout 
that  only  her  marvelous  voice  kept  her 
from  being  actually  amusing  in  such  roles 
as   Carmen  and   Juliet. 

She  returned  from  abroad  with  a  figure 
as   beautiful   as   her   voice.      The   trans  for 
mation   is   amazing.      She   has    reduced    eA 
pounds,  lost  a  double  chin  and  looks  fifteen 
years  younger. 

"I  had  gained  flesh,  oh,  so  rapidly,"  says 
Mme.  Arral,  "I  was  ashamed  to  appear  on 
the  stage.  Fat  made  my  health  miserable 
and  affected  my  voice.  I  was  dull,  heavy, 
stupid,  unable  to  digest    food  or  sleep. 

"Finally  while  touring  Australia  my  health 
broke  down  completely,  my  voice  failed  and  I 
was  obliged  to  lake  a  long  rest.  I  went  for  a 
vacation  to  the  little  island  of  Java  where,  at 
the  hands  of  a  Javanese  priest.  1  found  a  com- 
plete   cure." 

In  response  to  a  deluge  of  requests  for  infor 
■nation  regarding  this  wonderful  method.  Mme 
Arral  has  written  a  charming  little  hook  about 
her  experience  in  Java  and  how  she  got  rid  of 
excess  flesh  by  this  method  which  can  be  prac- 
ticed  at   home   by   anyone. 

For  a  short  time  a  copy  of  this  hook  will  be 
sent  free  to  anyone  who  desires  to  reduce.  Send 
name  and  address  to  Blanche  Arral.  Suite 
478    E,   35    E.    Flagler   St.,    Miami,    Florida. 


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79 


Tint  Those  Gray 
Hairs  to  Their 
Original  Shade 

and  look  5  to  10  years  younger 


The  advantage  of  Brownatone  is  that  your  closest 
friends—  your  own  family — cannot  detect  its  use. 
Other  preparations  may  give  your  hair  some  strik- 
ingly different  anil   mil online  color,   hut   Browna- 

t reproduces  its  exact  original,  youthful   shade, 

making  you  look  from  five  to  ten  years  younger. 
Mrs.  E.  Neighbors  of  Sonora,  Kentucky,  is  one  of 
hundreds  of  thousands  of  Brownatone  users.  She 
writes:  "1  have  tried  other  preparations  but  none 
has  given  the  satisfaction    that   Brownatone  has." 


Everybody  knows  the  woman  who  spends  much 
money  and  time  in  earing  for  her  complexion  and 
who  still  looks  old,  not  because  she  is  old  or  feels 
old  but  because  her  hair  is  faded,  streaked  and 
gray.  They  do  not  realize  that  beauty  is  youth 
while  gray,  dingy  hair  is  the  badge  of  age. 
"Brownatone,"  says  Hattie  B.  Tucker  of  Greens- 
boro. Ala.,  "is  easily  the  best  preparation  1  have 
ever  used  .for  gray  hair.  It  cannot  help  giving 
perfect   satisfaction." 


Brownatone  does  not  merely  coat  or  cover  each 
strand  of  hair.  It  docs  not  rub  off  or  wash  out 
because  it  is  absorbed;  each  strand  is  saturated. 
And,  although  used  by  hundreds  of  thousands  of 
women  for  many  years  past  no  report  has  ever 
come  to  us  of  the  slightest  injury  to  the  most  deli- 
cate hair.  Marcelling,  shampooing,  waving  and 
si  alp  treatments  have  no  effect  upon  it.  You 
merely  brush  the  color  through  and  do  not  need  to 
apply  it  again  until  new  hair  grows  out.  No  wonder 
Mrs.  Ida  Gilbert,  l(i.r>3  Addison  St.,  Chicago,  says, 
"1  urn  a  constant  booster  for  Brownatone." 


From  one  or  the  other  of  Browntone's  two  colors 
any  exact  shade  can  be  obtained.  Ask  either  for 
Blonde  to  Medium  Brown,  or  for  Dark  Brown  to 
Black.  To  be  had  at  drug  and  toilet  goods  counters 
everywhere  in  two  sizes,  50c  and  $1.50.  "Please 
write  to  my  druggist.  I  hare  recommended  Brown- 
atone to  him  as  the  finest  hair  tint  that  anyone  ran 
use.  I  know  he  can  sell  a  great  deal  of  it." — Mrs. 
Walter  Reed,   Brighton,  Mich. 

Clip  the  coupon  be- 
low and  mail  with 
10c  for  a  test  bot- 
tle of  Brownatone. 


The  Kenton  Pharmacal  Co. 

Dept.  H-2.  Covington.  Ky.,  U.  S.  A. 

{Canada  Address:  Windsor.  Ont.) 
Enclosed    is    10c.     for    test    bottle     of 

Brownatone.      (     )  Rlonde  to  Med.  Brown. 

(     )  Dk.  Brown  to  Jet  Black. 


Name. .  . 
Address. 
City 


.State. 


GUARANTEED    HARMLESS 

BROWNATONE 

TINTS   GRAY   HAIR  ANY  SHADE 
80 


They  Told  Buster  to  Stick  to  It 

(Continued  from  page  32) 


play  in  Los  Angeles,  Buster  is  still  "a 
kid." 

Buster's  Autograph  Album 

f*  ETTING  Keaton  to  talk  about  himself  or 
his  early  career  is  as  difficult  as  getting 
him  to  smile.  It  cant  be  done.  He  shuns 
the  limelight,  a  trait  which  becomes  more 
pronounced  each  year.  Perhaps  the  most 
prized  memento  of  his  early  days  is  a 
travel-worn  diary  and  autograph  album. 
It  contains  signatures,  verses  and  tributes 
of  Elsie  Janis,  Mclntyre  and  Heath, 
Louise  Dresser,  John  L.  Sullivan,  James  J. 
Corbett,  Will  Cressy,  Fred  Niblo,  J.  K. 
Etnmett,  Jack  Norworth,  Flo  Irwin,  Tom 
Sharkey,  Lew  Qockstader,  Tony  Pastor, 
(liarles  K.  Harris,  Robert  Milliard,  George 
Monroe,  Cheridah  Simpson,  Banks  Winter 
and  hundreds  of  others,  many  of  them  long 
since  dead  and  others  who  have  risen  to 
still  greater  fame  on  the  stage  and  screen 
and  various  walks  of  life. 

The  late  Lew  Dockstader  made  one  of 
the  first  entries  in  Buster's  book,  naming 
the  place  of  the  future  screen  star's  debut 
in  the   following  rhyme : 

"Buster,  you're  a  dandy;    Buster,   you're  a   brick; 

Buster,    you    can    make    all    juveniles    look    sick; 

Some   day   you'll  be  a   great   one,   the   captain   of 

the   crew, 

But    dont    forget    old    Wilmington,    the    place    of 

your   debut." 

Fred  Niblo  first  met  young  Keaton  on 
Christmas  Day,  1904.  By  this  time  nine- 
year-old  Buster,  as  a  member  of  the  Three 
Keatons,  was  famous  thruout  the  vaude- 
ville circuits.  The  director  of  "Ben-Hur" 
then  was  with  the  variety  team  of  Newell 
and  Niblo. 

Niblo  recorded  in  the  youthful  fun- 
maker's  album : 

"Some  day,  Buster,  you  will  be  one  of 
our  greatest  comedians.  I  predict  a  great 
future  for  you." 

During  1904  Elsie  Janis  made  this  entry : 

"There's    a    dear   little    man   we   know    quite   well, 
Who   around    our    hearts    has   cast   a    spell: 
If   he   made  a   mistake   you   never   could   tell, 
For    he's    a    mimic,    comedian    and    acrobat    as 
well." 

Another  generation  will  recall  "Bill 
Bailey"'  as  one  of  the  song  hits  of  1903. 
The  vaudeville  team  of  Girard  and 
Gardner  wrote  the  following  in  Buster's 
book  on  February  27  of  that  year,  while 
the  Three  Keatons  were  playing  in  De- 
troit : 

"The  audience  was  cold 

And   we   worked    twice   daily, 

I  > i c  1    all    we    knew,    including    'Bill    Bailey'; 

But   it   was   easy   for   Buster, 

And   the   house   laughed   gaily 

At   the    smart    little    man 

With   the   strut  of   Dan   Daly." 

Old  John  L.  Predicts 

(~)li>  John   L.   Sullivan  wrote  in  gigantic 
letters  in   Buster's  album : 

"Little  Buster,  you  may  be  a  big  Buster  some 
day.      May    21,    1903." 

Jim  Corbett  predicted,  in  the  parlance 
of  the  ring : 

"Buster,    you're    a    knock-out." 

Tom  Sharkey  waxed  philosophical  and 
made  this  entry : 

"To  my  little?  friend.  Buster,  from  bis  old  friend, 
Tom  Sharkey.  And  after  all,  life  is  but  one 
sweet  dream.  Let  us  be  blithe  and  gay,  for 
tomorrow  is  another'  day.  Yours  truly,  Thomas 
J.      Good   boy!" 

Bert  Howard  didn't  know  anything  about 
motion  pictures  when  he  wrote,  back  in 
1903,  at  Indianapolis: 

"Buster,  you  will  be  America's  foremost  come- 
dian. Bead  this  book  forty  years  from  now 
and  see   if   I  am  not   right." 


Mclntyre  and  Heath  were  responsible 
for  the  following  r 

"Buster,    you    are    the    biggest    of    them    all,    tho 
not   in   size.      But   for  wit   you   get  the   prize." 

And  Digby  Bell  wrote: 
"Be  good,    Buster,   and   you'll   be  eccentric." 

At  that,  Buster  ought  to  be  good,  in 
more  than  one  sense.  He  was  born  in  a 
church,  on   November  4,   1895. 

The  town  in  which  he  made  his  worldly 
debut  isn't  even  on  the  map  today.  A 
cyclone  put  it  in  the  missing  column,  and 
they've  never  taken  the  trouble  to  rebuild  it. 

Born  in  a  Cyclone 

HThf.   Pickway,   Kansas,    "that   was,"   was 

forty  miles  north  of  the  Oklahoma  line, 
west  of  Coffeyville,  and  not  far  from 
Cherryvale.  Father  and  Mother  Keaton, 
Joe  and  Myra,  and  Harry  Houdini,  now 
the  famous  magician  and  escape  artist, 
were  touring  the  country  with  a  tent  show. 
On  the  Saturday  night  before  Buster  was 
born,  a  wind-storm  blew  down  the  tent. 
While  Keaton,  Houdini  and  a  few  towns- 
people were  trying  to  get  the  show  house 
up  again,  a  cyclone  hit  the  community. 
That  was  the  last  anyone  ever  saw  of  the 
tent. 

The  only  clergyman  in  the  village,  a 
Catholic  priest,  heard  of  the  visitors'  plight 
and  of  the  expected  visit  of  the  stork.  He 
volunteered  to  go  for  a  doctor,  and  sug- 
gested that  Joe  Keaton  bring  his  wife  to 
the  little  home  next  door  to  the  tiny  church. 

Keaton  and  Houdini  started  for  the 
priest's  house  with  Mrs.  Keaton  at  one 
o'clock  Sunday  morning.  In  the  darkness 
they  mistook  the  church  for  the  house,  and 
Mrs.  Keaton  was  taken  into  the  sacristy. 
There  the  priest  and  the  doctor  found  the 
troupers,  and  there  Buster  Keaton  was 
brought  into  the  world. 

Buster — altho  his  name  was  then  Joseph 
Francis — became  a  trouper  that  day  and 
remained  one  until  he  went  into  pictures 
twenty-one  years  later.  One  day  when  he 
was  about  six  months  old,  the  lusty  young- 
ster demonstrated  his  tumbling  proclivities 
by  falling  all  the  way  down-stairs.  The 
mishap  failed  to  injure  him,  and  Houdini 
exclaimed  :  "What  a  Buster  !"  And  that's 
why  the  bill-boards  today  do  not  read 
"Joseph  Francis  Keaton." 

How  Buster  ever  arrived  at  man's  estate 
without  crippling  himself  for  life,  or 
worse,  has  always  been  a  mystery  to  his 
family.  The  boy  was  continually  getting 
into  trouble.  He  had  an  advantage  over 
most  youngsters  in  this  respect,  for  the 
family  was  forever  on  the  move,  and  each 
town  presented  new  adventures  —  new 
places  to  get  lost,  new  ways  to  get  hurt, 
and  new  boys  to  fight. 

The  Three  Keatons 

A  ff.w  years  later,  after  the  elder  Keaton 
^^  and  Houdini  had  dissolved  their  tent- 
show  partnership,  Buster  and  his  father 
and  mother  toured  the  country  as  the 
Three   Keatons. 

One  of  the  inducements  which  prompted 
Buster  to  try  his  luck  in  motion  pictures 
late  in  1916,  at  a  salary  of  forty  dollars  a 
week,  instead  of  accepting  an  offer  to  head- 
line Shuhcrt's  Winter  Garden  show  in 
New  York  at  several  hundred  dollars  a 
week,  was  the  prospect  of  settling  in  one 
place  for  more  than  two  weeks. 

Fate  again  intervened,  and  Buster  wasn't 
yet  ready  to  settle  down.  A  few  months 
(Continued  on  page  89) 


The  Off-stage  Laugh 
( i  55) 

•'I | ■ . w  u  i    ili.it,  Mam  He 

,il  rr.ilK    i  urn  i  i  in  il  .ill. 'in   i!. 
"Pi  il,    Kayiuund,    but    timed    .1 

.    IM   say.     Speed   it   up    i   little 

Raj  turned  to  me. 
••| )ni  you  ti i  .i  laugh,  neighbor?" 
"Su  Imitted.     "'I  thought  it  was 

I    funny." 

.  w.i-  .ill  between-scenes  conversation, 
entirely  out  "t  earshot   to  the  rest  of  tin- 
troupe      luldie    Sutberland,    who    was    ih 
ig  the  picture,  was  discussing  a  mat 
litiun   with  bis  cameraman.     He 
Called  for  .1  retake. 

mother  one  foi  Mr.  Zukor,"  he  said, 
"That  \\.i>  fine,  folks,  but  let's  speed  the 
tempo  m>  a  little  tln>  time."    And  so  and 

.1     Ml 

Frances  nudged  me. 

"Papa  will  give  me  a  bouquet  for  that 
one,"  she  laughed. 

"How    long    has    this   thing   been   going 
I  asked  her. 

M0h,  years  ami  years,"  she  said. 

d  she  told  me  the  story.     How  in  the 
old  trouping  days  her  off-stage  laugh  de 
nstructive  criticism  that  has 
carried    on    with    the    years,    which    have 
brought   lame  to  her  husband. 

"At  first  there  was  no  motivation  behind 
my  off  stage  applause  beyond  the  natural 
admiration  of  a  girl  for  her  sweetheart," 
said.  "His  antics  were  always  tunny 
tO  me  and  I'd  laugh  whether  anyone  else 
laughed   or   not. 

iradually  as  we  traveled  over  the  coun- 
try, hungry  half  the  time  and  wearing 
diamonds  and  eating  filet  mignon  the  other 
half,  the  realization  came  to  me  that  Ray- 
mond was  depending  on  my  moral  support 
from  off  stage.  If  1  was  depressed,  as  I 
often  was  in  those  hectic  days,  and  failed 
to  respond  to  his  act,  his  humor  seemed 
leaden  and  his  audience  would  freeze  right 
up  on  him. 

"Then  I  got  it.  He  was  playing  to  me, 
off  stage,  instead  of  to  the  crowd  out  in 
front.  In  other  words,  he  was  trying  to 
make  me  laugh  and  was  cheating  the 
people  who  were  paying  to  see  the  show. 
1  resolved  to  hold  out  my  support  until  he 
actually  made  me  laugh,  as  he  had  when 
we  had  tirst  started  trouping  together. 
This  attitude  toward  his  work  I  still  hold. 
Now  when  1  laugh,  he  doesn't  feel  flattered 
at  all.  Hut  my  laughter  gives  him  confi- 
dence in  himself,  for  he  knows  that  I'm  not 
laughing  just  to  cheer  him.  hut  because  I 
am  convulsed  with  the  humor  of  the  thing." 

Ray  once  wanted  to  quit  the  .Uage  and 
go  to  work  on  a   farm. 

"You're  a  good  actor,  Ray,  but  you'd 
terrible  farmer."  Frances  told  him. 
"From  now  on  you  do  the  family  acting 
and  1*11  do  the  off-stage  shouting.  And  if 
you  dont  learn  your  lines  I'll  quit  you  cold. 
Then  you'll  starve.  What  do  you  think  of 
that?" 

"I  knew  she  was  right,  so  1  learned  my 
lines  and  she  stuck  with  me,"  said  Ray. 
"I  could  never  have  made  the  grade  with- 
out her." 

She  has  never  taken  any  active  part  in 
the  direction  of  his  screen  work.  Her  part 
is  all  sub-rosa — off  stage.  But  as  a  favor 
to  him,  Ray  asks  that  she  he  permitted  to 
see  the  daily  "rushes"  of  the  scenes  in 
which  he  plays.  At  home  they  talk  it  over. 
And  Ray  respects  her  judgment  to  the  last 
chuckle. 

"Frances  is  a  big-hearted  gal,"  Ray  has 
often  told  me.  "But  her  sense  of  humor 
has  had  quite  a  strain.  And  believe  me, 
neighbor,  when  she  laughs  at  me  I'm  a 
riot." 


The  Telephone  at  the  Qentennial 


One  hundred  years  after  the 
signing  of  the  Declaration  of 
Independence,  the  infant  tele- 
phone was  first  exhibited  at  the 
Philadelphia  Exposition. 

Since  the  dawn  of  civiliza- 
tion, mankind  had  sought  some 
means  of  communicating  over 
distances  which  unaided  hu- 
man speech  could  not  bridge. 
Drums,  signal  fires,  runners,  the 
pony  express,  and  finally  the 
electric  telegraph  were  means 
to  get  the  message  through.  It 
remained  for  the  telephone  to 
convey  a  speaker's  words  and 


tones  over  thousands  of  miles. 

"My  God,  it  talks!"  ex- 
claimed the  Emperor  of  Brazil 
before  a  group  of  scientists  at 
the  Philadelphia  Exposition, 
as  he  recognized  the  voice  of 
Alexander  Graham  Bell,  dem- 
onstrating the  new  invention. 

Today,  after  a  brief  half- 
century,  the  telephone  lines  of 
the  Bell  System  have  become 
the  nerves  of  the  nation.  The 
telephone  connects  citizen 
with  citizen,  city  with  city, 
state  with  state  for  the  peace 
and  prosperity  of  all. 


American  Telephone  and  Telegraph  Company 
and  Associated  Companies 


bell 


SYSTEM 


IN   ITS   SEMI-CENTENNIAL   VEAR  THE   BELL   SYSTEM    LOOKS    FOR- 
WARD TO   CONTINUED   PROGRESS   IN   TELEPHONE   COMMUNICATION 


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81 


iiiiiiiiiinii!iiiiiiiii!iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii;nmiiiiiiiiiii[iiiiiiiiiiiiiiiiimiiiii!iii 

Verve!     Ginger!     Pep! 


There's  nothing  old  fash- 
ioned or  hackneyed  about 
THE  CLASSIC!  It  admir- 
ably reflects  the  youthful 
spirit  of  1  926.  It  is  out  of 
the  beaten  track  of  screen 
publications.  It  is  unusual, 
distinctive,  sparkling.  It  is 
recognized  as  the  best  ed- 
ited of  all  motion  picture 
publications.  The  greatest 
screen  writers  contribute 
to  THE  CLASSIC  each 
month.  It  is  truthful,  fear- 
less and  authoritative.  You 
cant  afford  to  miss  a  single 


issue. 


The 

July  Classic 

Watch  for  the  RICHARD  DIX  Cover! 


The  July  CLASSIC  will  feature  a  remarkable, 
human  interest  story  of  Richard  Dix,  the  most  absorb- 
ing document  since  The  Motion  Picture  Magazine 
published  the  life  story  of  Jack  Gilbert  last  Summer. 

Henry  Albert  Phillips  will  continue  his  series  of 
interesting  interviews  with  the  leading  British  and 
Continental  authors  on  the  subject  of  motion  pictures. 
In  the  July  CLASSIC  you  will  find  the  opinions  of 
Vicente  Blasco  Ibanez,  William  J.  Locke  and  W.  B. 
Maxwell. 

Another  striking  feature  of  the  July  CLASSIC 
will  be  a  startling  article  on  production  errors,  mis- 
takes of  costuming,  sets,  etc.  It  is  written  by  an  ex- 
pert and  you  will  find  it  of  keen  interest. 

And  a  dozen  or  so  other  big  features! 

82 


Tents  in  Canaan 

(Continued  from  page  63) 

lute  and  wreath  design  on   rug  and  chair. 
Pale  pastels  on  the  sage-green  walls. 

Leases  His  Own  Place 

Tt  is  a  queer  line  of  speculation — to  think 

how,  like  a  partridge,  this  pure  Nordic 
who  originated,  I  believe,  somewhere  in 
Iowa,  has  found  his  exact  coloration  in 
environment.  Perhaps  his  wife  has  helped 
— I  dont  know. 

But  Charley  loves  his  English  cottage 
home.  Smilingly,  but  with  a  certain  tight- 
ness at  the  lips,  he  speaks  about  his  strait- 
ened finances,  and  the  joke  which  was 
played  on  him. 

Charley  had  attained  great  popularity  as 
a  star.  He  had  built  and  furnished  this 
cherished  home  of  his.  Then  he  tried  to 
make  his  own  pictures — artistic  pictures — 
independent  pictures.  The  trust  squeezed 
him — crushed  him — flattened  him  out  a 
helpless  midge  on  the  ground.  Creditors 
took  his  home — like  a  flash.  But  they  were 
not  quite  so  cruel  as  creditors  are  in  mov- 
ing pictures.  They  allowed  Charley  to 
lease  the  place — his  place — from  them, 
while  he  began,  slowly,  painfully,  to  mend 
his  shattered   fortune. 

He  is  working  now  in  a  picture  called 
"Paris"  for  Metro-Goldwyn- Mayer.  But 
it  will  be  a  long  time  before  Charley  can 
buy  his  cottage  back. 

("""harley  is  exactly  like  the  china  shep- 
herd  lad  that  stands  by  the  door.  To 
have  ousted  him  from  his  home  would 
have  been  as  cruel  a  procedure  as  to  dash 
down  the  pretty  boy  from  his  pedestal. 

The  shepherd  lad  has  a  cocked  hat,  blue 
hair,  white  ruffled  collar,  a  long^tailed  coat 
of  mulberry,  and  tight  green  knicker- 
bockers with  large  gold  roses  all  over 
them.  His  dainty  feet  in  black  pumps  are 
crossed  at  the  ankles  and  at  his  feet 
crouches  a  long-eared  dog. 

Morning.  The  birds  singing  shrilly  in 
the  garden.  The  hedges  smelling  like  an 
English  lane.  The  fountains  with  their 
chubby  cupids  that  match  the  chubby 
cupids  on  the  andirons  in  the  fireplace. 
Costly,  dainty,  spicky  beauty.  Arrogantly 
cheerful.  Maddening  really,  unless  you 
are  a  Nordic  yourself. 

A  Borgia  Bungalow 

""Fhe    Countess    Domski,   being  of    Polish 

extraction,  selected  the  American  Colo- 
nial for  her  Beverly  home.  Pola  Negri's 
house  is  white,  high-pillared,  and  marked 
by  two  austere  sentinel  palms. 

The  interior  frankly  discards  the  Colo- 
nial. It  is  Italian  Renaissance.  Paintings 
and  hangings  in  tints  of  dull  wine  and  dark 
smoke,  dark  brocades,  tables  and  chairs 
carved  in  the  severe  rectangular  style  be- 
queathed by  the  papal  aristocracy ;  coffin- 
like chests  that  rest  on  claw  feet  and  orna- 
ments of  beaten  bronze  and  brass. 

Before  the  stone  fireplace,  giving  tea  to 
Chaliapin,  the  mistress  might  be  a  Borgia  in 
her  dark,  sensual  beauty.  Pola  is  as  de- 
cisive a  type  as  the  Italian  interior  of  her 
Colonial  house. 

Above  her  fireplace  Pola  has  her  own 
portrait  by  an  expensive  portrait  painter. 
But  May  McAvoy,  one  of  the  few  who 
still  cling  to  a  home  in  Hollywood,  has 
hung  above  hers  some  Rembrandts  per- 
chased  in  Paris  while  she  was  making  "Ben 
Hur."  So  why  should  the  spirit  of  Pola 
be  proud? 

Moreover,  I  remember  seeing,  in  the 
home  of  Mr.  and  Mrs.  Joseph  Schenck 
(Norma  Talmadge)  a  most  interesting 
example  of  a  batik,  which  seemed  unusually 


rinlii     in    t lit ->    conglomerate     hou  e         \" 
ii    .1    blind    canyon, 
>n   animal    i< 

I  I  .    wliu  ll    WUM    l>    HHIIV    lloWII 

1:1    I  lie    wall;     il'olll    l>i  lllllil    a 

llklll^    nil! 

hit  unprotct  leil  real 

\  |  ;rcal  spii  it.     It  hang    on  tin- 

hall   was     up.    win 

I 'ianicd     l>>      a     lieavil) 

d  niatei  lal  woven  with     I  pure 

•     Joe     Selienek    SIO.IKHI    and 

in   he  ilone   without    i  ecoiu  »c 

:titT. 

The  Schenck  Residence 

Tin   Schenck  residence  i>  indeed  the  only 
'house    I    know    in    Beverlj    which   does 
cling  desperate!}   to  it-.  |K'riod.      \t  best 
it   shows   a   -dn;lit    Italian   inllueiice  on   the 
Within,  it  is  what  a  business  man 
lis  wile  would  make  it. 
The    ground  mfortabh    modern. 

A   winding   cement   walk   leads   t>>  a   1 
,\   house.      Hack  of   it  the  dog  kennels. 
I  a  latticed  place  full  of  all  kinds 
The}    hang    from  the   roof   and 
the  sides,     u.  entwined  with  the 

e    walls,    weaving    a    solid    pattern    in 
.  i  > 

the    right    the    inevitable    swimming- 

puol.    Bright  awnings     canvas  chairs.   And 

-court    enclosed    in     poultry     netting. 

with    electric    lights    so    you    can    play    at 

night. 

A    practical,    comfortable    home    that    in 

no  wise  dissembles  the  tastes  of  it--  owners. 

The  radio  is  not  camouflaged  as  a  plumed 

lit,  nor  the  telephone  as  a  Dresden  doll. 

ichenck's  desk  is  brazenh   a  desk. 

Kn't  it  possible  that  after  sufficient  years 

have  passed  some  iiouveau  richc  of  the  day 

ma}    cop}    this   home  as   a    line   example   of 

twentieth-century    American  ? 


The  Celluloid  Critic 

ntinued  from  page  51 ) 

The    scoundrel    collapses    eventually    and 

the  dancer   relents.      She  dons   a   couple   of 

golden   saucers  and   several   beads  and  does 

>    modi  tied  Oriental  dance  before  the 

dying  man's  e} 

Of  course,  all  this  is  just  garish  drivel 
in  the  lx.'St  style  of  the  overpraised  Arlen. 
who.  according  to  the  caustic  George  Jean 
Nathan,  writes  like  an  overeducated  coon. 
Here  you  will  find  a  bit  of  Paris  revelry 
in  which  the  statues  come  to  life.  The 
whole  thing   is  cheap  and  tawdry. 

Dorothy  Mackaill  is  rather  better  than 
usual  as  the  girl  Coiisuelo.  Personally.  I 
am  beginning  to  revolt  at  Conway  Tearle, 
who  plays  a  wooden  gentleman  who  loves 
u'/ti  from  afar.  That  forehead  with 
its  quizzical  uptilt  of  the  eyebrow-  is 
palling  on  me.  Tearle  hasn't  acted  in  two 
or  three  years. 

"Devil's  Circus"   Overpraised 

CniE  of  the  metropolitan  critics  were  im- 
pressed with  Benjamin  Christianson's 
first  American  film,  "The  Devil's  Circus." 
To  me  it  was  just  early  Griffith  plus  a 
dash  of  Seastrom  pseudo-symbolism. 

Christianson  is  responsible  for  both  the 
story  and  the  direction.  The  thing  is  awk- 
wardly, even  crudely,  told.  The'  locale  is 
th  Europe,  probably  Germany.  A  little 
girl.  Mary,  comes  to  the  city  and  is  per- 
suaded to  go  to  a  disreputable  hotel.  The 
persuader  is  a  gangster  whose  intentions 
aren't  all  the  censors  of  Pennsylvania  or 
Kansas  might  desire.  The  girl's  innocence, 
however,    makes    a    man    of    the    weakling. 


(Continued  on  page  91) 


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Reviewing  Pictures  on  Broadway 

{Continued  from  page  79)  - 


everybody  who  could  get  near  him  as  he 
walked  down  the  aisle.  It  was  one  of 
those  occasions  that  cling  to  one's  mem- 
ory. Fortunately,  the  writers  did  nut  have 
to  go  hack  thai  night  tu  give  their  impres- 
sions of  the  picture. 

A  New  York  theater  was  so  crowded 
mi  the  afternoon  Valentino's  "The  Eagle" 
was  first  presented  that  the  newspaper 
writers  had  to  be  escorted  to  their  seats 
via  the  stage  door.  Another  unforgetable 
opening  was  that  of  "The  Thief  of  Bag- 
dad," because  everybody  had  to  battle  their 
way  to  the  theater  lobby,  and  even  Douglas 
Fairbanks  had  a  hard  time  in  carrying 
Mary  Pickford  thru  the  curious  and  press- 
ing throng.  Morris  Gest  had  gone  one 
better  than  the  usual  presentation,  for  in 
addition  to  the  great  arc  lights  and  periodi- 
cal flashlights,  there  was  the  Arabian, 
dirge-like  music  in  the  lobby  and  wafted 
to  the  sidewalk  there  came  the  perfume 
of  incense. 

The  Rush  of  Reviewing 

Tt  is  no  wonder  that  the  critics  are  en- 
thusiastic about  an  afternoon  pre-showing 
of  a  picture,  for  after  the  evening  per- 
formance, which  finishes,  as  a  rule,  well 
after  eleven-thirty,  the  reviewers  have  to 
hurry  back  to  their  offices  and  turn  out  a 
carefully  written  impression  of  the  film. 

There  is  romance  and  glamor  about  a 
great  newspaper  office  just  before  midnight. 
Boys  are  hastening  here  and  there  to  the 
call  of  "copy,"  and  carrying  the  sheets 
of  paper  to  the  telegraph  and  city  desks. 
The  reporters,  with  telephones  at  their  el- 
bows, are  beating  on  their  typewriters,  and 
the  copyreaders,  seated  around  two  great 
semi-circular  desks,  are  absorbed  in  their 
work.  Cables  from  all  parts  of  the  world 
and  telegrams  from  many  different  points 
of  the  country  are  coming  in,  and  shortly 


before  the  dead-line  every  effort  is  made 
to  send  the  late  stories  up  to  the  compos- 
ing room  to  catch  the  first  edition.  As 
a  rule,  the  critics  of  music,  the  drama  and 
motion  pictures  do  not  have  to  worry 
themselves  about  the  first  edition,  but  they 
must  have  their  articles  in  the  second  edi- 
tion, which  is  from  three-quarters  of  an 
hour  to  an  hour  later  than  the  first.  Hence, 
you  will  see  the  critics  from  the  three  de- 
partments coming  into  the  office,  usually 
in  dinner  jackets,  peeling  off  their  coats 
and  sitting  down  at  typewriters  in  their 
respective  offices.  The  programs  are  be- 
fore them,  and  they  sit  for  a  while  in 
thought  conjuring  up  the  first  few  sen- 
tences and  then  go  ahead  with  the  effort. 
Sometimes  a  review  may  be  only  eight 
hundred  words,  and  on  other  occasions  it 
may  be  nearly  twice  that  length.  It  is 
something  you  can  read  very  quickly, 
but  an  effort  which  requires  painstaking 
thought  to  transcribe. 

The  critic  invariably  waits  in  the  office 
to  read  the  proofs  of  his  work,  and  then 
he  goes  home  with  his  mind  filled  with 
thoughts  of  what  he  has  seen.  His  dreams 
at  times  are  possibly  infinitely  more  in- 
volved and  more  flighty  than  any  film  that 
has  been  made,  as  while  he  sleeps  he  may 
have  the  heroine  of  one  picture  mixed  up 
with  the  hero  of  another  and  the  villain 
of  another  production  turned  into  a  nice 
young  man.  And  the  comedy  character 
may,  in  this  sleeping  thought,  turn  out  to 
be  a  minister  of  the  Gospel  who  never 
slips  when  he  treads  on  a  banana  peel. 

And  then  next  morning  this  critic  who 
has  written  the  stuff,  and  read  it  on  his 
typewritten  sheets  and  also  in  proof,  glances 
at  the  news  of  the  world  on  the  first  page 
and  then  turns  to  look  at  his  yarn  as  it 
is  in  the  paper.  Another  review  has  been 
written  and  other  pictures  to  see. 


Letters  to  King  Dodo 

{Continued  from  page  61) 


Eighty  feet  under  the  paving-stones  of 
Rome,  haunted  by  the  togaed  ghosts  of 
citizens  once  buried  there,  the  Bragaglia, 
he  said,  is  peopled  by  tall  houris — slender, 
black-eyed,  dark- faced,  always  dressed  in 
white,  wearing  no  stockings,  in  the  most 
extreme  decolletee  and  the  most  exotic  of 
make-ups.     Item  :  empurpled  eyes. 

A    rickety,    medieval,    wrought-iron   bal- 


cony is  woven  around  the  interior.  Dark- 
browed  gentlemen  carry  knives  that  spring 
out  of  the  handle.  Futuristic  paintings  deck 
the  time-stained  walls. 

Lanson  Pere  ct  Fils,  gentleman's  vintage 
of  1911 — eighteen  cents  a  bottle!  And  a 
journalist  gets   fifty  per  cent,  off! 

Nevertheless,  Carey  came  back  to  Hol- 
lywood. 


The  Foremost  Screen  Writers  Contribute  Every  Month  to  the 

MOTION  PICTURE  CLASSIC! 


Eugene  V.  Brewster 
Agnes  Smith 
H.  W.  Hanemann 
Alice  Tildesley 
Mordaunt  Hall 
Don  Ryan 
Matthew  Josephson 


Frederick  James  Smith 
Robert  E.  Sherwood 
Sara  Redway 
Tamar  Lane 
Harriette  Underhill 
Harry  Carr 
Laurence  Reid 


Every  month,  too,  THE  CLASSIC  presents  the  best  work  of  such 
artists  as  John  Held,  Jr.,  Everett  Shinn,  K.  R.  Chamberlain,  Covarru- 
bias,  Major,  and  Wynn. 


84 


The  Velvet  "Depths 

of  31  citing  Sycs 

pique  the  interest  and  haunt  the  memory 
tuse  of  theii  shadowy  fringe  of 
ping  lashes. 

)'out  r\rs  will  reveal  interesting  depths  and 
haunting  tenderness,  if  you  d.irkc-n  your  lashes 
with  WIN\.  Just  touch  them  lightly  with  the 
brush  attached  to  the  stopper  of  the  bottle,  and 
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ilMKSr     OF     THE     OWNERSHIP,     MAN  Mil: 

MINT     CIRCULATION.     ETC.,     REQUIRED    BY    THE 

OF  CONURESS  OF  Alia  ST  J4.  l'.'U.  of  MOTION 

PICTURE  CLASSIC  published  MONTHLY  at  JAMAICA. 

N     Y      for   APRIL    1st,    I92ti       State    ol    NEW    YORK. 

INOS.      Before    me.    a    NOTARY    PI  BLIC 

in  uid  9       ■  ami  county  aforesaid,  personally  ap- 

Dl  SCAN    V  DOBIE.    IR..  who,  haying  been  duly 

aerordlnf  to  law.  deposes  and  says  that  he  is  the 

\IA.N.\i;KR     of     the     MOTION     PICTURE 

1   that   the  following   is.   to  the   beat    of  Ins 

ledge  and  belief,  a  irue  statement  of  the  ownership, 

iiiiiiasoiMi:   land  if  a  daily  papir.  the  circulation),  ele.. 

■foresaid  publication   for   the  date  shown    in    the 

n,    required   by   the    Act   of   August   'Jl.    1912, 

Laws  and    i( 

I  on  the  reverse  of  this  form,   to  wit:    1.  Tlia 

'     he  publisher,   editor,   managing 

and       business       managers       are:       Publisher, 

BREWSTER  PUBLICATIONS,  INC..  175DUFFIELDST  . 

BROOKLYN.      N       Y.       Editor.     FREDERICK     JAMES 

SMITH.     173     DUFFIELD     ST.,     BROOKLYN.     N      1 

lltor,    FREDERICK    JAMES    SMITH.     175 

DCFFIELD    ST..    BROOKLYN,    N.    Y.    Bu.siiuiis    Man- 

Dl  Ni  AN    A.    DOBIE.   JR.,    173    l>l  FFIELD   ST. 

BROOKLYN,    N      \.     :     Thai    the  owner   i-       (II    owned 

ion.   its  name   and   address  niust   be  stated. 

and    also    Immediately    thereunder    the  1    a. I 

ckhol.l.rs   owning   or   holding   one  per  cent. 

or  lucre  of   total   amount  of  stock.      If   not    owned 

ration,    the  names   and   addresses  of  the    Indli 

he  given.      If  owned   by   a  firm,  company  tn- 
other  unincorporated  eoncem,    its  name  and   addre 

ii      iiiilividu.il      member,      must 

..ii  i       LI  GENE      \        BREWSTEK,      173     HI  I 

FIELD     ST..     BROOKLYN.      V      V         3.       Thai      the 

iidlioldus,     mortgagees,     and     oilier     security 

rs  owning  or  holding  one  per  cent,  or  more  of  total 

amount  ol    bonds,  mortgages,  or  other  securities  art  :   tlf 

slate.)      NONE.       4.     Thai    II. 
paragraphs  next    above,   giving   toe  nanus  of  the  owners, 
and   security    holders,    if   any.    contain    not 
tiie  list  of  stockholders  and  security  holders  a 
r  upon  the  books  of  the  company  but  also,  in  cases 
"  rkholdcr   or    security    holder   appears  upon 
I    the   company    as    trustee   or    in    any    oilier 
iy    relation,    the  names  ut    the   i 

'ii  such  trustee  is  actiug.   I  i  Hut 

aid    two   paragraphs   contain    statement.- 
affiants    full    knowledge    and    belief    as    to    Hie    circum- 
-    and    conditions    under    which    Stockholders    and 
security   holders   who  do   not    appear  upon    to 

mpany  as  trustees,   hold  slink  and  securities   In   a 
capacity  oilier  than  that  of  a  bona  fide  owner;  and  this 
affiant  has  no  reason   to  believe  that  any  other  person. 
association,  or  corporation  has  any  interest  direct  or  in- 
~tock.   bonds,   or  oilier  securities  than 
>tated  by   him.      3.      That   Die   average  number  of 
Ii    issue    of    this    publication    sold    ,.r    dis- 
tributed,  through   the  mails    or  otherwise,    to   paid   sub- 
scribers during  the  six  months  preceding  the  date  shown 
above  is  .    .    .    (This  information   is  required  from  daily 
publications  only.)      DUNCAN    A.    DOBIE,    JR.      Sworn 
S.  ■?"'.'     SUDScribed      before      me     this      Isth      ,i  , 
MAIN  II.     1926.       E      M      HEINEMANN.        (My     com- 
mlssiou  expires  MARCH   30lli,    1926.) 


"Old  Ironsides    Sails  the 

Seven  Seas  Again 

\t\nued  ft 

\nil  t.i  think  the  authors  had  never  h 
ni  applii  'I  i1  ycholi  •  ■.■ )   in  th  \p 

plied   masculine   psycholi 

Because,  v"U  see,  in  that  hectic  daj  ,; 
bold,   I'.ul    1 1 1 1 M  '1>   pirates    had  be<  om 
•K-  and  powerful  that  thej  were  chal 
ng  the  ii. t\ ies  of  the  world  and  corn 
pelling  tribute  from  them.    Oh,  but  it  was 
,i    matter    of    international    ridicule    when 
the    new     struggling    independent     colony 
-  the   \tlantic  thought  to  build  .1  navy 
.mil  defy  them. 

Came  "Old  Ironsides" 

Di  r  that  new  ship  was  built  of  exti 

dinarily  hard  wood  wood  thai  later 
proved  impervious  to  gunshot  and  earned 
her  the  title  of  "Old  Ironsides"  wood  so 
wonderful  that  the  old  boat  exists  today, 
villi  capable  of  restoration  to  life  and  ro- 
mance. 

And  she  had  been  built  <>n  the  "expense 
be  damned"  theorj  which  the  United  States 
\.i\y  has  followed  ever  since,  inspiring 
that  famous  cry,  "Nothing  for  tribute  but 
minimis  for  defense." 

However,  for  the  purposes  of  the  pic- 
ture she  was  not  yet  restored  to 
worthy  endurance,  so  the  Lasky  studio  lias 
liuilt  a  faithful  replica  of  "Old  Ironsides." 
They  had  the  navy's  old  original  plans  to 
work  from,  lent  by  the  government,  and 
tier  mainmast  stands  217  feet  high  from  the 
water-line,  higher  than  a  twenty-story 
building  ! 

And  she  recks  of  rope — oh,  hut  there  is 
something  so  intensely  masculine  about 
rope.  Even  today  note  the  scorn  of  the 
reef  knot  sailor  for  the  landlubber's 
"granny."  And  such  mighty  ropes  were 
needed  for  this  old  sailing  frigate  that  none 
are  made  of  such  dimensions  today.  Spe- 
cial ropes,  nigh  thirty  inches  in  circumfer- 
ence, have  been  specially  woven  for  the 
purpose,   100,000  pounds  of  it. 

But  there  was  still  another  difficulty. 
The  race  of  men  who  sailed  these  mighty 
sailing  ships,  who  "know  the  ropes,"  have 
become  extremely  rare.  So  they  have  been 
culled  one  by  one  from  Canada,  San  Fran- 
cisco, Baltimore,  to  man  the  mimic  "Old 
Ironsides."  Of  course,  there  must  be  two 
crews — the  professional  sailors  and  the 
actors.  Hut  lots  of  the  real  sailors  will 
take  part  as  well.  Fortunately,  several  of 
the  actors,  like  \\  ally  Beery,  who  owns 
his  own  yacht,  and  George  Bancroft,  who 
served  six  years  in  the  United  States 
Navy,  are  good  seamen,  too. 

The  Baltimore  sailors  are  bringing  round 
the  dozen  or  more  old  sailing  boats  that 
have  been  searched  for  and  discovered  in 
[•".astern  ports — ships  heavy  with  mighty 
.  huge  masts,  calling  for  prodigious 
skill  of  seamanship  that  engine-driven  ves- 
sels dont  demand,  all  of  which  will  take- 
part  in  this  oh.  so  masculine,  glorious  sea- 
fight  in  the  Mediterranean  (off  Catalina 
Island  in  the  Pacific). 

Catalina  as  Salem 

James  Crize  himself  visited  Tripoli  to 
note  the  landscape,  the  type  of  architec- 
ture, that  its  replica  on  Catalina  Island, 
California,  might  be  faithfully  exact. 
Every  tiny  detail  is  compared  with  geog- 
raphy and  history.  The  old  wharf  at 
Salem  erected  on  the  Isthmus  Bay  on 
Catalina  Island  is  a  faithful  reproduction 
of  an  old  print.  And  here  it  is  interesting 
to  note  that  Charles  Farrell,  who  plays 
The  Boy  in  the  story,  actually  lives  at  tape 
Cud,    and    has    haunted    old    Salem    many 


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Goodbye,  tired,  aching  feet  I  Walk  miles  or  stand  all 
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times  in  his  boyhood  and  is  steeped  in  its 

traditions. 

The  real  "Old  Ironsides"  was  built  like 
a  racing  sloop,  a  tremendous  innovation  in 
naval  ships  in  those  days,  and  designed  fur 
speed — speed,  which  America  has  lived  up 
to  ever  since.  It  was  her  speed,  her  sea- 
manship, her  tough  old  hide,  that  defeated 
the  pirates  at  Tripoli  in  1804  A.  1).  and 
started  magnificent  tradition  for  the  great 
United  States  Navy  that  was  to  be.  Her 
copper  sheeting  was  made  by  Paul  Revere, 
and  her  first  flag  by  Betsy  Ross  herself. 

I  have  just  spent  a  week-end  with  the 
"Old  Ironsides"  company  on  that  Isthmus 
end  of  Catalina  Island,  which  has  been 
transformed  for  the  occasion.  Here  James 
Cruze,  director,  is  king.  There  is  an  old 
home,  built  years  ago  by  an  old  California 
family,  perched  high  on  a  hill.  Here  King 
James  and  the  stars  of  the  company  are 
accommodated,  with  a  first-class  cook  to 
take  care  of  their  precious  innards.  Swift 
machines  race  up  and  down  the  perilous 
winding   road   at   meal-time   and   bed-time. 

Below  in  an  amazing  camp  created  for 
the  purpose,  are  accommodated  all  the 
lesser  persons  of  the  cast,  the  cameramen, 
electricians,  carpenters,  plumbers,  ships' 
crews,  etc.  Their  meals  are  served  in  a 
large  mess  hall — and  incidentally  their 
cooking  is  no  less  worthy.  I  ate  with  both 
the  stars  aloft  and  the  crew  beneath,  and 
I  know. 

On  Location 
I^ing  James  wears  a  bright  scarlet  coat 
of  the  English  hunting  order  during 
the  relaxation  period.  But  for  the  out-at- 
sea  shots  he  has  provided  himself  with  a 
pair  of  violently  new  seaman's  overalls. 
He  is  more  impressive,  either  way,  than 
the  Admirable  Crichton  of  Barrie's  play  of 
that  name — when  reigning  over  his  island. 

Wally  Beery  keeps  in  his  rascally  old 
bo'sn  character  most  of  the  time,  grinning 
wickedly  thru  a  week's  growth  of 
beard,  and  from  beneath  a  shaggy,  ill-kept 
wig  with  one  of  those  funny  pigtails.  His 
wide  and  willowy  old  pants  and  the  disrepu- 
table-looking short  coat  of  the  day,  and 
the  screamingly  funny  blob  of  a  sailor  cap 
are  his  regular  attire  while  on  this  "loca- 
tion" stunt.  He  spends  all  his  spare  time 
fishing  for  tuna,  which  hadn't  bitten  to 
date. 

George  Bancroft,  too,  has  an  amazing 
growth  of  his  own  hair,  a  weird  orang- 
outang beard,  and  what  we  should  now 
consider  a  child's  round  straw  sailor  hat 
on  his  head. 

Esther  Ralston,  whose  new  husband,  Mr. 
Webb,  accompanies  the  party,  is  droopingly 
adorable  in  a  long  empire  gown  to  her 
ankles,  a  queer  little  poke  bonnet,  a  funny 
little  puffed  sleeve  coat  and  a  huge  muff — 
but  she  dons  a  cute  modern  sport  costume 
for  the  evening  dinner  and  the  dancing  to 
the  company's  orchestra  afterwards,  up  in 
that  stylish  house  aloft  on  the  hill. 

For  the  rest,  the  island  seems  peopled 
with  a  vast  company  of  amazing  ruffians, 
with  a  few  civilized  modern  workmen 
thrown  in — for  they  wear  their  wild  and 
ancient  costumes  most  of  the  time,  and  the 
men  have  all  grown  fierce  hair  for  the 
picture.  One  can  imagine  the  emotions  of 
an  uninformed  visitor  to  the  island  upon 
striking  this  astonishing-looking  band. 

But  in  spite  of  the  hair  and  the  funny 
pigtail  wigs,  in  spite  of  the  fact  that  all 
the  picturesque  old  boats  are  respectfully 
and  nautically  called  "she,"  the  whole 
place  reeks  of  dominating,  virile  mascu- 
linity, looks,  listens  and  smells  masculinity. 
It  feels  like  Eugene  O'Neill's  earlier  days, 
reeking  of  hard-boiled,  realistic  he-man 
stuff,  of  John  Masefield's  raw-meat  sea 
poetry,  of  Captain  Marryat's  salty  old 
yarns,  of   Conrad  and   McEee. 

And  this  young  Ferrell  that   plays   The 


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8G 


_ 


Ask  Her 
How  She 
Got  Thin 


j 


In  <•■ 
thtir 

\\  •  rr- 

I 
The  modern  wjy  to  tat  red  VI  P 

Ktij't        l 

N 
\  i    tablets  of    M 

ill  til  tlir    weight  <  irmal.    The 

"|<t. 
ti.is  been   um      I'm     1 8   i  hted 

turn  have  spread  the  us     b>  telling  others  what  it  did. 
ire  taking  mn  il  M.irniola 

iring  fast, 
mala.     Fat  i»  .1   blight  to  beauty, 
health  and  tun,  -  .    [t  a  Learn 

i  liminate  it  now. 
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thai  *  ■<  ntlcmen    Kd  ■  .il 


w 


A   Costly   Vcntuic 

mi  ii    reminds    ib    •  ■)    Chai li'     I 
irtship  "i   Miles  Standish"  and  the 
minus    hopes    i  and    wealth 

•  tin 
.  v\  hich  pi  oved  such  .i  moui  n  i  ul 
failun  !     It  ought   i<>  have  I"  en  a  sui 
but   somehow    just   missed  it      I   donl 
lieve  "i  'lil    Ironsides"  is   going   to  miss  a 
thing.      It    is    going    to    coat    like    tin 

ns.  hut   I   think  they  know    what  the) 

.11  C    d' 

\  wonderful  contrivance  has  been  con 
I  ior  the  placing  of  the  cameras  out 
beyond  the  stern  "i  the  boats,  for  getting 
the  scenes  out  at  sea  of  every  l>it  of 
wildl)  exciting  action.  It  is  a  built  out 
scaffolding  equipped  with  swinging  weights 
that  kei'p  the  camera  erect  no  matter  how 
much  the  boats  rock  and  gosh,  how  those 
old  sailing  \  essels  can  rock  I 

There  are  almost  no  subtitles  in  the  film 
and,  because  the  actors  hear  their  own 
names  in  the  story,  there  will  he  few  screen 
credits  necessary.  But  I  suspect  the  world 
is  going  to  be  allowed  to  know  that  Harry 

Cart  conceived  it.  James  Cruze  directed  it. 
and  the  Laskv  Studio  produced  it— and  that 
it  is  all  about  that  selfsame  dear  "Old 
Ironsides"  which  Secretary  Wilbur  of  the 
United  States  Navy  is  going  to  have  re- 
stored if  the  school  children's  pennies  come 
in  bountifully  enough. 

Ah,  yes.  and  a  whispered  confidence.  If 
those  pennies  do  lack  being  sufficient  for 
the  great  purpose,  you  can  wager  your 
in  dollar  that  the  Famous  Players- 
Lasky  Corporation  will  make  up  the  deficit. 
But  that,  of  course,  is  sub  rosa.  It  did  not 
prevent  my  letting  my  boys  take  their 
pennies  to  school. 


The  Truth  About  Film 
Salaries 

{Continued  from  page  70) 

it  can  he  estimated  at  least  at  $100,000  a 
picture.  Henry  King  is  receiving  this  fig- 
ure for  each  of  his  productions.  George 
Fitzmaurice  gets  $75,000  a  picture.  Ernst 
Lubitsch  recer  0,  altho  the  Warner 

brothers  have  asked  $100,000  to  loan  him. 
Eric  von  Stroheim  was  getting  $15,000  a 
picture  when  he  made  "The  Merry  Widow." 
Xow  he  has  climbed  to  $50,000  a  produc- 
tion.    What  a  difference  one  hit  makes! 

King  Vidor  is  receiving  considerably  in 
excess  of  $2,500  per  week  since  the  hit 
of  "The  Big  Parade."  Clarence  brown 
is  climbing  past  the  $2,500  figure.  James 
Cruze  gets  $8,000  a  week  and  has  received 
this  ever  since  the  success  of  "The  Cov- 
ered Wagon."  Sidney  Olcott  was  getting 
$3,700  from  Famous  Players.  He  is  new 
receiving  $2,500  from  Inspiration  Pictures. 
Robert  Vignola  gets  $2,500.  So,  too,  does 
Monta  Bell  and  Malcolm  St.  Claire.  Harry 
Pollard    recer  0.      William    Seiter 

gets  $1,500.  Alan  Dwan  runs  to  $60,000 
a  picture,  plus  a  bonus  for  speed.  Dimitri 
Buchowetzki  gets  $30,000. 

A  year  ago,  when  he  left  Famous 
Players-Lasky,  Cecil  De  Mille  was  one  of 
the  hig  ten  money-makers.  As  director- 
general  of  his  own  producing  organization, 
it  is  doubtful  if  he  made  an  equal  amount. 
It  costs  a  great  sum  of  money  to  launch 
a  new  organization.  This  coming  year  we 
wouldn't  be  surprised  to  see  De  Mille  re- 
turn  to   the   big   money. 


< 


MakeYourSMn 

Ivory-white 


in  3  Days! 


I  have  the  honor  to  announce  the  most 
important  beauty  discovery  oi   thi 
...  a   wonderful   new-type   lotion   that 
clears    the   skin    of   every    blemish    and 

makes  it  as  smooth  and  white  as  ivory. 
Every  woman  who  wants  a  glorious  com- 
plexion can  now  have  it  in  three  to  six 
days. 

NOW. . .  a  New  Kind  of  Lotion 
Skin  Whitener 

NOW  you  can  have  the  smooth,  flawless  complexion 
you  have  always  longed  for  .  .  .  the  exquisite 
white  skin  you  see  only  in  famous  beauties.  I"he 
kind  of  skin  that  powder  cannot  give,  ["he  ikin  itself 
must  be  soft,  smooth  and  white.  M\  marvelous  dis- 
covery  now  gives  you  this  striking  complexion  in  lust 
to  sis  days.  It  smooths  the  skin  to  soft,  silkj 
texture.    It  whitens  the  skin  to  ivorj  whiteness.. 

Clears  and  Smoothes  the  Skin 
Freckles,    tan,    blackheads,    roughness,    redness    ami 

blotches    (Iisapin.it     almost     as    it'    \ou     hat!    Wished    t  ht  ill 

aw  a\ .  Nevei  before  have  women  had  such  a  preparation! 
Mild,  gentle  and  guaranteed  safe  and  harmless]  -\ppl\ 
it  in  Mist  three  minutes  .if  bedi  ime.  Ever)  woman  should 
have  it.    There  is  not  one  complexion  in  a  thousand  thai 

will  not  he  clearer,  smoother  .more  radiant  through  its  use. 


Test  It 


Whiten  Your  Neck 


Test  this  preparation  on  your  arm  or  on  your  neck 
w here  the  skin  is  usuall)  much  darker  than  on  tin  fact 
See  what  an  amazing  improvement  three  days  make. 
I  \t  in  \  Lotion  Face  Bleach  any  wa>  you  like  for  six  days 
Then,  if  von  are  not  simply  delighted,  I  ask  von  to  lei 
me  refund  your  money. 

Large  Bottle. ..Low  Price. ..Guaranteed! 

Send  no  mone)  simply  mail  coupon.  When  package 
arrives  pay  postman  only  91.50  for  the  regular  large-size 
bottle,     use  this  wonderful  cosmetic  six  nays      I  hen,  it 

not    delighted,    return    it.    anil    I    will    refund    M'lir    inont  r> 

without    comment.      Mail    coupon    al    once    to    (Mrs) 
GERVAJSE  GRAHAM,  25  W.  Illinois  St.,  Chicago. 

GERVAISE  GRAHAM 

Jjttm  FACE  BLEACH 


Mrs;   GERVAISE  GRAHAM    1m     inns. 
l>ept.  C-6,   25  W.   Illinois  St..  Chlcufto. 

Send  me.  postage  paid,  one  Lotion  Pace  Bleach,     On 
arrival,  I  will  pay  postman  only  SI. 50.     If  not  delighted 

:\  days'   use   I    will   return   it   and   you   will  at   ODCC 
refund  my  money. 


87 


Her  Royal  Highness 

(Continued  from  page  31) 


Gray  Hair 

Brought  Back  to 

Its  Original 

Shade 

Is  your  hair  fast  becoming  gray  or 
Streaked?  No  matter  to  what  extent  or 
the  cause,  Kolor-Bak  will  quickly  bring 
back  the  original  shade— whether  black, 
brown,  red  or  blonde.  Wonderful  also  for 
keeping  scalp  clean  and  free  from  dandruff. 

Go  to  your  druggist  today  and  get  a  bot- 
tle of  this  clean,  colorless  fluid.  No  test- 
ing with  samples  of  hair  necessary.  As 
easy  to  use  as  water.  Thousands  of  men 
and  women  have  quickly  made  themselves 
look  ten  years  younger  with  this  thor- 
oughly tested  and  dependable  preparation. 
Oyer  2,000,000  bottles  sold.  To  be  had— 
with  an  absolute  money-back  guarantee — 
at  all  druggists  and  stores  handling  high- 
grade  toilet  aids. 

Kolor^ak 

Banishes  Gray  Hair 


iLi^lEIlD 


_  From  the  oil  fields  of  Texas. 
1= — genuine  Jewels,  radiant  with 
J^T^if*  and  brilliancy,  so  hard 
(^C^tfley  will  cut  glass  and  guar- 
anteed to  retain  their  bril- 
liancy. We  replace  any  set 
that  breaks  or  loses  out  of 
\^>we  setting. 
;<-piL  FIELD  GEMS  are  set  In 
.  ^attractive  mountings  of j 

est  sterling  silver.  Remem 
,  ■   ber,  OIL  FIELO^GEMS  are 
x    getMrtne^mtrt^stones  and 
are  nof  la-be  confused  with 
^JrottaWon  diamonds." 
rt=3Glvetramoerof  ring  wanted 
^mtftnger  size  when  order- 
^3B2r5ent  C.  O.  D.  if  desired. 
v  <;  Your  money  refunded  if  not 
As^^ojwN  more  than  satisfied. 

OH FiUD  GEM  COMPANY 

Oepartfn.ent  iOl  \  Y  SOUR  LAKE  TEXAS 


observed,  as   she  led   the   way  over   flag- 
stones set  in  the  velvet  grass. 

They  succeeded.  It  is  like  Keats' 
garden : 

"Where  the  daisies  are  rose-scented 
And  the  rose  itself  hath  gut 
Perfume  which  on  earth  is  not " 

Began  as  a  Vamp 

\Y/f.  were  hack  on  the  daffodil  yellow  of 
tlie  twin  sofas  that  face  eacli  other 
across  the  hearth,  talking  about  the  begin- 
ning of  pictures  for  her.  She  entered  the 
magic  country  by  way  of  a  beauty  contest; 
her  first  important  picture  was  Elinor 
Glyn's  "Six  Days,"  her  first  big  success, 
"I Hack  Oxen." 

"I  began  as  a  vamp,"  she  remembered, 
with  a  glint  of  amusement  in  her  blue- 
green  eyes.  "I  used  to  die  tragic  deaths 
in  order  that  the  virtuous  might  triumph. 
One  of  those  deaths  came  near  being 
actual. 

"We  were  in  Truckee,  in  a  deep  snow. 
My  death  was  to  occur  on  a  toboggan  on 
which  the  villain  carried  me  to  a  watery 
grave  under  the  ice.  First,  they  wanted 
to  get  close-ups  showing  my  terror  when 
I  realized  his  purpose ;  so  director,  actors 
and  cameras  were  all  crowded  on  the  sled, 
which  was  attached  by  a  rope  to  a  team 
that  was  to  pull  us  to  the  top  of  the  slide. 

"The  rope  broke  when  we  had  almost 
reached  the  top  and  we  went  careering 
down  backwards.  How  we  stopped  I  dont 
know,  but  we  did  stop,  and  presently  the 
villain  and  I  were  on  the  toboggan  together 
headed  for  the  river  far  below.  The  plan 
was  to  stop  before  we  reached  the  river 
and  let  doubles  do  the  crashing  thru  the 
ice,  but  plans  are  apparently  nothing  in  a 
toboggan's  life.  It  was  the  villain  and 
I  who  went  crashing  thru  the  ice,  and  we 
were  half -drowned  when  they  fished  us  out 
again ! 

"But  I  was  much  more  frightened  one 
day  in  Honolulu  when  I  was  out  surf- 
bathing  and  the  native  boys  began  to  shout, 
'A  shark  !     A  shark  !' 

"I  can  stay  up  in  deep  water,  but  I 
dont  swim  well  enough  to  get  anywhere. 
In  all  the  hullabaloo  over  the  shark,  I 
swam  steadily  and  got  about  ten  feet  in 
half  an  hour.  Then  the  boys  realized  I 
was  terrified  and  took  me  to  shore  on  a 
surf-boat. 

"  'He  wont  touch  us — he  wants  white 
meat !'  they  kept  saying,  but  that  didn't 
help  me  a  bit.     /  was  white  meat!" 


Tolerant  Husbands 

It   was   just   after   the   making  of   "Black 

Oxen"  that  Miss  Griffith  changed  her 
name  in  private  life  to  Mrs.  Walter 
Morosco,  hut  there  has  never  been  any 
question  of   giving  up  her  career. 

"With  some  husbands,  pursuing  an  ab- 
sorbing occupation  might  be  disastrous," 
she  admitted,  "but  a  woman  with  an  am- 
bition should  be  careful  to  select  a  man 
who  has  a  tolerant  attitude  toward  her 
career.  It  sometimes  seems  to  me,  too,  that 
it  is  well  not  to  let  a  man  feel  that  a 
woman  is  absolutely  dependent  upon  him." 

A   truly   royal    way   to   look  at   it ! 

Royal,  too,  is  Miss  Griffith  in  her  choice 
of  favored  colors.  She  loves  purples  in 
all  their  shades,  because  "they  make  me 
feel  so  regal. 

"Colors  affect  most  of  us,  I  think.  I 
remember  in  one  picture  I  made  the  di- 
rector had  all  the  sets  in  gray.  At  first 
I  thought  it  rather  restful,  but  before  the 
picture  was  finished  we  were  all  dragging 
our  feet  and  feeling  depressed  and  dis- 
spirited. 

"Tatiana  is  to  'blossom  in  purple  and 
red.'  In  spite  of  hating  to  leave  my  house, 
I'm  going  to  love  doing  her.  I've  always 
had  a  little  secret  hope  that  after  all  they'd 
find  out  she  wasn't  murdered.  I  wouldn't 
be  surprised  even  now.   ..." 

That  Personal  Appearance 

""The  girl  who  is  going  to  create  Tatiana 
made  her  first  personal  appearance  in 
Elizabeth,  New  Jersey,  when  she  was  very 
new  to  the  screen.  She  had  bought  a  new 
dress  for  the  affair,  her  very  first  smart 
gown,  and  she  had  spent  nervous  hours 
before  tlie  glass  assuring  herself  that  she 
knew  exactly  how  to  wear  it. 

The  great  moment  came.  The  manager 
of  the  theater  went  before  the  curtain  and 
told  the  audience  about  the  young  actress 
who  had  come  there  to  meet  them,  etc.,  at 
rather  greater  length  than  seemed  neces- 
sary to  the  girl  who  waited  in  the  wings. 
Then  he  came  off,  handed  her  on,  went 
to  the  switchboard  with  the  intention  of 
increasing  the  footlight  power,  and  turned 
them  off  instead.  The  lights  in  the  audi- 
ence went  on  and  from  the  shadowed  stage 
Corinne  Griffith  made  her  little  speech  to 
what  seemed  like  ten  thousand  faces — the 
very  smart  gown  and  the  beautiful  girl 
inside  it  nothing  but  a  blur  and  a  voice 
in  the  dark. 

But  I  think  that  with  only  the  clue  of 
her  voice  it  should  not  be  hard  to  imagine 
Hollywood's  real  princess. 


The  Answer  Man 

(Continued  from  page  71) 


October  26,  1914.  His  right  name  is 
Edward  Gibson  and  not  Hoot.  Baby 
Peggy  was  born  October  26,  1918.  Yes, 
it  would  be  fine  to  have  her  play  opposite 
Jackie  Coogan. 

A.  M.  K. — Well,  I  guess  someone  evi- 
dently was  playing  a  joke  on  you.  The 
picture  is  very  good-looking,  and  I  wish 
you  luck  on  the  screen. 

Dorothy  M. — No,  I  wont  desert  you — 
I'm  always  on  the  ship.  Adelina  Patti  was 
born  in  Madrid,  Spain,  in  1843,  but  was  of 
Italian  extraction.     Her  debut   took  place 


in  London  in  1861  and  she  lived  at  Craig 
Nos  Castle,  Wales.  She  never  appeared  in 
pictures.  Alice  Joyce  is  playing  in  "Beau 
Geste."  She  is  one  of  the  old-timers  and 
is   holding   on    very    well    indeed. 

Leom  B. — I  have  the  list  of  stars  you 
wish  gallery  pictures  of  and  shall  send 
them  along  to  our  editor. 

Youngs-Honolulu. — Your  letter  was 
great.  You  say  Miss  Windsor  is  quite 
neat  and  shockingly  smart.  Only  the  un- 
wise claim  to  be  wise.  The  wise  are  con- 
tent otherwise.         (Continued  on  page  89) 


88 


OPPORTUNITY    MARKET 


AGENTS  WANTKD 


1 

■ 


in.-   tot    Free   ttampleai  lell   Ma.lUan 

Hhirta      for      Urn.-  Manufacturer 

.'r  and     booua. 

sunt 


•■•ata         irn     linml~Miif     prutlt     wlllii* 

M.i!  ION      I'UTl   l;i       MAIi.V/INK     ami 
.11  i:i:    ll.ASSli  N 

i|iilml.       Illi  •".!     bonui, 

I'lililtentinna, 
I  >rk 

\i.  I  \  I  »  UK    f..r    "H..  U  yiir 

I'rixliii'la. 
>  |ir..l\t*  Hlg 

N  itlmiitl      S  .  I 

1      Itl.  Inn. . 1 


HELP    WANTED 


H  i.rk  fur   I  ml.-  Sum.     i;.t   C..\  .riuu.ni    I'nxlllunH. 

i|>.    iiuiiii  inth. 

surtl.  1. ni.      lanilliliitcn 

lars    KltKK.      Write    Immediately 

1      S-84,    Kim  boater,    N      I 


PATENTS 


liiwni  Ion*  1  innnieriiiitl/eil  on  rnsh  or  royalty 
bantu.  Patented  or  unpatented.  In  business  -I 
yearn.  Complete  facilities.  Inferences.  Write 
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They  Told  Buster  to  Stick 
to  It 

ntiiiuctl  from  page 

after  Keaton  had  begun  t" 

irn    himself    in    I  ioll\  wood.    Kmei  i<  a 

tered   the   World    War.     Joi l;   the   in 

\.  in-  went  i"  France  and 
,i  private  iniiil  the    Armistice,  after  which 
he    was    detailed    to    help    entertain    the 
troops,  remaining  abroad   foi    five  months 
follow  ing  the  end  of  hi  istilities. 

Finally   returning    from    France,    Bu 
spent  tome  time  in  a   New  York  hospital. 
Ills  hearing  had  been  affected,  and  when 
Joseph   M.  Schenck,  producei    of  the  pic 

lures    in    which     lltistei     had    appeared, 

ited  the  hospital  to  tell  the  young  come 
dian  that  .1  job  awaited  him  in  Hollywood, 
the  conversation  had  to  be  carried  on  in 
writing. 

Physicians  soon  restored  Bustei   to  noi 
mal ;   he   went    hack   to  the    Pacific   Coast, 
played  in  a  couple  of  two-reel  comedies, 
and  then  was  .starred  in  feature-length  pit 
tures 

The  rest  is  recent  history.  Even  his 
severest  critic  will  admit  he  ".stuck  to  it 
and  became  a  great   comedian." 


Flash  Backs 

(Continued  from  page  45) 

idiot  when  his  daughter  went  away  in  the 
wicked  city,  and  it  might  have  had  poign- 
ancy if  Seastrom  hadn't  cluttered  it  up 
:cilh  bunk  sytnbolisnt  and  turgid  direction. 
These  two  faults  paralyzed  the  acting. 
The  result  was  cardboard  pathos. 


The  Answer  Man 

(Continued  from  page  88) 

Dixie. — Last  I  heard  of  Ivor  Novello  he 
was  playing  in  England.  Richard  Dix  is 
at  the  Famous  Players  Studio,  Astoria, 
Long  Island.  No,  he  is  not  married.  Do- 
lores Costello  is  very  popular.  1  remem- 
ber her,  too,  when  she  was  a  little  girl. 

Elsii  I  .,  London. — So  you  are  a  ste- 
nographer and  want  to  come  to  New  York. 
I'm  afraid  I  cant  help  you.  Jackie  Coogan 
is  coming  hack  in  the  role  of  a  jockey  in 
an  exciting  and  thrilling  racc-liorse  drama. 
He  is  to  have  his  own  "grown-up"  leading 
lady  and  has  had  his  hair  cut  like  a  real 
hoy's. 

Maky  C.  K, — You  ask,  why  arc  ships 
called  she?  Well,  because  they  always 
keep  a  man  on  the  lookout.  William  Boyd 
is  at  the  Cecil  de  Mille  Studios,  Culver 
c'itv.  California.  Lloyd  Hughes  was  born 
October  21,  18W.  lie  is  six  feet,  155 
pounds  and  has  brown  hair  and  gray  eyes. 

KaTIE  C. — So  you  are  a  baseball  fan. 
So  am  I.  Did  you  see  what  the  Dodgers 
did  to  the  Giants  in  the  opening  game? 
William  Collier,  Jr.,  is  with  Famous 
Players-I.asky,  1520  Vine  Street.  Los  An- 
geles, California.  Pola  Xegri's  picture, 
"Naughty  Cinderella."  will  be  released  as 
"Good  But  Naughty." 

John  1!..  New  Haven. — Sorry,  but  I 
haven't  any  information  about  Mickey 
Mclnin.  You  might  consult  Movie,  Jr.,  in 
Motion   Picture  Magazine. 

Blue  Jay. —  Ruth  Roland  is  not  playing 
in  pictures  right  now.  Thackeray  is  the 
well-known  English  novelist  who  signed 
himself  Michael  Angelo  Titmarsh.  I 
should  say  Nita  Xaldi  is  very  tall — she  is 
over  five  foot  eight. 


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89 


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She  Wants  to  Succeed 


{Continued  from  page  37) 


"At  last  I  was  sent  for.  Mr.  Brewster 
was  sitting  at  bis  desk.  He  didn't  look 
up.  lie  said:  AVell,  I  guess  you  win!' 
I   nearly    fainted. 

"Business  was  bad  that  year  and  most 
of  the  companies  weren't  working.  My 
prize  was  to  be  a  contract  for  one  picture 
and  we  had  a  hard  time  finding  the  pic- 
ture. At  last,  Christy  Cabanne  said  he'd 
use  me  as  a  little  sister  in  a  picture  he  was 
making.  They  wrote  the  part  in  and  I 
went  over. 

"1  didn't  know  how  to  make  up.  I'd 
always  been  made  up  for  the  tests.  The 
girls  1  dressed  with  wouldn't  show  me. 
Mind  out  for  yourself,  the  way  we  did,' 
they  said.  1  was  dark  and  they  were  fair 
and  I  imitated  what  1  saw  them  do  and 
was  all  wrong.  The  director  swore  at  me. 
I  sat  around  the  set  for  a  week,  doing 
nothing.  Then  I  had  three  days'  work  and 
my  part  was  over. 

"When  the  picture  was  shown.  1  took 
two  girls  I'd  gone  to  school  with  to  sec  it. 
I'd  been  cut  out !  It  nearly  broke  my 
heart.  'I  thought  you  were  in  it,'  they 
kept  saying.  .   .    . 

"Nothing  to  do  then  but  go  back  to 
school.  I  couldn't  stand  it.  I  made  myself 
sick  worrying  about  it  and  I  suppose  I 
lost  weight — and  besides,  I  grew  a  little. 

Then  "Down  to   the   Sea" 

"ETinally  Elmer  Clifton,  about  to  start  on 
*  'Down  to  the  Sea  in  Ships,'  happened 
to  see  one  of  my  test  stills.  He  wanted  a 
tomboy  type  of  girl  to  do  a  part  in  the 
picture.  They  called  me  up  and  told  me 
to  come  over. 

"Well,  I  didn't  know  what  they  wanted. 
I'd  tried  so  long  and  I  had  heard  people 
say  I  was  too  young  and  too  short  all  the 
time.  So  I  wore  a  dress  I'd  borrowed 
from  somebody  a  lot  older,  fixed  my  hair 
sort  of  sophisticated  and  put  on  a  lot  of 
make-up. 

"When  the  man  saw  me  he  said  :  'You're 
older  than  I  expected — you're  too  old  for 
the  part.'  I  could  have  cried.  I  said : 
'I'm  not  sixteen,'  but  he  didn't  believe 
it. 

"At  last  he  said  he'd  send  me  up  to  New 
England  for  two  weeks  at  fifty  dollars. 
If  I  made  good,  I  could  stay.  I  was  there 
thirteen   weeks. 

"There's  where  luck  came  in.  It  turned 
out  to  be  a  good  picture ;  it  ran  twenty- 
two  weeks  at  the  Cameo  Theater  and  I 
got  wonderful  notices.  If  it  had  been  a 
flop,  I  might  have  been  in  Brooklyn 
today." 

Next,  "Black  Oxen" 

The  flapper  in  "Black  Oxen"  gave  Clara 
*■  her  first  big  chance.  She  was  a  sensa- 
tion. Her  triumph  in  that  picture  made 
B.  P.  Schulberg  renew  the  five-year  con- 
tract he  had  been  on  the  point  of  canceling. 
But  the  sparkling  little  ingenue  represented 
an  investment.  An  investment  must  be 
profitable.  Clara  had  to  make  a  picture  in 
twelve  days — very  nearly  thirty  pictures  a 
year. 

"I  dont  blame  them  for  getting  their 
money's  worth,  but  it  made  it  hard  to  think 
out  the  parts — I  hadn't  time — and  I  was 
going  back — until  'Kiss  .Me  Again'  came 
along.  Lubitsch  was  a  godsend.  I  learned 
so  much. 

"Then  our  coming  to  Lasky  meant  a  lot 
to   me.     Good  directors   are  what   I   need. 


I  want  to  learn  and  you  cant  learn  from  a 
poor  director.  I've  just  finished  my  first 
emotional  part  in  'The  Runaway.'  It  was 
better  than  a  college  course. 

"I  always  read  what  the  critics  say.  If 
they  dont  like  me,  1  always  figure  that  it 
might  be  true  and  I  see  that  it  doesn't  hap- 
pen again.  I  sit  in  the  theaters  where  my  . 
pictures  are  showing  and  listen  to  what 
people  say.  If  four  women  say  'I  dont 
like  her  hair  that  way'  or  'She's  too  tough,' 
and  two  say  it's  all  right,  I  take  what  the 
four  say  and  remember  it  for  my  next 
scene. 

"I  study  my  pictures  and  other  girls'  pic- 
tures to  see  how  to  get  sympathy'.  If 
people  dont  like  you,  you  wont  get  on.  In 
the  stage-play,  'Dancing  Mothers,'  I  saw 
that  the  girl  got  no  sympathy  because  she 
played  her  drinking  and  smoking  scenes 
with  a  sort  of  'This  is  my  business — I  have 
a  right  to  do  as  I  like  and  I'll  do  it'  air.  | 
I  played  her  as  a  girl  out  for  a  new  ad- 
venture— sort  of  kiddish  folly — 'I'm  just 
having  fun'  idea.  When  I  said  mean 
things  I  tried  to  put  over  the  idea  with  a 
look  after  I'd  said  the  thing :  'Oh,  why- 
did  I  say  that  ?     I  didn't  really  mean  it.'  " 

The  "Little  Roughneck" 

The  "little  roughneck"  has  her  first  two 
weeks'  vacation  in  years.     Imagine  how- 
she  spends  it  ? 

She  has  a  French  teacher  and  a  Spanish 
instructor — from  each  of  whom  she  learns 
the  desired  language  in  conversation  as 
she  hikes  over  the  hills  of  her  home  canyon. 
She  rides,  too. 

Exercise  keeps  her  slim — for  her  ambi- 
tion. She  never  wears  a  hat — her  hair 
must  be  kept  in  good  condition — for  her 
ambition.  She  reads  almost  feverishly. 
She  must  catch  up  with  lost  education — 
for  her  ambition ! 

She  hasn't  time  to  bother  with  love  now. 

"I  dont  see  how  that  silly  rumor  about 
Donald  Keith  and  me  ever  started,"  she 
cried,  bouncing  up  on  the  cushions,  her 
curls  flying  like  banners  about  the  rose  of 
her  face.  "We  played  together  in  New 
York  and  I  suppose  somebody  thought  it 
would  be  good  publicity.  We  didn't  know 
a  thing  about  it  until  Donald  was  called  on 
long  distance  by  the  girl  he's  engaged  to 
marry.  She  thought  he  had  been  deceiv- 
ing her.  The  boy  I'd  been  going  with  here 
had  a  hemorrhage  when  he  heard  it. 

"I  used  to  think  I'd  marry  outside  the 
profession  when  the  time  came,  but  I've 
changed  my  mind.  They  dont  understand. 
They're  jealous  of  the  men  you  play  with 
and  they  dont  believe  it  when  you  are  late 
because  you  have  to  work  at  night.  And 
when  it  comes  to  a  love  scene 

"When  I'm  working  with  a  man  in  a 
love  scene,  I  never  think  of  him  as  a  per- 
son. He's  just  a  prop  I'm  using.  I  am 
conscious  of  the  camera,  the  angle  of  my 
face,  the  lighting  and  my  chance  of  get- 
ting sympathy — his  kiss  might  as  well  be  a 
sponge  in  a  bathtub  sequence. 

"If  it  comes  to  it  some  day.  I'll  take 
an  actor,  a  producer  or  a  director.  They 
know  a  screen  lover  is  just  so  many  inches 
of  skin  and  pounds  of  bone. 

"I'm  never  going  to  give  up  the  screen. 
I  have  to  have  an  outlet  for  all  this  energy. 
I  can  pour  it  into  pictures — and  I  love  pic- 
tures !     You  wait !" 

The  top  of  the  heap  seems  to  be  waiting, 
too,  expectantly.  I  think  it  wont  have  to 
wait  very  long. 


90 


They  Say — 

(  l  ',<•/!■    8) 

urli  as   I   deplored  tin-   fact, 

i  do  .imtliiiiK  different.    Hut 

M  them   what    I    thought    ill    the   nih 

I     limit 
died    such     i  .11 1    anyone 
In     liostoil     it     is     id  >t     "Supei 
u\     sense    luit     is     mcrelv     ,i 
illt      tin  m,     perhaps     .it      the 
iistance,    nl     the     Usual     va 
wish    tn   .ulil    that    the   nine 
have   mentioned   are   ones    I    know 
been   in   them.       fhcre   are   tnauv 
other    places    in    C.reater     Huston 
I    would    never    net     to        ()|     i  ourse, 
I    have    not    mentioned    .ni\    of    the    leu  it  i 
rc    theaters,    .it'    which    there    arc 
\t    present    two    oi    them    are 
Parade"    and     "Stella 
spcctivelv,   at    higher   than   usual 
a   etistom    prevalent    for    the 
showing  of   hij'ner   productions.    This 
entirely    outside    niv     argument, 
i   will   understand. 
What   can   we  do   to   preserve   the  hi^h 
dard    of    motion    pictures    and    In  I: 
■     the    work,    money,    time    expended 
talent     of     directors,     producers     and 
worth   vv  hi  lei- 
It    all    lies    in    that    nutshell    and    it    is 
crcly   to  he   hoped   that   some  one   will 
find  a  way  out. 

1  would  like  to  broadcast  my  senti- 
ment-. Perhaps  Classic,  which  is  a 
ne  I  admire  and  rely  upon, 
will  publish  some  of  my  ideas.  In  my 
humble  opinion,  we  cant  start  our  propa- 
ganda too  soon ! 

\  ery  sincerely, 

E.  M.  S., 

Brook  line,  .Massachusetts. 


The  Celluloid  Critic 

(Continued  from  page  83) 

gets  work  in  a  circus  and  becomes 
an  aerialist.  There  is  a  villainous  lion- 
tamer  who  seduces  the  girl.  The  man's 
wife  shifts  the  mechanism  of  a  trapeze  and 
Mary  falls  from  the  top  of  the  circus  arena 
into  the  lion's  cage.  She  is  saved,  but  the 
fall  cripples  her. 

The   war   conies.      The   boy.   Carl,   is    in 
the    German    army.      With    the    return    of 
he  searches   for  Mary,  finally  finding 
her.     Then    he    starts   out    to    wreak    ven- 
•e  upon  her  betrayer.     The  lion-tamer, 
ver,  has  been  blinded  in  the  war  and 
w  a  penniless  peddler.     So  Carl  gives 
«P  his  ideas  of  vengeance.     He  returns  to 
Mary  on  Christmas   Eve  and — lo — she  can 
walk.     A  miracle  has  occurred. 
This  is  obviously  a  story  belonging  to  the 
generation  of  pictures.     If  an  unknown 
it  to  a  producer,  he  would  yet  it  back 
'  ter.      But    because    the    story    comes 
vvn  decked  out  with  what  we  call   the 
Mental   treatment   and   plus  a   dash   of 
lism.  the  critics  look  upon  it  as  some- 
thing to  be  praised. 

There  are  moments  of  effectiveness,  par- 
ticularly  when   Carl   finds   Mary   after   the 
ns  years  of  the  war.     This  is  because 
of  the  admirable  acting  of  Norma  Shearer 
and    Charles    Knimctt     Mack.       Both    these 
players  are  excellent  thruout   "The   Devil's 
is."     But  if  there  is  any  worse  screen 
g  than  that  of   Carmcl   Myers   as  the 
lion    tamer's    jealous    wife,    I    want    to    be 
warned  in  time  to  avoid  it. 


A  SALE  BY  MAI  L 


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Charleston  l.ady Charleston   Poi  Trot 

I'm   Sitting  on   Top  of  the  World    .  .      Foi  Trot    (Vocal  Chorus) 

i>o  That  Charleston,   Dinah Charleston   Pos  Trot 

Remember      Tenor   Solo 

Charleston    Mad  Charleston    Fox   Trot 

I    Wlsh't   I    Was   In   Peoria Vox  Trot    (Vocal   Chorus) 

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Then    I'll   Be  Happy Fo*  Trot   (Vocal  Chorus) 

Sometime.  Waltz 

The    l.onesomest   Girl   In   Town Baritone  Solo 

Down   Behind   the  Hill Baritone  Solo 

That  Certain   Party Male  Duet 

Walt  Till   the  Sun   Shines  Again Tenor  Solo 

Bam   Bam   Bammy  Shore Foi  Trot   (Vocal  Chorus) 

PUFF    Charleston 

*  iVaCjEj  Dance  Instructions 

Here  arc  the  very  latest  Broadway  Hits — including  the 
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These  arc  BRA XI)  NEW  records — not  damaged  or 
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ords we  will  include  complete  illustrated  Charleston 
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of  Dancing. 

SEND  NO  MONEY 


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Never  before  has  there  been  such  a  money-saving  bargain  in 
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91 


What  Does  it  Cost  to  go  Into 

the  Movies? 


I 


S  the  motion  picture  profession  a  paying  one  for  the 
beginner?  Is  it  possible  for  a  young  man  or  young  woman 
to  become  self-supporting  by  doing  "extra"  work?  How 
much  financial  capital  should  an  ambitious  beginner  have  in 
order   to   test   his  or   her   talents   in    the    movie    studios? 

Mignon  Rittenhouse,  an  experienced  newspaper  writer, 
has  investigated  the  working  conditions  in  the  New  York 
studios.  She  has  made  a  study  of  the  thousands  of  "extra" 
players  in  and  around  New  York  who  are  trying  to  make  a 
living  from  the  movies. 

In  the  July  issue  of  MOTION  PICTURE  MAGAZINE, 
Miss  Rittenhouse  will  tell  you  all  about  the  conditions  that  sur- 
round "extra"  work  in  New  York.  It  is  a  fair,  impartial 
survey,  written  by  a  girl  who  knows  her  subject  intimately. 

Be  sure  to  read  Miss  Rittenhouse's  article  in  the  July  issue 
of  MOTION  PICTURE  MAGAZINE. 

How  Do  They  Become  Stars? 

What  is  the  trick  of  personality 
that  lifts  one  actor  above  another  in 
the  race  for  fame?  Why  are  some 
players  popular  for  years  while 
others  enjoy  only  a  brief  period  of 
fame?  What  are  the  new  styles  in 
favorites?  Jesse  L.  Lasky,  vice- 
president  of  the  Famous  Players- 
Lasky  Corporation,  talks  about  this 
starring  problem,  as  it  is  viewed  by 
the  business  men  of  the  companies, 
in  the  July  issue  of  MOTION 
PICTURE  MAGAZINE. 

More  About  Jewels 

You  have  enjoyed  "Twinkle, 
Twinkle,  Little  Star,"  by  Holmer 
Little    in    this    issue    of    MOTION 


PICTURE  MAGAZINE.  Mrs. 
Little  will  continue  to  write  about 
this  fascinating  subject  in  our  July 
issue.  Watch  for  her  article  next 
month.  It  tells  you  about  the  jewels 
owned  by  Marion  Davies,  Norma 
Talmadge,  Aileen  Pringle  and  May 
McAvoy. 

And  Also 

More  of  Eugene  V.  Brewster's 
"Impressions  of  Hollywood,"  will 
appear  in  our  July  issue.  And  there 
is  a  fascinating  story  on  Screen 
Tests,  written  by  Selma  Robinson. 
Sara  Redway  and  Laurence  Reid 
have  contributed  humorous  articles. 


Be  Sure  to  Take 
MOTION  PICTURE  MAQAZINE  AWAY  WITH 
YOU  ON  YOUR  VACATION 


92 


EDWARD  LANCER  PRINTINC  CO.,  INC., 
JAMAICA,  NEW  YORK  CITY. 


Every-day  magic 

Chains  thai  flop  into  beds  .  .  .  bags  that  suck  ii[> 
dirt  .  .  .  tiny  ticking  things  that  count  all  day  long 
for  you.  Daylight  any  night  just  by  pushing  a 
button.  A  stream  that  never  stops  till  you  turn 
off  a  faucet.  Any  voice  you  want,  talking  to  you 
from  a  cage  on  your  desk  or  wall.  Actions  of 
yesterday,  of  people  miles  away,  going  on  on  a 
curtain  before  you.  Stilled  throats  singing  to  you 
from  discs;  distant  throats  singing  to  you  from 
nothing! 

Uncanny,  daily  magic — this,  due  to  national 
advertising.  Advertisements  have  given  you  flash- 
lights, telephones,  typewriters,  automobiles,  cold 
creams,  motion  pictures.  They  have  given  you  new 
eyes,  new  ears,  new  hands,  new  feet,  new  faces,  new 
emotions.  They  have  urged  such  wide  use,  so 
lowered  prices,  that  almost  wishes  are  autos.  almost 
beggars  can  ride.  Through  advertisements  you've 
laid  down  the  shovel  and  the  hoe.  You  can  buy  a 
whole  harvest  ready-to-eat  in  cans.  You've  hung 
up  the  fiddle  and  the  bow,  for  a  radio.  There's 
little  old-time  work  left  in  this  age  of  amazing 
short-cuts. 


C+J) 


Read  the  advertisements — they  keep  yon 
to  the  fore  of  modern  life 


CASH    MERE 


B  O    U   Q_  U 


Close-up  of  a  velvet 
smooth  skin. 
No  "age-lines"  or 
coarse  pores 


The  lines  and  o 
pores,   worse   & 
birthdays  to  bed 

a  woman's  age. 


J\fouj-This  fine  "hard-milled"  soap  keeps 
your  skin  smooth  •  fragrant  •  youthful 


Look  closely  at  an  exquisite  complexion — 
the  kind  you'd  wish  for  if  you  had  a  fairy 
god'mother.  Notice  its  clean,  fine  tex' 
ture,  delicate  as  the  petals  of  a  flower. 
Pores  are  practically  invisible. 

The  Safest  'Beauty  Treatment 

Cleanliness  is  the  surest  way  to  enviable 
skin.  But  cleanliness  is  not  mere  applica- 
tion of  soap  and  water.  Care  in  the  soap 
you  use  is  most  important. 

Choose  Cashmere  Bouquet  as  the  soap  for 
your  face  and  hands.    It  is  "hard-milled," 


A  Book  of  Beauty  Secrets 
This  unusual  booklet  has  been  en- 
dorsed by  an  authority  on  beauty 
Every  statement  is  approved  by 
an  eminent  skin  specialist  Send 
for  your  copy  and  a  trial  cake  of 
Cashmere  BouquctSoap.  Fillout 
the  coupon 


.-"*. 

^ 
■^# 


Ct/y. 


which  means  the  cake  is  hard  and  firm — 
not  the  list  bit  squdgy.  With  Cashmere 
Bouquet  only  enough  soap  penetrates  the 
pores  to  cleanse  them.  Thus  no  soap  stays 
in  the  pores.  It  all  dissolves  bringing  dust 
and  dirt  out  with  it,  leaving  the  pores  as 
nature  meant  them  to  be. 

Expert  dermatologists,  physicians  who  \now 
all  about  s\in  treatments,  say  that  water 
and  the  right  soap  should  be  used  every  day 
to  \eep  the  s\xn  smooth  and  youthful. 

Cashmere  Bouquet  is  the  right  soap.    Its 

fragrant  lather  is  so  gentle,  so  cleansing, 

that   it   fairly   caresses 

your  skin  and  leaves  it 

soft  and  lovely. 

We  wish  you  could  see 
the  careful  special  pro- 
cesses which  make  Cash- 
mere Bouquet  so  safe 
for  your  daily  use.  Be- 
fore this  "hard-milled" 


cake  is  ready  for  you  it  is  pressed  int 
almost  marble  firmness.  Secret  essence | 
are  added  to  give  that  indescribabil 
fragrance  that  prompts  so  many  tj 
lay  a  cake  of  Cashmere  Bouquet  amonl 
their  choicest  silks  and  other  fabn 
treasures. 

But  let's  get  back  to  the  subject  of  Casl 
mere  Bouquet  and  your  skin. 

Try  this  Treatment — 
Watch  Results 

Wet  the  face  with  warm  water.  Won 
up  a  thick  Cashmere  Bouquet  lathei 
Massage  this  lather  into  the  skin  wit 
the  fingertips  until  the  skin  feels  « 
freshed  and  alive.  Rinse  in  warm  watei) 
Then  a  dash  of  cold  water.  Pat  the  facj 
dry  "with  a  soft  towel.  If  the  skin  i 
inclined  to  be  dry,  rub  in  a  little  Co 
gate's  Charmis  Cold  Cream.  Othe; 
beauty  secrets  in  booklet. 


The  peculiarly  entrancing 
fragrance  of  Cashmere  Bou- 
quet is  obtainable   also  in 
other  Colgate  toiletries. 


-*k 


//  Established  m 


Brett  Lithe 


ACTION  DICTVBE 


A    BHIWVtH     MACA/INt 


jloria  Swanson's  Own  Defense  of  Herself 


Will  others  he  meets     ™ 

outrival  you  in  natural  charm? 


PALMOLIVE  is  a  beauty  soap 
made  solely  for  one  purpose; 
ro  foster  good  complexions. 

In  France,  home  of  cosmetics, 
ii  has  supplanted  French  soaps  by 
thf  score.  In  beauty-wise  Paris, 
Palmolive  is  the  "imported    soap. 

Blended  oi  cosmetic  oils,  fa- 
mous since  the  days  of  Cleopatra. 
Palmolive  is  made  10  be  used 
freely;  on  rhe  skin. 

B  eniember  these  fact;,  when 
tempted  to  risk  an  unptoved 
•.oaf.  on  your  skin. 


The  allure  of  natural  skin  beauty,  as  thousands 
will  tell  you,  follows  a  simple,  daily  care 


TO  be  charming  today,  one  strives  for 
natural  beauty.   All  of  modern  beauty  cul- 
ture is  directed  to  that  end. 

Every  day,  on  every  side,  one  sees  the  re- 
sult .  .  beauty  that  stands  in  contrast  to  the 
artificial  allure  of  yesterday. 

Skin  care  has  become  a  simple  matter,  with 
cleanliness  and  healthfully  open  pores  its 
basis.  Natutal  beauty  thus  is  safeguarded  and 
protected. 

The  tule  is  one  anyone  can  follow  with 
little  effotr  or  bother  .  .  .  just  the  daily  use 
of  the  soothing  lather  of  olive  and  palm  oils 
as  embodied  in  Palmolive. 

Natural  beauty  .  .  .  the  daily  can 
that  fosters  it  is  this: 

Wash  your  face  gently   with   soothing 
Palmolive.    Then  massage  ii   softly  into  the 


skin.     Rinse  thoroughly,  first  with  warm  wat 
then  with  cold.     If  yout  skin  is  inclined  to 
dry,  apply  a  touch  of  good  cold  cream  — th 
is  all.    Do  this  regularly,  and  particularly 
the  evening. 

Use  powder  and  rouge  if  you  wish.  B 
never  leave  them  on  over  nighr.  They  cli 
the  pores,  often  enlarge  them.  Blackhea. 
and  disfigurements  often  folio*  They  mu 
be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  trearmc 
given  above.    Do  not  think  any  green  soa( 
or  represented  as  oi   olive  and  palm  oils, 
the  same  as  Palmolive. 

And  it  costs  but  10c  (.he  cake!-  so  lirtl 
that  millions  let  it  do  for  their  bodies  wha 
it  does  tor  their  faces.  Obtain  a  cake  toda\ 
Then  note  what  an  amazing  difference  on 
week  makes. 


THK  PALMOLIVE  COMPANY  (Del.  Corp.),  CHICAGO,  ILLINOIS 


P.ilmohve  Soap  is  untouched  by  human  hands  until 
)ou  break  the  wrapper    -it  is  never  sold  unurapped 


You.Too,  (an  RealiioYour  Dreams 


Gives   Physical   Voice   Culture 
Credit  for  Grand  Opera  Voice 

Each  24  hoars  brinjrs  me  a  stronger  and  hotter  hold  on 
my  voice.  1  feel  like  telling  yoa  of  it  each  day  when 
I  think  back  to  six  years  ago  when  catarrh  had  just 
about  finished  my  hearing  and  voice. 
I  Joined  the  Loe  Angeles  Opera  Company  this  Spring 
and  we  will  have  five  Operas  ready  in  September.  It  is 
really  pathetic  to  see  the  afar  pupxlt  from  the  qreatvoice 
matter*  try  for  a  place  in  the  Company.    Some  very 

ntty.  but  weak,  palate  attarks,  throat  and  lip  attacks, 
rork  hard  all  day  and  your  silent  exercises  are  a. 
wonderful  rest.— Bert  Longtre. 


By  Developing  a 

Strong  Kick  Voice 

More  than  20,000  men  and  women  all  over  the  country  have 
developed  powerful,  beautiful  voices  by  Physical  Voice 
Culture.  You,  too,  can  build  up  a  strong,  magnetic,  com- 
pelling voice  that  will  be  the  marvel  of  your  friends,  and 
your  key  to  success  and  fame. 

Read  the  lettersonthispagefrommenand 
women  who  have  made  their  dreams  come 
true  by  this  wonderful,  scientific  method  of 
voice  culture.  You  can  continue  your  pres- 
ent occupation  and  mode  of  life  while 
lk\  you  study  in  your  own  home — and  the  cost 
lk\  is  nominal  —  only   a  very  small 

B^  amount  each  month  as  you  study. 

100%  Improvement 
Guaranteed 


It  makes  no  difference  whether  you 
wish  to  improve  your  voice  for  your 
own  pleasure  or  for  professional 
singing.  The  man  or  woman  sing- 
ing in  the  home— the  opera  or  con- 
cert singer — the  choir  singer — all 
can  improve  their  voices  1 00f  r ,  at  the 
very  least,  by  Physical  Voice  Culture. 
We  absolutely  guarantee  100% 
improvement  or  your  tuition  will  be 
gladly  refunded.  You  alone  are 
to  be  the  judge. 


Harry  Lompierre 

Finds  the 

"Right  Way" 

I  wish  to  give  credit  where 
credit  is  due.  The  past  twelve 
years  have  been  spent  in  pro- 
fessional singing. 

Believing  that  I  had  at  last  found 
"the  right  way,"  I  cancelled  an 
entire  season's  bookings  to  apply 
myself   diligently  to  your  idea. 

Today  my  voice  19  completely  new. 
Formerly.  I  could  eing  only  a  fair 
"F"  (fifth  line).  Now  I  can  sing 
high  "B"  flat,  with  a  rich,  reso- 
nant, manly  tone.  —  Harry  Lom- 
pierre. 


Church  Singer  Delights  Congregation 

I  cannot  help  but  say  "Thank  God"  for  everything  you  have 
done  for  me.  As  I  sang  in  church  yesterday  people  turned  to 
see  who  was  singing. 

I  hope  you  will  always  think  of  me  as  one  who  has  made  a  big  success  In 
the  work  I  chose  to  do.— Carolyn  Baker. 


Singer  Triumphs  Over 
Discouragement 

Did  you  think  one  year  ago  that  I  would  now  be  singing 
as  high  as  high  "C"?    I  am  very  sure  that  I  didn't. 

I  often  think  of  that  hopeless  first  letter  I  wrote  to  you 
and  I  want  to  thank  you  for  the  help  you  have  given  me 
and  especially  for  the  cheering  letters  at  the  beginning 
when  I  needed  boosting  along  the  worst  way. 

Hoping  that  you  will  believe  me  to  be  ever  your  grate- 
ful friend.— Mrs.  Mary  Brown. 


For  obvious  reasons  the  names  signed  to  these  letters  have   been   changed.       But 
the  letters  are  all  true  and  the  real  names  of  writers  will  be  sent  on  request. 

Inspiring  Book  Now  FREE 

Send  Coupon  ! 


The  coupon  will  bring  you  a 
FREE  copy  of  "Physical  Voice 
Culture  "—a  valuable  new  book 
on  voice  building.  Do  not  hesi- 
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and  need  not  be  returned.  This 
may  be  the  first  step  in  a  great 
career  for  you.  Send  the  cou- 
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Perfect  Voice  Institute,  Studio  B-127 

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Please  send  me.  FREE  and  without  any  obligation.  Prof.  Feuch- 
tinger's  new  book,  "Physical  Voice  Culture."  I  have  checked  the 
subject  in  which  I  am  most  interested. 

D  Weak  Voiet  O  Stammering 

Q  Singing  Q  Sptaking 


Addrum. 


Cits. 


StaU 


Cpammount 


J"radt 


M, 


SE*« 


zrnoons 


K?> 


T&. 


IT>Vp 


& 


if 


Paramount  Pictures 

you  will  enjoy 


f   >' 


Raymond  Qriffith  in 

"WET  PAINT" 

With  Helene  Costello  and  Bryant 
Washburn.  From  the  Story  by 
Reginald  Morris.  Screen  play  by 
Lloyd  Corrigan.  Directed  by 
Arthur  Rosson. 

Richard  Dix  in 

"SAY  IT  AGAIN" 

With  Alyce  Mills.  Directed  by 
Gregory  La  Cava.  Story  by  Luther 
Reed  and  Ray  Harris. 

A  Clarence  Badger  Production 

"THE  RAINMAKER" 

With  Ernest  Torrence,  William 
Collier,  Jr.,  and  Georgia  Hale. 
From  the  story  "  Heavenbent,'' 
by  Gerald  Beaumont.  Screen 
play  by  Hope  Loring  and  Louis 
D.  Lighton. 

Bebe  Daniels  in 

"The  PALM  BEACH  GIRL" 

With  Lawrence  Gray.  Directed 
by  Erie  Kenton.  From  the  story 
by  Byron  Morgan  and  the  play 
"Please  Help  Emily." 


Afternoons  out  at  the  Paramount  show 
are  the  happiest  times  of  the  week.  Its 
such  a  comfort  to  know— before  you  go 
—  that  a  good  time's  ahead !  The  name 
"Paramount"  fixes  that!  The  healthy 
excitement  of  first-class  entertainment 
in  a  quiet,  cooled  theatre  is  a  happy 
program  for  any  afternoon.  Why  not 
this  afternoon?  Arrange  a  date  over 
the  'phone  with  your  friends.  Paramount 
puts  a  touch  of  romance,  "a  castle  in 
Spam,"  into  any  day! 


If  it's    a   Paramount    Picture    it's  the    best   show   in  town/" 

Produced  by  FAMOUS  PLAYERS "LASKY  CORP,  Adolph  Zukor.Pres.,  New  York  City. 


&$ 


COMPLETE  RESULTS  AND  AWARDS  IN  YOUR  OPINION  CONTEST  IN  THIS  ISSUE 


'MOTION  VICT  I '  R  / 


tL^y 


0<D 


Vol.  XXIII 


JULY,   1926 


No.  5 


(jiariii    SwMTlMOn 

Agnes  Smith 


Notable  Features  in    This  Issue: 

HE'S  ELECTED  ! 

ud  I  )i\  win!  Bn  «  itei  Popuiaril  •.  I 
WHAT   MY  EXPERIENCES  HAVE   TAUGHT   ME 

Tin-  -i.i i  talks  frankly  ol  hei  marriages,  her  cartel  and  il"-  i  rltii  i-m*  ol  i"  ■ 
HAVE  THEY  GOT  IT? 

. ers  tin-  question 
1  HE   CENTAUR  OF  THE  CINEMA Dan    Ryan 

Ton  Mix  is  the  tut  >'i  the  Vanishing  Americans 
THREE  MORE  AUTHORS  DISCUSS  THE  FILMS Henry  Albert   Phillip 

The  impressions  ol  VU  ente  Blaaco  tbafles,  u    it    Maxwell  and  William  J.  l.m  ke 
THE  PACE  THAT  KILLS  Fmith   Setvio* 

\  I  oren  Stout 
FAME   CAME  TO  CHAPLIN   WITH  BORROWED  CLOTHES  Bert   Ennis 

Tl»'  inside  stor)  ol  how  the  comedian  borrowed  ^rbuckli  '■  panti  and  Ford  Sterling')  ■'""      ihi  reby  ."  hievina  iin 
MORE   IMPRESSIONS  OF  HOLLYWOOD  Eugene   V.    Brew    t,  , 

Tin-  editor-in-chief  itlis  ins  further  experiencei  in  tin-  capital  ol  Blmdom 


10 

18 
20 
22 
24 
27 
36 
52 


The  Classic  Gallery  .  11    15 

re  Windsor,  Norma  Shearer,  Owen  Moore,  Donald  Keith  and  Alice  J 

Satan   Himself  26 

ill  in  "The  Sorrows  ol  Satan 

The  Story   of  Rex Hal  K.    Wells      28 

The  Killer 

The  Love  Scene Everett  Shinn     30 

ol  drawings  by  the  famous  artist 
A  Blonde  from  Pittsburgh David  Balch     31 

Alyce  \l ills  « ins  hex  way  to  the  top 
She  Reached  for  the  Moon  and  Got  It  ! Alice  L.  Tildesley     32 

Florence  Vidor's  promotion  to  stardom 
Grand  Old  Men  of  the  Films 34 

They  played  with  Booth  and  Barrett   -Portraits  of  Frank  Currier,  Theodore  Roberts,  Alec  Francis  and  Edward  Connelly 
She's  from  Alabam'        Norma  Johnstone     35 

How  Dorothy  Sebastian's  Southern  drawl  opened  her  way  to  fame 

Publicity  Problems  Worry  Cella  Lloyd     John   Held,  Jr.     38 

The  further  adventures  ol  Mi.   field's  bathing-girl  heroine 

Results  of  Contest  and  Complete  List    of   Winners 40 

Cloudy-   With  Continued  Showers  ! 42 

The  Deluge 

Carol  Dempster  (Portrait) 43 

It's  the  Old  Army   Game     This  Soda  Business 44 

YV.   C.    Fields'   latest    film 

The  Costellos  Ask   You  Over 45 

Dolores  ami  Helene  at  home 
Big  Pictures  and   Little  Ones Robert  E.    Sherwood     49 

The  ]>asi  season's  c.xtra-special-super  features 

Prop  Boy  to  Star  ...  Alice  L.    Tildesley     54 

Griffith  made  Charles  Emmett  Mack  into  an  actor 

Greta  Garbo  (Portrait)    '. 56 

The  Kid  from  Cape  Cod Mary    B.    Chapman     57 

Charles  Farrell's  rise  from  an  extra 
"Up  in  Mabel's  Room  ! " 62 

Showing  Marie  Prevost  in  Christie's  bedroom  farce 

The  CLASSIC'S  Famous  Departments 

Our  Own   News    Camera 46 

The  incidents  of  the  rilm  world  told  in  pictures 
The  Celluloid  Critic Laurence  Reid     50 

Tin                     plays  in  review 
Letters  to  King  Dodo Don  Ryan  and  Frederick  James  Smith      58 

An  amusing  series  of  letters  upon  i  I  celluloidia 

The  Answer    Man 63 

Cover  Portrait  of  Richard  Dix  by  Don  Reed,  from  a  Photograph  by  Russell  Ball 


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Classics  Late  News  Page 


COSMOPOLITAN   will   film    a    motion   picture 
based   upon    Beatrice   Fairfax's    "Advice    to 
the  Lovelorn." 
Cecil  B.  De  Mille  liked  H.  B.   Warner's  acting 
in  "Silence"  so  much  that  he  signed  him  for  three 
years. 

Mary  Philbin  engaged  to  play  the  feminine 
lead  in  "The  Man  Who  Laughs,"  based  upon 
Victor  Hugo's  story,  "L'Homme  Qui  Rit." 

Gaston  Glass  arrived  in  New  York  to  play 
opposite  Dorothy  Mackaill  and  Jack  Mulhall  in 
First  National's  "Subway  Sadie." 

Lillian  Gish's  mother  has  so  improved  in  health 
that  the  star  will  return  from  England  to  begin 
work  on  "Annie  Laurie,"  which  will  be  made  in 
Hollywood.  John  Robertson  will  direct.  It  is 
possible  that  Owen  Moore  will  be  Lillian's  lead- 
ing man. 

May  McAvoy  has  been  signed  to  play  the  fem- 
inine lead  in  "The  First  Brigade,"  opposite 
Charles  Ray.  The  film  will  be  a  Metro-Goldwyn 
special  and  will  be  built  around  the  life  of  a 
fireman.     H.  B.   Warner  is  also  in  the  cast. 

Norma  Shearer's  next  starring  picture  is  "Up- 
stage," a  story  of  the  footlights.  Monta  Bell  will 
handle  the  megaphone. 

Marion  Davies  has  decided  to  star  in  a  screen 
version  of  "The  Miracle."  playing  the  role  that 
Lady  Diana  Manners  created  on  the  stage.  Due 
to  her  present  production  schedule,  Miss  Davies 
will  not  start  work 
on  "The  Miracle" 
for  quite  a  while. 
Premier  Musso- 
lini received  Doug- 
las Fairbanks  and 
Mary  Pick  ford  in 
a  half-hour  audi- 
ence at  the  Chigi 
Palace  in  Rome — 
and  expressed  his 
admiration  for  the 
stars  and  the 
movies. 

William  Haines 
signed  for  the  ro- 
mantic lead  in 
"Tell  It  to  the  Ma- 
rines," the  George 
Hill  production 
which  will  star 
Lon  Chaney  in  the 
role  of  a  leather- 
neck sergeant. 

"The  Show-Off," 
from  the  George 
Kelly  play  of  the 
same  name,  has 
been  started  at  the 
Paramount  Eastern 
studio  under  the 
direction  of  Mai 
St.  Clair.  Ford 
Sterling  will  be 
featured  and 
Gregory  Kelly  who 
has  played  leading 
roles  in  many  stage 


LAST  MINUTE  REVIEW 

"Aloma  of  the  South  Seas" 

ASIDE  from  the  personality  and  talent  of  Gilda  Gray  so 
-  capitally  expressed  in  her  film  debut,  this  picture  hardly 
comes  up  to  the  mark.  As  a  play  it  didn't  create  any  emphatic 
impression — and  transferred  to  the  screen  it  doesn't  manage  to 
be  very  sustaining  because  of  the  absence  of  dramatic  move- 
ment and  suspense. 

As  a  result,  its  appeal  rests  entirely  with  the  characterization 
and  the  settings.  The  director,  Maurice  Tourneur,  took  the 
company  to  Porto  Rico,  and  having  a  good  photographic  eye  he 
succeeded  in  capturing  some  beautiful  exteriors.  The  breakers 
rolling  in  on  the  shores,  the  expanse  of  foliage  and  the  atmos- 
phere of  Nature  in  her  most  generous  mood — all  of  these  lend  a 
pictorial  quality  which  compensates  somewhat  for  the  short- 
comings of  the  plot. 

The  idea  is  simply  a  romance  of  a  native  South  Sea  maiden 
who  grows  to  love  a  broken-hearted  American — the  latter  exil- 
ing himself  in  order  to  find  solace  for  his  unhappiness.  There 
is  a  native  youth  who  has  figured  as  Aloma's  lover  up  to  the 
arrival  of  the  American.  When  other  white  trespassers  interfere, 
the  brown-skin  boy  suffers  them  to  be  captured  by  sharks — 
who  prefer  white  meat  in  place  of  dark.  And  thus  William 
Powell,  who  had  caused  the  other  American's  tragic  romance,  is 
exterminated.  The  girl  who  had  innocently  responded  to  the 
villain  visits  the  isle  and  becomes  reconciled  to  the  unhappy 
youth — while  Aloma  turns  again  to  the  brown  man. 

The  story  is  feeble,  is  always  obvious  and  is  minus  any 
dramatic  punch.  And  aside  from  Miss  Gray,  Warner  Baxter  as 
the  native  youth,  and  Harry  Morey  as  a  rough  Yankee,  the  cast 
has  not  been  well  selected.  Percy  Marmont,  usually  restrained 
in  his  acting,  is  allowed  to  overemphasize  his  role.  The  picture 
is  wholly  Gilda  Gray's  and  she  makes  the  heroine  a  whimsical, 
wistful  character.  Her  South  Sea  dance  electrifies  the  audience 
and  her  romantic  moments  are  touched  with  sympathy  and 
understanding.  Inasmuch  as  her  acting  registers  a  success,  she 
needs  a  story  with  a  bigger  "kick"  in  it  than  this  conventional 
yarn.  L.  R. 


successes  has  been  added  to  the  cast.  There  is 
a  rumor  that  if  his  work  registers  O.  K.  in  this 
film  he  will  probably  be  given  the  role  of 
Clyde  Griffiths  in  Dreiser's  "An  American  Trag- 
edy," assuming  that  the  novel  will  be  produced. 
Lloyd  Bacon,  son  of  the  late  Frank  Bacon  of 
"Lightnin'  "  fame,  has  been  signed  as  a  director 
by  Warner  Brothers.  His  first  production  will  be 
"Broken  Hearts  of  Hollywood,"  which  will  fea- 
ture Louise  Dresser,  whose  Goose  Woman  has 
made  her  one  of  the  most-sought-after  character 
women  in  recent  years. 

Eric  Pomrner,  European  director,  is  on  his  way 
to  Hollywood  to  take  charge  of  Pola  Negri  pic- 
tures. Pommer  is  the  producer  of  "The  Last 
Laugh,"  "Siegfried,"  "The  Cabinet  of  Dr.  Cali- 
gari,"  and  several  other  pictures  which  have 
never  been  shown  in  America. 

Louise  Brooks  selected  to  play  title  role  in  the 
Ziegfeld  production,  "Glorifying  the  American 
Girl."  Edward  Sutherland,  who  will  direct,  is 
busy  assembling  a  cast  which  will  include 
William  Collier,  Jr. 

Eddie  Cantor,  the  comedian,  will  put  "Kid 
Boots"  on  the  screen.  Lawrence  Gray  will  have 
the  juvenile  role  in  the  film  while  the  leading 
feminine  roles  will  be  enacted  by  Clara  Bow  and 
Esther  Ralston. 

Having  recovered  from  her  illness,  Gloria  Swan- 
son  has  returned  to  work  on  "Fine  Manners." 

Glenn  Hunter  to 
return  to  screen  in 
"The  Romance  of 
a  Million  Dollars." 
Jacqueline  Logan 
will  play  the  hero- 
ine. Tom  Terriss 
will  direct. 

Harrison  Ford  is 
now  a  featured 
player  for  Metro- 
politan produc- 
tions. His  first  role 
will  be  that  of 
"T  he  Nervous 
Wreck,"  an  adap- 
tation of  the  suc- 
cessful play  of  last 
season. 

"For  Alimony 
Only"  is  the  title 
of  a  new  Leatrice 
Joy  film  which 
William  de  Mille 
will  direct  as  his 
first  effort  on  join- 
ing brother  Cecil 
in  the  independent 
field.  Clive  Brook 
will  appear  oppo- 
site the  star. 

Evelyn  Brent, 
who  has  been  wait- 
ing for  a  suitable 
story,  has  been  re- 
warded with  "The 
Flame  of  the  Ar- 
gentine." 


6 


THEY  SAY 


A    Practical   Woman's    Practical    Hus- 
band Enjoys  the  Romantic  Actors 

Editor,  Classic  : 

In  Edwin  Meyer's  letter  appearing  in 
the  May  Classic,  he  revealed  the  re- 
action of  "every-day"  men  to  specific  men 
players  of  our  films  today  and  to  women 
players  en  masse.  I  cannot  help  but  be- 
lieve that  Mr.  Meyers  is  too  sweeping  in 
his  statements.  I  shall  use  my  husband 
as  one  example.  He  is  the  most  practical 
of  men  without  pretense  or  affectations 
whatsoever.  His  friends  include  business 
men,  lawyers,  doctors — yes,  and  news- 
paper men!  (He  has  no  friends  of  the 
Latin  type  who  are  spoken  of  as  "sheiks" 
by  Mr.  Meyers.)  He  is  completely  ab- 
sorbed in  the  unromantic  and  very  un- 
idealistic  business  of  buying  and  selling 
cement.  Pages  and  pages  of  his  kodak 
books  are  filled  with  pictures  of  cement 
roads  and  bridges.  I  am  positive  that  he 
would  immediately  be  included  in  the 
category  of  every-day  men.  He  even  re- 
sembles Conway  Tearle  to  a  remarkable 
degree  in  features,  coloring  and  physique, 
while  his  mannerisms  are  much  like  those 
of  Milton  Sills'.  These  are  actual  facts 
and  are  not  manufactured  to  make  them 
fit  in  with  Mr.  Meyers'  words  as  to 
"doubles." 

Strange  to  relate,  Tearle's  presence  in  a 
picture  interests  my  husband  not  at  all, 
in  fact,  he  is  thoroly  bored  sitting  thru  the 
type  of  pictures  that  Tearle,  Sills  or 
Meighan  is  seen  in.  His  greatest  pleas- 
ure is  in  costume  pictures  of  olden  times 
and  in  foreign  countries.  He  was  de- 
lighted with  "Monsieur  Beaucaire"  with 
Valentino,  and  "Scaramouche"  with  No- 
varro.  In  fact,  he  spoke  of  the  natural  grace 
and  ease  of  these  two  so-called  "sheiks." 
It  really  would  seem  more  logical  that  the 
"every-day"  type  of  man  could  forget  his 
humdrum  business  cares  by  seeing  on  the 
screen  types  of  men  who  did  not  remind 
him  of  his  business  associates. 

The  case  of  my  husband  is  not  as  upper- 
most in  my  mind  tho  as  is  the  simple  fact 
that  America  is  and  has  been  a  great  Melt- 
ing Pot.  There  is  a  large  group  of 
American  men  —  yes,  "every- 
day" men  —  whose  ancestors 
were  of  the  warm-blooded 
races.  Ah,  so  we  need  Melt- 
ing Pot  screen  heroes,  the 
Valentinos  and  Novarros,  as 
well  as  the  Meighans  and 
Tearles. 

Mr.  Meyers  confesses  that 
the  men  want  the  women 
players  of  the  screen  to  be 
"exotic,  different,  strange  and 
mysterious."  And  he  pokes 
fun  at  the  feminine  movie 
goers  for  enjoying  the  "sheik" 
type  of  hero.  Well,  you  know 
we  women — including  "every- 
day" women — want  the  men 
players  of  the  screen  to  be 
"exotic,  different,  strange  and 
mysterious  ! !" 

However,      I      fully     agree 
with    Mr.    Meyers    regarding 
Mae  Murray's  pout. 
Mrs.  A.  Stiles, 

Minneapolis,  Minn. 


Needed — Less  Bunk  and  More 
Realities 

Editor,  Classic  : 

Being  a  firm  believer  in  the  efficacy  of 
criticism  in  obtaining  results  in  any  field 
of  endeavor  (including  filmdom),  I  take 
this  opportunity  of  telling  you  that  you 
have  adopted  the  right  method  in  making 
your  criticisms  in  an  outspoken  manner ; 
there  are  times  when  gentleness  availeth 
not. 

My  abode  is  in  a  town  of  2,000  inhabi- 
tants, more  than  one  hundred  miles  from 
our  railway  point.  The  sole  source  of 
amusement  for  one  who  attends  neither 
dances  nor  parties,  and  I  am  in  that  class, 
is  the  local  movie  house  which  gives  two 
shows  on  six  nights  every  week.  I  have 
been  a  patron  of  the  movies  for  the  past 
twenty  years,  yet  I  do  not  attend  six 
nights  a  week  here.  The  reason  of  this 
is  that  each  week  we  have  what  is  locally 
known  as  "howler  nights"  —  nights  on 
which  the  audience  consists  mainly  of 
children  and  two-thirds  grown  hoodlums 
who  howl  their  heads  off  at  the  unspeak- 
able silly  heroics  and  antics  of  dude-glove, 
Main-Street  cowboys  and  gunmen  who  lay 
out  their  enemies  in  lots  of  dozens  and 
pile  'em  up  in  tiers.  I  and  many  others 
go  to  the  movies  for  entertainment  and 
relaxation,  and  not  to  be  annoyed  by 
howling  dervishes. 

Of  course,  there  are  Western  pictures 
which  are  masterpieces  of  the  films,  and 
there  are  screen  players  who  are  master 
artists  in  the  portrayal  of  Western  char- 
acters of  both  old  and  modern  days.  One 
need  think  only  of  "The  Covered  Wagon," 
"North  of  36,"  "The  Pony  Express,"  and 
of  Jack  Holt,  Bill  Hart,  Noah  and  Wal- 
lace Beery,  Ernest  Torrence,  Lois  Wilson, 
Betty  Compson,  Billie  Dove,  to  be  con- 
vinced that  the  story  of  the  West  can  be, 
has  been,  presented  in  an  intelligent  man- 
ner on  the  screen. 

Recently  a  Western,  a  very  good  one, 
was  presented  here  two  nights.  The 
manager  of  the  local  movie  house  told  me 
that  this  picture,  "Wild  Horse  Mesa," 
took    in    barely    enough    to    pay    expenses. 


The  MOTION  PICTURE  CLASSIC  is  devot- 
ing a  page  each  month  to  the  best  letters  from 
its  readers.  The  prize-winning  letters  for  the 
July  number  are  reproduced  on  this  page. 

Fifteen  dollars  will  be  paid  each  month  for 
the  best  letter,  ten  dollars  for  the  second  and 
five  dollars  for  the  third.  If  two  or  more  let- 
ters are  found  of  equal  merit,  the  full  prize 
will  go  to  each  writer. 

Letters  must  be  constructive  and  interest- 
ing. They  must  deal  with  pictures  or  screen 
personalities.  And — please  note — they  should 
be  typewritten. 


Yet  it  was  a  splendid  film,  with  three  of 
the  major  stars — Jack  Holt,  Noah  Beery, 
Billie  Dove — in  the  leading  roles.  Never 
have  1  seen  Billie  Dove  play  with  greater 
loveliness  and  sincerity  (and  I  have  often 
seen  her  on  the  screen,  sometimes  in  plays 
worthy  her  great  talent  and  sometimes  in 
plays  unworthy)  ;  Jack  Holt  was  at  his 
best,  and  Noah  Beery  played  the  villain 
so  realistically  that  an  old  lady  sitting 
beside  me  remarked,  as  the  Indian  was 
aiming  his  rifle  at  the  fleeing  Noah  :  "Oh, 
dear,  he'll  miss  that  devil."  I  saw  the 
play  both  nights,  and  enjoyed  it  as  much 
the  second  night  as  I  did  the  first.  Yet 
the  play  lacked  deserved  patronage  here; 
you  see,  it  was  above  the  heads  of  the 
hokum-loving  beholders  of  the  cheap  bunk 
termed  "Westerns." 

I  am  strong  in  the  faith  that  the  movies 
will  attain  a  higher  level  of  uniform  ex- 
cellence. The  consummation  of  that  wish 
may  be  slow  in  arriving,  but  it  will  come. 
And  when  it  does  arrive  I  hope  that  the 
villain  -  devastating,  dude  -  glove,  chasm- 
leaping,  smirking  abominations  masquer- 
ading as  portrayers  of  the  Western  char- 
acter will  be  scarcer  than  feathers  on  the 
back  of  a  newly  hatched  rainbow  trout. 
Improvement  in  the  movies  necessitates 
elimination  of  bunk,  and  the  abominations 
mentioned   are  just   that — bunk. 

There  are  other  features  now  prevail- 
ing in  filmdom  which  will  not  be  missed 
when  they  disappear.  One  of  these  is  the 
carrying  and  caressing  of  pet  dogs,  mon- 
keys, cats,  and  other  four-footed,  pam- 
pered, flea-harboring  pests.  Audiences 
are  not  interested  in  pooches  and  simians. 
If  it  is  proper  to  carry  them  about  in 
ordinary  plays,  then  it  would  have  been 
proper  for  Estelle  Taylor  to  have  car- 
ried a  pup  or  a  monkey  around  while 
playing  in  the  "Ten  Commandments,"  and 
hand  him  over  to  Theodore  Roberts  now 
and  then  to  hold,  while  he  was  portraying 
Moses.  At  that  it  would  have  been  an 
event  of  note  to  have  seen  the  grim  face 
of  Theodore  Roberts  if  this  had  happened. 
It  is  a  certainty  not  many  of  the  com- 
mandments would  have  remained  intact. 
Often  have  I  thought  of  some  portray- 
als on  the  screen  I  would  like 
to  see.  Would  like  to  see 
Noah  and  Wallace  Beery'  in  a 
play  surrounded  by  children 
and  flowers,  peace,  not  a  gun 
or  a  cartridge-belt  in  sight ; 
would  like  to  see  Betty  Comp- 
son, Lois  Wilson  and  Billie 
Dove  in  more  of  the  "home- 
spun" characters  they  know 
so  blessedly  well  to  depict ; 
would  like  to  see  Jack  Holt, 
Ernest  Torrence.  Bill  Hart, 
in  more  of  their  characteristic 
stuff ;  would  like  to  see  the 
inane  so-called  comedies  used 
as  openers  displaced  by  two- 
reel  short  stories  of  the 
screen ;  would  like  to  see  a 
real  screen  play  based  on  the 
Spanish- American  War  (that 
war  which  is  lost  in  the  mem- 
ory of  most  people)  ;  would 
like  to  see  more  of  real  life 
realistically  depicted  on  the 
(Continued  on   page  75) 


S 


Most  Astounding  Beauty  . 
Miracle  of  the  Century  l 


'Marvelous!"  *'l  cannot  believe  mj  eye9!M  "It's 
tlu-  most  astounding  thing  I've  ever  seen!"  "How  in 
the  world  is  il  possible '" 

These  ar«.-  some  i>i  the  exclamations  that  broke  from 
the  lips  of  onlookers  who  recentlj   wit  i  'lemon 

strarion  of  the  new  discover)  that  is  hailed  as  the  most 
amazing  beauty  miracle  of  the  century. 

Think  of  it!  \  new  complexion  while  you  wait! 
Your  skin  made  young  in  fifteen  minutes!  Blackheads 
and  enlarged  pore-  entirely  eliminated!  Flabby, 
ring  muscles  toned  and  restored  to  firm  contours! 
\\  nnkles  combatted  '  \\  as  ever  so  wonderful  a  beauty 
treatment  known  before? 

And  what  magical  compound  do  you  suppose  brings 

these  incredible  result-?  MILK!  Yes,  the  .secret 
lovely  skin  lias  been  discovered  in  the  natural,  beautify- 
ing properties  of  milk.  <  )f  course,  milk  in  its  ordinary 
liquid  form  is  not  concentrated  enough  to  show  marked 
results  Its  special  beautifying  elements  had  to  be  ex- 
tracted and  put  into  concentrated  form,  combined 
with  other  ingredients.  It  was  only  after  countless 
experiments 


that  the  true  Magic  Formula  was  found. 


The  Mack  Mule  Mask 


(Trade  Mark  Applied  For) 


Milk  has  always  been  known  as  a  com- 
plexion beautitier.  The  famous  actress,  Lil- 
lian Russell,  and  other  renowned  beauties, 
used  the  milk  bath  treatment. 

But  never  has  it  been  possible  to  use 
the  beautifying  properties  of  milk  in  such 
marvelously  effective  form  as  in  the  Magic 
Milk  Mask.  Here  in  this  fragrant,  plastic 
compound  is  the  very  essence  of  beauty — a 
simple,  healthful  treatment  whose  miracu- 
lous powers  are  the  marvel  of  all  who 
behold. 

Lovely  Beyond  Your  Dreams  in 

Fifteen  Minutes! 

How  can  words  describe  the  wonder-working 
powers  of  the  Magic  Milk  Mask!  A  single  appli- 
cation absolutely  transforms  the  skin!  You  simply- 
coyer  your  face  with 
this  delightful,  pure- 
white,  creamy  com- 
pound. Then  relax 
while  it  dries.  Vnu 
can  actually  feel  it  at 
work  as  it  remakes 
the  complexion.  It 
gently  draws  black- 
heads, dirt  and  waste 
matter  from  the  pores 
— lifts  off  and  absorbs 
the  dry,  withered  skin 
scales — closes  and 
tightens     the     pores — 


Read  This   Sensational 
GUARANTEE 

The     Magic     Milk     Mask     is     absolutely 
guaranteed    to   help: 
1 — to    give    a    lovely,    milk-white    skin    in 

15   minutes. 
2 — to    make    your    skin     look    at    least    10 

years  younger, 
j — to  lift  out  blackheads,  all  waste  matter 

and    impurities. 
I    close   enlarged    pores   and    refine    the 

skin  texture. 
5 — to     absorb     the     outer,     dry     withered 

dermis  and   reveal  the  beautiful,  young 

skin    beneath. 
6 — to  palliate  wrinkles,   tone  sagging   mus- 
cles and   firm  the   tissues. 
7 — to    stimulate    the    capillary    action    and 

impart    a    radiant,    rose-pink    bloom    to 

the  cheeks. 
8 — to  leave  the  skin  velvety  smooth,  fresh 

and    beautiful. 


limited  number  of  packages  of  the  Magic  Milk 
Mask  have  been  prepared  to  be  sent  to  women 
direct  from  the  laboratories,  under  a  Special 
Introductory  Offer. 

These  introductory  packages  are  to  be  prac- 
tically given  away.  The  regular  price  will  be 
$5.00  (enough  for  twenty  treatments,  which  would 
cost  $30.00  to  $40.00  in  a  beauty  parlor).  But  you 
are  asked  to  deposit  with  the  postman,  when  he 
delivers  vour  package,  only  $1.95  to  help  defray 
the  expense.  Then  try  the  Magic  Milk  Mask.  If 
you  are  not  absolutely  delighted,  your  money  will 
be  returned  at  once.  Could  a  fairer  offer  be  made? 
If  you  act  quickly  you  will  also  receive,  FREE,  a 
supply   of   wonderful   Lemon    Bleach. 

Send  No  Money 

No,    not   a   single   penny   in   advance.      Just 
write  your  name  and  address  on   the  coupon        j 
and  mail  at  once.  * 

But    you    must     act    quickly.      Onlv    a      f 
limited    number   of  packages   are    to    be      j 
sent    out    under    this    amazing     offer.        <t 
Don't   delay   a    minute.     Remember,      + 
you    also    get    the    Lemon    Bleach       + 
FREE    if    you    send    at    once.      S 
Rush    the    coupon.  4    jj'      (Clip.ad- 

*   %•>"       dress    and 
j     V  mail) 


FREE 


Marvelous  Lemon  Bleach 
given  to  you  absolutely 
free  if  you  mail  the  cou- 
pon at  once.  Keeps  the  skin  soft,  white  and 
beautiful,  banishes  freckles  and  other  dis- 
colorations.  You  do  not  pay  a  penny  for  this 
wonderful  Lemon  Bleach  now  or  later.  It  is 
included  FREE  with  the  Magic  Milk  Mask 
if    you   act    quickly. 


combats  wrinkles  and  firms  the  tissues.  It 
whitens  and  purifies  the  complexion  and  brings 
a   rosy  bloom   to  the  cheeks. 

In  fifteen  minutes  its  work  is  done.  Wash  off 
your  beauty  mask  and  look  in  the  mirror.  You 
won't  be  able  to  believe  that  the  radiantly  lovely 
complexion  you  see  before  you  is  actually  your 
own!  And  you  will  feel  so  refreshed  and  in- 
vigorated. 

Kvcn  women  of  advanced  years  look  young 
after  a  single  application  of  the  Magic  Milk  Mask. 

But  how  can  you  appreciate  this  greatest  nf 
beauty  miracles  except  by  the  evidence  of  your 
own   eyes? 

Too  Wonderful  for  Belief.    So  See 

for  Yourself— Not  a  Penny  to  Lose  * 

You  are  invited  to  try  this  startling  new  * 

discovery,     entirely     without     risk.       A       ,* 


Maison  Madeleine, 
Dept.  C-67 
Ninth  and 
Spruce  x~ ,. 
Philadelphia. 
Penn. 


*   >        Maison 
*    /  Madeleine. 

'   -  Dept.   C-67 


#v 


Ninth    and 

Spruce    Ms.. 


AT 


Philadelphia,    Pa. 

large     $5.00 


lend     mi> 
#"  /*        package  of  the  Magic  Milk  Mask. 
0    \_  In    plain    wrapper,      i    win    deposit 

*    O        only    11.85,    plus    the  few   cents  post- 
.#  jy       age.     with     the    postman.       My     money 
Av    ' 


A  •</"     hack  if  I  am  not  d'ellghted.     Also  Include 
'  —        the    Lemon    Bleach    FREE, 


'    s 


Address 

State 

If    you    prefer,    send    $2.00    with    this  coupon,  and    we 
will    pay   postage. 


lifting  the  Curtain  on  a  New  Season  of 

First  National  Star-Successes! 


First  National  Pictures  Inc.  presents 

MILTON  SILLS 

in  a  "best-yet"  part ....  A  love-avenging 
soldier- husband  who  stakes  wife  and 
life  against  the  cowardice  of  his  betrayer. 
Hold  your  breath  for  the  climax  of 

PUPPETS 

Adapted  from  the  play  by  FRANCES  LIGHTNER 

— because  this  smashing  scene  will  take 
your  breath  away!  ....  Brilliant  pro- 
duction and  a  splendid  cast 

With^GERTRUDE    OLMSTED 
Directed  by  ^GEORGE  ARCHAINBAUD 

Production  Management     «n.    «>»    •v.    «v.     AL  ROCKET  1' 

The  strangest  triangle  ever  drawn 
by  Fate  ....  Drama  that  plays  tug- 
of-war  with  your  emotions  .... 
Scenes  and  situations  entirely  new 
in  pictures! 


BROTHERS.  .  .  .  and  one  must  die  by 

the  other's  hand! 

Which  would  claim  the  fatal  knife? — 

A  coin-toss  to  decide! 


3iiat  national  Picture 


10 


Bull 


CLAIRE    WINDSOR 


MOTION  PICTURE 

Cs= — *2 

J  U  L  Y.      I  9  1p  ' 


NORMA   SHEARER 


L  arse  J 


DONALD  KEITH 


Carsey 


I 


Muray 


ALICE  JOYCE 


In  many  ways 
Richard  Dix's  life 
story  parallels  that  of 
Harold  Lloyd.  Like 
Lloyd,  his  rise  in  pop- 
ularity  has  been 
*"""  steady,  slow  and  sane. 

He  made  no  sudden 
success  in  a  big,  spectacular  picture. 

Like  Lloyd,"his  work  has  been  con- 
sistently good  and  consistently  satis- 
fying also.  His  career  has  been  a 
steady  record  of  improvement.  Also, 
like  Lloyd,  he  has  no  enemies — only 
friends.  Stars  may  be  unmade  by 
their  enemies  within  the  business. 
Neither  Dix  nor  Lloyd  has  anyone 
to  fear. 


THE  readers  of  the  Brewster  Publications  have  voted 
him  their  favorite  actor. 
For  months,  more  letters 
about  him  have  reached  the  editors 
of  the  Brewster  Publications  than 
about  any  other  player  on  the 
screen. 

And,  for  months,  not  a  single 
adverse  criticism  from  a  "fan"  has 
been      registered      against      him. 

No  wonder,  then,  tha 
Richard  Dix  gets  a  place  on 
Classic's  cover. 

There    are    all    kinds    of 
screen    popularity.      There 
are  stars  who  put  on  a  pin- 
wheel  display  for  a  year  or 
so    and     then    burn     out. 
There  are  stars  who  "get 
by"  because  they  happen 
to  be  in  the  business  and 
because  the  public  doesn't 
care  violently  enough  about 
them,  one  way  or  another, 
to  ask  them  to  leave. 

Stars  Who  Mean  Something 

A  nd   then   there   are   the    stars 

who  mean  something  to  the 
public  —  Fairbanks,  Mary  Pickford, 
Harold  Lloyd,  Norma  Talmadge 
and  so  few  others  that  you  can 
almost  count  them  on  your  fin- 
gers. It  is  into  this  select  circle 
that    Richard    Dix   has    stepped. 

And  he  landed  painlessly  and  quietly,  without  agitation 
or  propaganda. 

In  a  great  many  ways,  Dix's  story  parallels  that  of 
Harold  Lloyd.  Like  Lloyd,  his  rise  in  popularity  has 
been  steady,  slow  and  sane.  He  made  no  sudden  success 
in  a  big,  spectacular  picture.  Like  Lloyd,  his  work  has 
been  consistently  good  and  consistently  satisfying.  Also 
his  career  has  been  a  steady  record  of  improvement. 
Again  like  Lloyd,  he  has  no  enemies — only  friends.    Stars 


Richard  Dix  has  scored 
the  Indian  hero  of  "The 


He's 
Elected/ 

By 

Carol  White 


may  be  unmade  by  their  enemies  within  the  business. 
Neither  Dix  nor  Lloyd  has  anyone  to  fear. 

The  story  of  Richard  Dix's  rise  is  an  undramatic, 
unspectacular,  but  pleasant  record  of  achievement.  He 
was  born  in  St.  Paul  of  well-to-do  parents.  He  grad- 
uated from  the  St.  Paul  Central  High  School  and  then 
attended  the  University  of   Minnesota   for  one  year. 

Almost  a  Surgeon 

ryx's  father  wanted  him  to  be  a  surgeon,  but  the  boy 
was  mostly  interested  in  sports  and  dramatics.  He 
was  a  good  football  player,  a  member  of  the  baseball 
team  and  a  fine  amateur  boxer.  And  he  also  played  the 
leading  roles  in  the  school  and  college  dramatic  produc- 
tions. But  the  thought  of  going  on  the  stage  didn't  enter 
his  mind,  until  a  few  unhappy  circumstances  forced  him 
to  decide  upon  a  career  for  himself. 

Just  as  he  was  preparing  to  study  medi- 
cine, he  visited  a  clinic  with  his  elder 
brother,  who  was  a  surgeon.     And 
he  watched  three  operations.   The 
sight  of  blood  sickened  him  and 
he  felt  that  he  never  could  be- 
come a  doctor. 

And  then  his  father  suf- 
fered financial  reverses.  Dix 
realized  that,  if  he  wished 
to  continue  at  college,  he 
would  have  to  work  his 
way  thru.  He  got  a  job, 
at  a  small  salary,  with  a 
summer  stock  company 
playing  in  St.  Paul. 

His  success   was  greater 
than   he   had   expected.      It 
was,  indeed,  greater  than  the 
manager  of  the  company  had 
expected.    Altho  he  only  played 
small  parts,  he  drew  large  audi- 
ences.    All  his  classmates  at  high 
school  and  college  watched  his  career 
Ba"  with  breathless  interest. 

his  biggest  success  as  Started  in  Stock 

Vanishing  American 

Cor  the  newspapers  of  his  town, 
*  he  was  a  good  story.  It  was 
another  case  of  a  "local  boy  making  good.'"  True,  he 
knew  little  about  acting  and,  true,  his  parts  were  only 
minor  ones.  Nevertheless,  he  was  a  home-town  boy  with 
plenty  of  friends  and  his  presence  in  the  company  added 
new  interest  to  the  performances  of  the  stock  company. 
The  small,  local  success  looked  very  big  to  Richard. 
He  was  terribly  and  almost  pathetically  serious  about  his 
work.  Every  performance  was  an  event;  every  new  role 
— no  matter  how  small — was  a  momentous  undertaking. 


16 


Richard   Dix    Wins 

Brewster  Popularity 

Contest 


The  managei  and  his  fellow  players  gave 
him  some  encouragement.  He  had  his  salarj 
raised  once  during  the  season  and  several  of 
tin-  actors  urged  him  to  ^o  to  New  York,  it 
he  wished  to  keep  on  with  his  own  career. 

I>:\'-.   arrivaJ   on    Broadwaj    was   the   old 

v  of  small-time  talent  in  a  hi},'  town.     He 

had  very   little  money  and  quite  a   tew  notions 

about  breaking  into  a  New  Vork  production. 
All  in  all.  he  was  one  of  the  greenest  be- 
ginners ever  to  land  on   Broadway. 

Reaches  Broadway 

j  \  the  tir.st  place,  he  was  hacked  by  no  family 
tradition.  None  of  his  relatives  ever  had 
been  on  the  stage.  He  had  little  experience 
and  no  slant  on  the  theatrical  situation.  He 
was  just  a  nice  home  hoy  from  the  Middle 
West  and  he  knew  less  about  the  world  than 
the  average  ten  year-old  East  Side  kid. 

It  didn't  take  Richard  long  to  find  out  that 
he  hadn't   a   Chinaman's   chance  of   breaking 


into  a  New  York  production.  Considerably  downcast,  he 
decided  to  look  for  work  in  a  stock  company.  None  of 
the  directors  of  the  stock  companies  seemed  particularly 
eager  to  engage  a  beginner. 

Finally,  after  months  of  waiting,  he  was  overjoyed  to 
get  an  engagement  in  Pittsburgh  at  thirty-five  dollars  a 
week. 

In  spite  of  a  small  salary  and  repeated  assurances  that 
he  was  the  rottenest  actor  in  the  world,.  Dix  stuck  to  it. 
It  was,  after  all.  a  happy,  care-free  life,  except  on  the 
days  that  the  rent  came  due. 

Then  Came  Tragedy 

Dut  then  two  tragedies  came  to  him  that  forced  him  to 
settle  down  to  business  in  grim  earnest  whether  he 
liked  it  or  not.  His  father  and  his  brother  died  and 
Richard  found  himself  the  head  of  his  family,  with  a 
mother  and  a  sister  to  support. 

It  was  his  first  experience  at  accepting  real  responsi- 


More  letters  come  to  the  Brewster  Publications  about  Richard 

Dix  than  about  any  other  player.   Left,  Dix  in  his  first  prominent 

role — John   Storm   in   "The   Christian" 


bility  and  he  went  at  the  task  manfully.  In  those  few. 
bitter  years  of  poverty  in  New  York  his  character  was 
formed.     He  learned  the  lesson  of  self-sacrifice. 

The  struggle  was  hard  while  it  lasted  but  Richard 
emerged  from  it  with  some  valuable  assets.  He  had 
acquired  self-control,  a  sense  of  responsibility,  and  a 
capacity  for  hard  work. 

The  turning  point  of  his  career  came  when  Oliver 
Morosco  gave  him  a  job  in  his  Los  Angeles  stock  com- 
pany. After  a  short  time  with  Morosco,  Hollywood  dis- 
covered a  new  leading  man.  Richard  began  to  make  pic- 
tures and  he  began  to  make  friends.  Stardom  sneaked 
up  on  him — altho  his  great  work  in  "The  Christian"  gave 
him  the  final  push. 

Just  Regular ! 

The  insidious  blight  of  success  never  has  touched  Rich- 
ard  in  any  way.  He  owns  no  polo  ponies,  neither  has 
he  a  fur-lined  bathtub.  He  has  no  social  ambitions  to  pal 
around  with  the  Prince  of  Wales.  His  salary  ic  not 
enormous ;  in  fact,  he  might  make  four  times  as  much  and 
still  be  worth  it  to  any  company.  He  lives  well,  but  not 
extravagantly.  A  new  suit  is  still  something  of  an  event 
to  him.     He  doesn't  care  much  for  show  or  swank. 

Dix  isn't  married  but  he  has  no  prejudices  against  the 
institution.  He's  afraid  of  making  any  mistakes  and  he 
doesn't  believe  in  divorce.  He  is  burdened  by  an  old- 
fashioned  devil,  called  Conscience,  and  works  hard  on  his 
pictures.  And,  last  but  not  least,  he  is  one  of  the  few 
actors  on  the  screen  who  think  in  the  terms  of  achieve- 
ment, not  money. 


17 


What  My  Experiences 


By 


Two  glimpses  of  Miss  Swanson  in  pictures  which 
revealed  a  distinct  progress.  Top,  "The  Humming 
Bird,"  and,  below,  "Beyond  the  Rocks"  with 
Rudolph  Valentino 


*f-8- 


I    DO  NT  know  whether  my   father  guessed  that   I 
would  become  an   actress.     Certainly  he   couldn't 
have  given  me  better  training  for  my  profession  if 
he  had.     He  told  me  often :     "No  person  can  be  a 
greater  artist  than  he  is  a  human  being,  because  all  art 
is  based  on  an  understanding  of  humanity." 

He  impressed  upon  me  the  need  for  experience  if  I 
was  to  understand  people,  tho  he  didn't  tell  it  to  me 
exactly  that  way.  I  cant  remember  how  he  taught  me 
these  things,  except  that  he  made  me  feel  them.  I 
learned  somehow  that  it  was  wrong  to  whimper  when 
I  hurt  myself  and  the  hurt  had  been  brought  about  by 
my  own  will.  I  learned  that  that  will  was  something 
that  belonged  to  me  and  must  be  cared  for  so  that  it 
shouldn't  grow  into  spinelessness  on  the  one  hand,  or 
obstinacy  on  the  other.  I  learned  that  when  I  had 
little  problems,  I  must  figure  out  for  myself  which 
way  to  act,  not  ask  my  parents  to  decide  them  for  me. 
tho  they  would  be  always  ready  and  glad  to  talk  them 
over  with  me. 

Her  Father's  Influence 

[   had  no  brothers  or  sisters,  and  father  lavished  upon 

me  all  the  companionship  he  would  have  given  a  son. 
There  were  long  walks  with  him,  and  long  talks.  Even 
when  I  was  very  young,  he  would  talk  with  me  not  as 
tho  I  were  a  child,  but  a  thinking  individual ;  neither 
he  nor  my  mother  encouraged  me  to  talk-  baby  talk 
nor  answered  my  questions  with  the  air  of  bantering 
fantasy  that  many  parents  adopt  toward  their  children. 

But  the  most  important  part  of  my  early  training 
and  the  one  for  which  I  am  most  grateful  was  my 
father's  insistence  that  I  take  all  things  that  come  my 
way. 

"There  isn't  an  experience  in  the  world  that,  cant 
do  you  some  good.  You  can  learn  something  from 
everything  you  do  and  even  the  most  foolish  experi- 
ence can  teach  you  not  to  repeat  it,"  he  said.  Could 
there  be  any  better  training  for  an  actress  or  a  writer 
or  any  person  whose  profession  is  the  portrayal  of 
human  emotions  ? 

He  gave  me  such  a  respect  for  experience  that  I 
prayed  I  would  have  all  sorts  of  adventures — ship- 
wrecks, tornadoes,  fires,  earthquakes,  almost  fatal  ill- 
nesses— so  that  when  I  died,  I  would  at  least  have 
tasted  life.  Tho  many  of  those  childish  wishes  have 
come  true,  I  still  pray  that  I  may  taste  much  more  of 
life  than  I  have  already  known — that  new  friends,  new 
work,  new  places  will  open  themselves  to  me. 

Painful   Experiences 

'There  have  been  many  times  when  I  felt  like  run- 
ning  away  from  some  of  the  experiences  I  have  had, 
but  I  realized  that  that  wouldn't  help  matters  much. 
Besides,  I  was  always  curious  to  see  what  the  lesson 
would  be,  what  nugget  of  wisdom  I  could  rescue  from 
the  debris.  Lots  of  times,  I  must  confess,  I  learned 
nothing  and   lots   of   other  times   I   discovered   truths 


18 


Have  TAUGHT   ME 


The  Star.  Talks  Frankly  of  Her 

Marriages,  Her  Career   and   the 

Criticism  of  Newspapers 

that  will  he  of  service  fur  the  resl  of  rm  days.     For  this  reason,  1  hate 

to  Speak  of  having  made  mistakes:      I    think  of  them  as   unfortunate  or 
unhappy  experiences,  and  let  it  go  at  that 

( >iu-  of  the  first  lessons  I   learned  was  to  be  extremely  circumspect  and 

:\  or  do  anything  that  might  reflect  against  me.     Actresses  are  so 

Rnich   in   the  public   eve,   especially   movie   actresses,    whose    features  are 

known  in  every  town  of  the  country,  that  what  they  do  is  naturally  of 

greater    interest    than 

the    actions    of    Miss 

Jones  or  Mrs.  Smith. 
Newspapers  realize 
that  actresses  make 
good  "copy"  and 
they  will  give  more 
space  to  our  doings 
than  to  the  average 
woman's. 

( )  f  the  newspapers 
there  is  a  small  but 
important  minority 
that  prints  "yellow" 
news,  facts  slightly 
off  color,  or  perhaps 
I  ought  to  say  facts 
slightly  too  colorful. 
You  see,  there  is  a  tra- 
dition about  actresses 
— that  they're  wild 
and  exotic,  that  they 
should  be  ridiculed 
or  admonished  when- 
ever the  occasion  pre- 
sents itself.  I  dont 
suppose  there's  a  hu- 
man being  in  the 
world,  actresses  in- 
cluded, whose  actions 
could  absolutely  escape  criticism,  and  the  yellow  journals  are  quick  to 
snap  at  little,  unimportant  fragments  and  develop  them  into  national 
scandals,  if  an  actress  or  any  other  public  character  is  involved.  I  dont 
want  to  give  the  impression  that  newspapers  as  a  class  treat  actresses 
unfairly.  Just  a  few  do.  but  they  can  make  themselves  very  unpleasant. 
Most  papers  have  been  exceedingly  generous  and  friendly  toward  me  and 
my  work,  and  it  is  their  kind,  sincere  criticism  that  has  showed  me  how 
my  work  could  be  improved.  The  reviews  of  my  pictures  in  the  news- 
papers are  mirrors  where  I  can  get  a  sane,  unbiased  conception  of  my 
characterizations. 

Newspaper  Exaggerations 

Actresses  are  said  to  do  all  sorts  of  impossible  things  and  earn  salaries 
large  enough  to  support  a  dozen  presidents  at  the  White  House. 
There  have  been  so  many  exaggerations 
about  money  in  the  motion  picture  industry 
that  another  million  or  two  wont  matter 
anyway.  The  same  is  true  of  the  money 
we  are  supposed  to  spend.  That's  only  one 
example  of  exaggeration.  I  could  think  of 
dozens  of  others. 

(Continued  on  page  85) 


Says  Gloria  Swanson: 

"One  bitter  but  valuable  lesson  I 
learned  some  time  ago :  The  wisest 
course  is  to  keep  my  private  self  within 
the  four  walls  of  my  home  .  .  .  and 
above  all  to  be  very  careful  not  to  say 
anything  that  can  be  misconstrued. 

"There  is  a  tradition  about  actresses 
— that  they're  wild  and  exotic,  that 
they  should  be  ridiculed  or  admon- 
ished whenever  the  occasion  presents 
itself.  .  .  .  The  yellow  journals  are 
quick  to  snap  at  little,  unimportant 
fragments  and  develop  them  into  na- 
tional scandals. 

"I  cant  call  my  matrimonial  experi- 
ences mistakes.  Nothing  can  be  a 
mistake  that  gives  one  a  finer  appre- 
ciation of  genteel  qualities." 


Progressive  studies  of 
Miss  Swanson.  Top  to 
bottom:  The  star  when 
she  left  Cecil  De  Mille,  in 
"The  Humming  Bird,"  in 
"Mme.  Sans-Gene"  and, 
below,  in  her  newest 
photoplay,  "Fine  Manners" 


19 


Have  THEY  Got  IT? 


By 

Agnes  Smith 

/N  every  good  httle  hoy 
there  is  just  a  bit  of  Flo- 
renz  Ziegfeld.  That  is  to 
say,  there  isn  t  a  man  in  the 
world  who  doesn't  think  that 
he  couldn't  Pick  an  A-No.-l 
Beauty  Chorus,  if  he  were 
given  a  good  chance. 

And  in  every  little  girl — good 
or  otherwise — there  is  just  a 
bit  of  the  old  Elinor  Glyn. 
There  isn't  a  girl  this  side  of 
the  Old  Ladies'  Home  who 
isn't  sure  that  she  can  tell  at  a 
glance  whether  or  not  a  man 
has  IT. 

Everybody  s  Talking  About 

IT 

CINCE  four  out  of  five  are 
*"^  discussing  IT,  there  isn  t 
any  reason  why  we  shouldn  t 
enter  into  a  discussion  of  the 
faults  or  virtues  of  those 
charming  gentlemen  of  the 
screen,  known  as  America' s 
Dream  Princes.  We  might  as 
well  be  frank  about  it  at  the 
start;  there  will  be  no  idle  and 
irrelevant  talk  of  the  artistic 
abilities — ;/  any — of  any  of 
these  gentlemen.  They  will  be 
considered  simply  as  movie 
stars. 

In  the  first  place,  there  is 
Richard  Dix.  The  readers  of 
the  Brewster  Publications  have 
chosen  Mr.  Dix  as  their  most 
popular  form  of  entertainment. 
Dix  is  also  called  the  "typical 
American  man." 

The  Typical  American 

JDUT  that  is  the  most  arrant 

sort     of     flattery — to     the 

typical  American  man.     If  Dix 

were      the      typical     American 

20 


William  Potter 

Richard  Dix  is  the  sort  of  man 

every  girl  hopes  to  marry  until 

she's  twenty-five,  then  she  gives 

up 


Henry  Waxman 

Every  girl  knows  there  really  is 
no  such  person  as  Ramon  No- 
varro,  the  mythical  and  remote 


Alelbourne  Spurr 

John    Gilbert    is    hot    stutt    and 

can  look  at  a  girl  in  a  way  that 

is  far  from  spiritual 


man,  there  would  be  no  de- 
mand for  thirteen  and  a  half 
collars,  fat  reducers,  horn- 
rimmed glasses  or  arch  sup- 
Porters.  Every  girl  in  the  coun- 
try knows  that  Dix  is  not  the 
typical  American  man  —  but 
she  wishes  he  were. 

The  secret  of  the  Dix  poPu- 
lanty  is  really  very  simple.  He 
is  the  sort  of  man  that  every 
girl  hopes  to  marry  until  she 
reaches  the  age  of  twenty-five, 
after  which  she  gets  discour- 
aged and  takes  the  first  willing 
fellow  that  comes  along.  And 
he  is  what  every  mother  hojSes 
her  son  will  be,  if  he  doesn't 
take  to  smoking  too  soon. 

Dix  has  the  sunny  nature  of 
the  late  W  all  ace  Reid  plus  a 
certain  kindliness  and  a  cer- 
tain strength  of  character.  And 
he  doesn't  look  too  tempera- 
mental or  too  exotic  for  every- 
day friendship. 

J\.ovarro  at  Other  Extreme 

A  T  the  other  extreme  is 
-£*■  Ramon  Novarro.  While 
Dix  is  a  believable  person  and 
a  not  too  faint  hope,  every  girl 
knows  that  there  really  is  no 
such  person  as  Ramon  No- 
varro. Of  all  the  figures  on 
the  screen,  he  is  the  most  shad- 
owy, the  most  remote.  Never- 
theless, even  those  women  who 
go  to  see  'Ben-Hur"  because 
it  is  a  religious  story,  cannot 
fail  to  notice  that  Mr.  Novarro 
has  very  handsome  legs. 

Novarro  came  on  the  screen 
shortly  after  the  Valentino 
craze.  He  was  falsely  called  a 
'Latin  Lover."  More  truly  is 
he  the  Greek  tyf>e — a  mythical 
and,  indeed,  an  improbable 
person.  But,  oh,  what  a  per- 
fect example  of  a  Suppressed 
Desire. 


Our  Expert  Answers  the  Question 


A  Bad  Case  of  IT 

/OHN    GILBERT    i$    sup- 
posed  to   have  a   very   had 

case  of  IT.  John  >s,  indeed, 
hot  stuff  and  can  look  at  a  girl 
in  a  way  that  ts  far  from  spiri- 
tual. His  chief  charm  ts  that 
he  looks  a  little  unwholesome 
— for  all  the  world  like  the  fas- 
cinating suitor  who  is  not  en- 
couraged by  the  family  because 
he  is  known  to  have  wild  ways. 
A  dangerous  boy — a  radical — 
a  fellow  who  never  has  at- 
tended Sunday  School — a  Bo- 
hemian —  not  a  man  to  be 
trusted  or  relied  upon.  Thank 
goodness! 

John  appeals  to  nice,  con- 
ventional girls.  He  looks  like 
a  great  field  for  missionary 
work — a  grand  Heathen  to  be 
reformed.      But   try   and  do   it! 

The  Blond  Bill  Boyd 

A  NEWCOMER  in  the  field 
•**■  is  William  Boyd.  He  s 
beautiful  and  dumb — just  like 
Siegfried.  And  yet  not  too 
dumb  to  steal  a  picture,  right 
away  from  some  mean  troup- 
ers. Cecil  De  Mille  discovered 
Boyd.  He  has  blue  eyes  and 
no  mustache  to  deceive.  He 
isn't  sophisticated  or  subtle 
and  his  acting  ts  innocent  of 
guile.  Mr.  Boyd  is  easy  to  look 
at  and  he  will  never  trouble  his 
public  by  any  unruly  ambitions 
to  jSlay  Hamlet. 

/  hope  Noah  gives  Mr.  Boyd 
a  nice  ride  in  the  Ark  when 
Mr.  De  Mille  films  "The  Del- 
uge.' He  would  be  a  pleasant 
and  steady  fellow  to  have 
around  in   a   Flood. 

Adolphe  Menjou  is  another 
Suppressed  Desire.  But  the 
girls  like  him  in  a  nice  way. 
He  looks  like  the  sort  of  fellow 
who  knows  how  to  order  a  good 
dinner,     who    gets    along    with 


William  D»vil  IVarsall 
With  blue  eyes  and  no  mustache 
to  deceive,  Bill  Boyd  is  beautiful 
and  dumb — like  Siegfried 


M.  .1.  Boris 

Adolphe  Menjou  is  another 
Suppressed  Desire  who  isn't  em- 
barrassed in  the  presence  of  an 
artichoke 


:her 
em- 
it an 


Russell  Hall 

Ronald    Colman    gives   you    the 
impression     he     would    be    the 
meanest  of  the  lot,  if  he  weren't 
a  gentleman I 


hi- a  J  watt  ere,   who  is   not 
barrossed  >n   the   />'  of 

an    arttchohe.      Met    the    tort 

of     man     who     doeSH  t     hare     tu 

he    browbeaten    into    wearing 

striped  trousers  and  an  after- 
noon coat  to  a  wedding.  If.  I 
the  boy  who  wouldn  t  Put  sugar 
on  lettuce,  drink  champaun, 
out  of  a  tumbler  or  serve  beer 
with  the  sou}}  course. 

Another  Sufifiressed  Desire 

TN  fact,  little  Adolphe  is  just 
the  walking  book  of  eti- 
quette. He  s  the  boy  who 
could  be  trusted  not  to  go  na- 
tive in  an  Art  Museum,  not  to 
go  insane  at  a  morning  musi- 
cale,  not  to  applaud  after  the 
first  act  of  "Parsifal.  '  He's  the 
man  who  can  wear  a  high  hat 
without  looking  as  tho  he  were 
going  to  a  Lodge  funeral.  To 
sum  up,  Menjou  is  the  fellow 
who  is  adored  by  Wives  Who 
Have  Suffered. 

Ronald  Colman  s  British  Re- 
serve has  almost  thrown  him 
into  the  class  of  dependable 
leading  men.  But  Ronald  gives 
you  the  impression  that  he 
could  be  the  meanest  of  the 
lot,  if  he  weren  t  a  gentleman. 
But  Britannia  rules  the  waves 
and  he  should  make  a  fool  of 
himself!  The  sun  never  sets 
on  English  soil,  so  why  be  a 
matinee  idol!  Ronald  kills  em 
by  his  indifference.  But  they 
always  come  back  to  see  him. 

After  being  a  good  actor  for 
many  years,  John  Barrymore 
has  suddenly  emerged  as  a  fel- 
low who  has  IT.  That  is  to 
say,  he  is  being  Paid  a  salary 
that  only  goes  to  young  men 
who  have  IT.  Altho  this  Poor 
wretch  saw  Mr.  Barrymore  in 
"The  Jest,  she  cannot  see  his 
fatal  fascination.  Nevertheless, 
it  must  be  there.  Will  some 
one  in  the  audience  please  nse 
and   explain? 

21 


The  CENTAUR 


Tom  Mix  personifies  the  American  cowboy — brother  of  the  riders  of  the  race:  the 
Amazons,  the  Valkyries,  the  Tartars,  the  Indians  on  pinto  ponies,  sweeping  in  dim 

procession  down  from  the  past 


EARL  JELLICOE  was  scarcely  recognized  at  Till- 
bury  docks,"  ran  the  indignant  leading  article  of 
The  London  Times. 
In  fancy  I  can  see  the  writer  of  the  leader — a  worn, 
bald,  graying  man,   wearing  a  morning  coat   with  tails 
which  conceal  the  delinquencies  of   his  trousers  in  the 


By 

Don  Ryan 


lumbar-region  ;  and 
spats  that  hold  a  pair 
of  broken  shoes  tri- 
umphantly together. 

"The  commander  of 
His  Majesty's  naval 
forces  was  scarcely 
recognized,  the  crowd 
all  running  off.  to  see 
an  American  cowboy 
disembark  from  the 
Aquitania." 

I  can  see  the  shabby 
old  journalist  —  so  he 
would  be  called — ad- 
justing his  pincenez 
and  bristling  at  the 
occiput,  where  the  thin, 
gray-yellow  hair  is 
parted  down  the  back 
and  brushed  upward. 
Writing  his  leading 
article  with  a  pen  and 
pushing  in  his  indigna- 
tion so  hard  against  the 
paper  that  the  stub 
buries  itself  with  a 
sputter  of  ink  and 
breaks  under  his  hand. 

"Edward!  Oh, 
Edward!"  And  to  the 
deferential  youth  who 
promptly  presents  him- 
self :  "Ascertain  for  me 
the  name  of  that  Amer- 
ican cowboy-1 " 

"Mix,  sir!  Thomas 
Mix,  sir !" 

"My  word  !  You 
know  it  at  once,  it 
seems." 

"Oh,  yes,  sir.  I've 
seen  him  riding  in  the 
films,  sir.  Many's  the 
time  I've " 

"That  will  do,  Ed- 
ward. Gad!  You  too." 
And  when  Edward  has 
retired :  "Extraordinary 
this  infection  by  Amer- 
ican films.  I" — help- 
lessly to  himself  —  "I 
just  cawnt  understand 
it.  .  .  .  And  the  Earl 
at  Til'bry  docks.   .   .   ." 


.   .   .   scarcely  recognized   . 

Mix  and  Europe 

The  leading  article  from  The  Times  is  displayed  in  a 

scrapbook  in  the  outer  office  which  is  part  of  the  Mix 

suite  at  the  Fox  Studio.    You  go  into  the  outer  office  of 


22 


of  the  CINEMA 


Drawings  by  K.  R.  Chamberlain 


the  bungalow  and  there  arc  three  large  scrapbooka 
labeled  "European  Trip,"  1.  1  and  3,  in  the  custody 
i  secretary. 

The  book>  are  lull  of  clippings  from  the  press  of 
London,  Paris,   Berlin  ami  tin-  lesser  capitals  of   Kurope. 
The  tone  of  the  clippings  i>  that  of  amused-  -sometimes 
Indignant— surprise.    You  gather  from  a  perusal  of  them 
that  an  American  cowboy  named  Tom  Mix,  mounted  on  a 
trained  horse  and  wearing  an  extraordinary  native  Amer- 
ican costume,   had   ridden   down   the   main   thorofares  of 
Europe,  like  the   Pied    Piper  of   Hamelin,  drawing  the 
cheering  populace  in  his  train.     You  gather 
that,  while  the  ruling  classes  for  the  most 
part  looked  on  with  amusement,  there  were 
-  of  alarm  in  some  quarters  at  the  ease 
with   which  the  proletariat    surrendered   its 
heart  to  this  barbarian  invader. 

"That  Yankee  !"  — "Cet  Aniericain !"  — 
"1  >as  Amerikaner !" 

There  is  photographic  proof  of  the  fact 
that  Europe's  proletariat  did  surrender  itself 
to  an  orgy  of  hero-worship  when  Tom  Mix 
role  by.  There  is  a  picture  of  Mix  trotting 
along  Rotten  Row  with  a  regiment  of  bob- 
bies trying  to  keep  the  crowd  back.  There 
is  a  dim  picture  of  Mix  riding  in  a  foggy 
drizzle  along  the  historic  London  road  fre- 
quented in  time  past  by  Dick  Turpin  and 
still  haunted  by  a  shadowy  ghost  mounted 
on  a  great  black  horse.  That  morning  the 
road  was  lined  for  seven  miles  with  a  crowd 
of  250,000  rain-soaked  proletarians.  And 
there  is  a  picture  of  Mix  seated  in  a  visitor's 
chair,  talking  to  the  Lord  Mayor  of  London, 
who  is  seated  in  a  great,  carved  throne- 
chair  ;  a  tete-a-tete  for  which  the  Lord 
Mayor  was  severely  criticized  in  some 
quarters.     . 

"I  Like  the  English" 

"Dut  he  didn't  give-a-damn,"  confided  the 
American  cowboy.    "The  Lord  Mayor 
was  a  good  scout. 

"I  got  so  I  liked  the  English  all  right,"  he 
went  on.  "They  are  something  like  us,  only 
harder  to  get  acquainted  with.  They're  for 
you  when  they  find  out  you're  on  the  level. 
They're  like  me  in  that  respect — you've  got 
to  show  'em — and  they  hate  a  faker.  Some 
of  them  can  ride  a  little,  too. 

"Oh,  yes,"  he  continued,  grinning.  "I 
met  enough  of  these  lords  and  dooks  and 
duchesses  to  make  me  dizzy.  One  recep- 
tion they  kept  callin'  'em  off  there  till  I 
thought  everybody  in  London  was  a  dook. 

"Yes,"  reminiscently,  "I  liked  the  English. 
The  French  didn't  impress  me  so  much — 
they're  kinda  hysteri- 
cal, you  know.     They 

dont  exactly  know  Tom  Mix  is  one  of 
what  it's  all  about.  *he  ^w  stars  who 
ti„  »         .•,,  •,  does    his    own 

They  re  still   arguyin         stunts     He    never 

(C  ont  d  on   page  64  )  uses  a  double 


Tom  Mix  is  the 
Last  of  the 
Vanishing 
Americans 


23 


Three  More  AUTHORS: 


Vicente  Blasco  Ibanez 


W.  B.  Maxwell 


By  Henry  Albert  Phillips 


Vicente  Blasco  Ibanez 
~X7ICENTE  BLASCO  IBANEZ  is  a  notable 

example — in  many  ways  an  equally  notable 
exception — of  my  remarks  in  another  column. 
'The  Four  Horsemen  of  the  ApocalyPse,"  four 
years  ago,  elevated  motion  pictures  to  an  in- 
disputable position  as  a  distinctive  and  dis- 
tinguished art.  But  who  performed  this  miracle? 
Blasco  Ibanez  or  Rex  Ingram?  Could  not  a  bad 
director  with  no  vision  have  blighted  this  story? 
And  again,  what  touches  of  visibility  and  vision 
did  Ingram  add  to  the  printed  Pages? 

All  of  which  is  theoretical.  The  facts  stand  in 
all  their  glory  in  a  fairyland  villa — the  Villa 
■Fontana  Rosa — just  outside  the  quaint  and 
ancient  town  of  Mentone  in  France,  not  far  from 
the  Italian  border  and  overlooking  the  Medi- 
terranean Sea.  Within  the  spacious  grounds  of 
the  villa  are  no  less  than  seven  sizable  buildings 
and  a  score  of  workmen  are  daily  laboring  and 
adding  other  luxuries  that  only  a  lavish  fortune 
could  buy.  It  would  be  unfair  to  say  that.  Here 
are  the  mansions  that  the  movies  have  built,  but 
without  question,  their  contribution  to  it  all  must 
have  been  enormous. 

(Continued 

24 


W.  B.  Maxwell 

\Y7  B.  MAXWELL  wrote  at  least  two  books 
*  that   have   always  stood   out  among   the 

many  modern  books  I  have  read.  The  first  was 
entitled,  "The  Devils  Garden" ;  the  other,  sev- 
eral years  later,  was  "Spinster  of  This  Parish.' 
I  had  always  had  a  strong  desire  to  meet  the  man 
who  had  given  me  so  many  pleasant  hours  by 
writing  these  absorbing  stories.  And  now- 1  have 
just  read  his  current  novel,  Fernande,  and  de- 
rived an  equal  amount  of  pleasure  from  that. 

If  you  have  not  read  these  particular  novels 
from  among  the  twenty  or  so  that  he  has  written, 
it  is  more  than  likely  you  have  seen  some  of 
them  on  the  screen,  particularly  'A  Madonna  of 
the  Streets,"  with  Nazimova  in  the  title-role. 
This  story  was  taken  from  his  novel.  The 
Ragged  Messenger. 

Mr.  Maxwell  is  at  the  moment  the  chairman 
of  the  British  Society  of  Authors  and  is  taking  a 
serious  interest  in  trying  to  adjust  the  relation- 
ship between  authors  and  film  producers,  homing 
to  iron  out  many  of  the  disturbing  wrinkles  that 
appear  in  these  articles. 

"Let  us  begin  here  in  England,"  he  told  me  as 
on  Page  66) 


j 


DISCUSS  the  FILMS 


VICENTE  BLASCO  IBANEZ: 

"The  future  of  the  cinema  is  limitless. 
Now  it  is  not  going  ahead  very  fast.  There 
is  no  standard  in  the  cinema.  Why  do 
the  artists  not  get  together  and  set  up 
standards?" 


WILLIAM  J.  LOCKE: 

"One  cant  be  too  hard  on  the  films — no 
more  than  one  can  unjustly  scold  a  child." 


W.   B.   MAXWELL: 

"The  film  as  a  vehicle  for  the  transmis- 
sion of  letters  to  the  multitude  has  really 
never  begun  to  be  tested." 


•A 


William  J.   Locke 


Hnm  i 


The  Third  of  a  Series  of  Talks  About  Motion  Pictures 
With  Famous  English  and  Continental  Writers 


TN  my  humble  opinion,  the  great  writers  with 

whom  I  have  had  the  honor  of  talking  quite 

miss  the  point  when  they  come  either  to  bless  or 

curse   the   motion  picture   and   what  it  gives   to 

them  and  takes  away  from  them. 

They  fail  to  realize  that  the  motion  Picture 
Producers,  and  the  public  in  its  turn  too,  are 
really  buying  their  name,  not  their  story.  The 
story  must,  of  course,  have  motion  picture  Pos- 
sibilities, but  if  that  were  all  it  had  to  recom- 
mend it,  its  chance  for  sale  at  any  price  would  be 
very — infinite ssimally — small.  In  other  words, 
the  great  writers — in  nine  cases  out  of  ten,  at 
least — are  being  Paid  large  sums  for  an  in- 
tangible, unviewable  reputation. 

To  Put  it  in  terms  of  slang,  what  the  great 
writer  makes  from  the  motion  picture  is  "velvet" 
— it  is  unearned  increment.  If  he  gets  the  divi- 
dends multiplied,  he  should  not  be  too  inclined 
to  cry  'wolf,"  or  watered  stock!  For  instance,  I 
have  a  novelist  friend  whose  novel  in  book  form 
netted  him  something  more  than  ten  thousand 
dollars.  The  motion  Picture  People  gave  him 
twenty-five  thousand  dollars  for  "film  rights" — 
which    compared    somewhat    to    slaughter-house 

(Continued 


William  J.  Locke 

'VVJlLLIAM  }.  LOCKE  is  another  great 
writer  who  lives  in  a  Palace  by  the  sea — 
also  the  Mediterranean  Sea,  on  the  Riviera, 
where  summer  prevails  all  year  round  and  win- 
ter is  lugged  in  only  by  the  visitors  who  retail 
over  the  tea-table  in  the  sunshine  on  the  open 
terraces  weird  tales  of  actual  snow  and  ice  and 
cold  they  have  experienced  not  long  since  in 
Pans,  London  or  New  York. 

I  found  Mr.  Locke  out  on  his  terrace  in  white 
flannels,  blue  coat,  hatless,  and  with  an  alarming 
sunburn  on  his  face  and  a  slightly  bald  head. 
We  stood  and  smoked  a  cigaret  before  we  went 
into  his  study. 

"After  all,  there  is  beauty  in  the  world!  he 
said,  looking  over  the  palms  and  rows  of  euca- 
lyptus growing  among  the  villas  below  us;  then 
on  toward  the  sea,  over  Cannes  and  then  beyond 
toward  the  Esterelles,  one  of  the  most  noble 
groups  of  mountains  in  the  world.  "And  just  as 
there  is  beauty  here  in  Nature,  so  it  may  be 
found  in  humanity. 

If  you  will  recall  any  of  the  Picture  plays  taken 
from  Locke  s  books,  or  the  books  themselves, 
on  Page  66) 

25 


Menjou  will  make  Satan  a  pol- 
ished, cynical  man  of  the  world, 
known  as  Prince  Lucio  Rimanez. 
Above,  Ricardo  Cortez  as  Geoffrey- 
Tempest,  who  falls  victim  to  Satan, 
and  Carol  Dempster  as  Mavis 
Claire,    his    sweetheart 


SATAN 
Himself 


In  D.  W.  Griffith's  production  of  Marie  Corelli's 
romance,  "The  Sorrows  of  Satan,"  our  own 
Adolphe  Menjou  will  be  seen  as  the  Evil  One, 
flung  to  earth  from  the  ramparts  of  Heaven  by 
Michael  and  his  angel  host.  Satan  comes  to  earth 
and  forthwith  starts  his  machinations  with  man- 
kind. Above,  Satan  installed  in  a  steam-heated 
apartment  surrounded  by  his  aids.  Right,  Lya 
de  Puti  as  Lady  Sibyl,  one  of  the  Evil  One's 
chief  temptations 


26 


The  PACE 
That  KILLS 


By  Faith  Service 


WE  are  going  the  pace  that  kills. 
Ml  of  US   .    .    .   you  and   I   ami  the  movie  stars. 
It   is  killing  the  stars,  some  of  them.     It  has 
killed  quite  a  tew  in  the  past  year,  if  you  will  study  your 
obituaries  thoughtfully. 

The  Killing  Speed 

Wl  who  live  in  or  abovit   New  York,  or  any  other  city, 
we  who  profess  or  hope  to  be  of  the  "Intelligentsia," 
are  all  going  the  pace  that  kills. 

And  it   we  abandon  the  pace  that  kills,  the  kindly 
public    erects    over    us    a    neat,    white    prominent 
tombstone  labeled  "Dead  from  the  Neck  Up" 
— and  the  world  passes  us  by.  ^     , 

There  is  scarcely  a  person  of  our 
acquaintance    who    is    not    crying 
"Take   me   away    from    New 
York !     Take  me  back  to  • ""' 

the   Land !      I    wanter 
farm!      I    wanter 
live  the   Simple 


Drawing 
by 

LOREN 

Stout 


#  s 


>n 


■ 


}> 


Uv 


i  ~K 


*V 


>\ 


-1   )     O  *, 


mm 


- 


' 


Lif. 
Take    me 
back   to   a 
Farm !" 
/7"1     .  I  J])  ^    is    becom- 

t    l   <kz    &$&>.  ing  a  metr°- 

^  r 0  '^  '     '; }  ■  \^^       politan  prayer. 

f     f    ft  s*yr}  C^ynfy  If  you  think  it  over, 

i       v    f'^jn.      .'  it  becomes  worse.    You 

c^rt  ''•'"'         4l  "        begin   to   realize   how   bad 

rT't  C  f     'ry^/      jt  is-     The  thing  to  do,  then, 

f'v  VVS^         is  NOT  to  think  it  over.     But 

^  ■"'  if    you     will,     vou     will  .   .  .  read 

*Ur  on.  .  .  . 

As  you  think  it  over,  it  becomes 
maddening.  You  feel  that  you  are 
going  insane,  or  have  already  gone  in- 
sane. Maybe  you  have.  Anyway, 
when  you  read  about  it,  you  will  feel 
like  holding  your  throbbing  head  and 
giving  vent  to  screams  that  would 
doubtless  land  you  in  a  passing  patrol 
wagon  if  overheard  because,  after  all, 
persons  are  not  supposed  to  hold  their 
throbbing  heads  and  scream,  even  in 
the  so-called  privacy  of  their  own  bed- 
chambers. 

So-called  because  there  isn't,  really, 
There  is  NO  place  where  the  telephone, 
radio,  newspaper,  victrola,  postman,  wireless  or  what-not  cannot 
reach. 

(If  you're  getting  impatient  about  the  stars  and  what  this  has 
to  do  with  them,  wait  a  moment  .  .  .  I'm  getting  to  them.) 

Think  it  over,  then  .  .  .  think  of  the  daily  mail  you  have  to 
read — and  write.  Think,  we  particularly  beseech  you,  think  of 
the  SUNDAY  PAPERS.  The  monumental  Sunday  papers  that 
every  well-informed  individual  should  peruse;  the  Sunday,  papers 
with  their  massed  detailia  of  new  books,  new  magazines,  new 
(Continued  on  page  70) 

27 


"The  Killer"  is  the  villain  in 
Rex's  pictures.  In  real  life  he 
is  a  harmless  pinto,  but  his 
enmity  to  Rex  is  deep-rooted 
and  genuine 


LEVEN  hundred  pounds  of  magnifi- 
cent horse-flesh  thundered  around 
the  sawdust-covered  floor  of  the 
enclosed  barn  areaway,  head  tossing  and  eyes 
flashing  in  the  exuberance  of  release  from  the 
confines  of  his  stall 
Rex,  "King  of  the  Wild  Horses,"  was  being  given 
his  daily  dozen  over  at  the  Hal  Roach  ranch  on 
Pruess  Boulevard. 
The  big  stallion's  seal-brown  coat — that  appears 
nearly  jet-black  on  the  screen — shone  with  that  satiny 
sheen  that  only  perfect  physical  condition  and  expert 
grooming  can  give.  Beneath  that  velvet  coat  lithe  muscles 
rippled  and  played  in  stark  beauty. 

It  is  a  safe  bet  that  more  than  one  of  the  small  audi- 
ence huddled  against  an  end  wall  of  the  locked  enclosure 
would  have  willingly  traded  his  post  at  the  moment  for 
several  more  desirable  spots  in  Southern  California.  A 
volcano  eruption  is  interesting  to  watch,  but  it  loses  some 
of  its  charm  if  the  spectator  happens  to  be  sitting  with  his 
feet  dangling  over  the  edge  of  the  crater  at  the  time. 

The  Volcanic   Rex 

D  ex  is  reminiscent  of  a  volcano  in  more  ways  than  one. 
^  Whatever  else  he  may  be,  he  is  distinctly  not  a  par'or 
pet.  He  is  a  figure  that  comes  only  once  in  several  equine 
generations,  an  aristocratic  barbarian,  a  gloriously  un- 
trammeled  and  utterly  unconquerable  king  of  the  open 
range. 

Elinor  Glyn  says  that  Rex  has  "It."     If  the  Madame 
means  what  I  think  she  does,  I  agree  with  her.     In  fact, 
Rex  has  more  "It"  to  the  square  inch 
than  a  dill  pickle  has   freckles. 

Sheer  power,  vivid  appeal  to  the 
primitive,  the  surging  vitality  of  physi- 
cal perfection,  flaming  life,  imperious 
with  the  blue  blood  of  thorobred  an- 
cestors, as  wild  and  unbroken  a  child 
of  Nature  as  the  four  winds  of  Heaven 
— those  are  qualities  which  the  cryptic 


The 

Story 

of 

REX 


By  Hal  K.  Wells 


word  "It"  probably  covers  as  well  as  any  other  available 
section  of  the  English  language. 

Rex  is  wild.  He  has  less  use  for  civilization  than  a  her- 
mit has  for  a  silk  hat.  The  big  Morgan  stallion  is  a 
genuine  wild  horse,  always  has  been,  and  always,  will  be. 
No  one  has  ever  successfully  trained  a  cyclone  to'  do  par- 
lor tricks  without  utterly  wrecking  the  parlor  during  the 
process,  and  no  one  will  ever  tame  Rex  into  mediocrity, 
unless  they  kill  him  first. 

Trained  in  Tiger  Fashion 

J  n  many  ways  the  routine  followed  by  Rex's  trainer  in 

his  short  daily  work-out  was  suggestive  of  that  used  by 

a   lion-trainer   in   handling   a   particularly   temperamental 

jungle  cat.     Careful  never  to  make  a  sudden  movement 


Fred  Jackman  is  Rex's 
trainer  and  his  screen 
discoverer.  "About  all 
we  actually  do,"  he 
says,  "is  to  let  Rex  do 
the  things  he  really 
wants  to  do  and  then 
fit  the  resulting  scenes 
into  our  story" 


28 


A 


Rex  is  a   genuine  wild  horse,  always  has  been,   and  always  will  be. 

hermit  has  for  a  silk  hat 


He  has  less  use  for  civilization  than  a 


Rex  is  a  real  killer 


or  sound  that  might  >tartle  his  restive  pupil,  and  never 
giving  an  inch  even  when  the  big  stallion  threatened  to 
charge  him,  the  trainer  kept  the  tufted  lash  of  a  long 
buggy-whip  flicking  almost  constantly  between  himself 
and  the  horse. 

The  whip  was  never  actually  used.  It  was  merely  a 
symbol  of  authority.  One  light 
cut  from  it  on  those  glossy 
flanks  would  have  been  equiva- 
lent to  suicide.  Rex  has  al- 
ready killed  one  man  in  his 
ipectacular  career,  and  seriously 
injured  several  others. 

The  training  routine  was 
short.  The  big  str.llion  was 
drilled  in  "Let's  go!"  "Stop!" 
and  "Hold  it !"  He  muzzled  a 
dummy  figure  of  a  man  along  a 
wire.  He  closed  an  open  door. 
Finally  he  was  made  to  clamber 
on  a  small  upturned  tub  and 
pose  there  after  the  fashion  of 
the  picture,  "The  End  of  the 
Trail."  Rex  is  not  a  "trained" 
horse  in  any  sense  of  the  word, 
and  never  will  be.  His  training 
stunts  are  largely  disciplinary, 
given  to  make  him  realize  some 
slight  authority. 

The  session  over,  the  stallion 
was  returned  to  his  home  in 
Stall  No.  13,  and  we  adjourned 

to  the  open  air.  Fred  Jackman  and  I  parked  ourselves  on 
the  top  rail  of  the  corral  fence  and  rolled  brown-paper 
cigarets  while  Jackman  told  me  of  Rex's  rather  lurid  life 
history,  and  some  of  the  unique  methods  used  in  making 
the  "wild  horse"  pictures. 

Jackman  is  the  director  who  has  handled  Rex  in  every 
picture  made  so  far  with  the  big  stallion.  He  is  a  quiet, 
whimsical  Westerner,  with  an  understanding  of  animals 
that  is  at  times  uncanny. 

Jackman  has  a  genuine  love  for  animals  and  his  attach- 
ment for  the  wild  Rex  is  a  deep  one. 


He  was  born  on  a  large  ranch  in 
eastern  Colorado,  being  registered  un- 
der the  name  of  "Casey  Jones." 

He  took  to  the  wilds  and  became  a 
genuine  monarch  of  the  open  range. 

At  the  age  of  five  he  was  captured, 
after  a  costly  battle.  One  man  was 
killed  and  another  badly  hurt. 

Ordered  shot,  he  was  reprieved  and 
given  to  the  Colorado  State  Reforma- 
tory for  breeding  purposes. 

His  fame  as  a  killer  spread — and  the 
great  wild  stallion  was  brought  to 
Hollywood. 


Rex's  early  life  is  more  or  less  of  a  mystery.  He  was 
born  on  a  large  ranch  in  Eastern  Colorado,  of  pure 
Morgan  stock.  The  colt  was  registered  under  the  name 
of  "Casey  Jones,"  which  is  the  official  title  on  his  pedigree 
today.  He  took  to  the  wilds  early,  and  eluded  every 
searching  party   that    sought   to   capture  him.      Roaming 

the  farthermost  recesses  of 
the  big  ranch,  during  the 
next  five  years  he  became  a 
genuine  monarch  of  the  open 
range,  with  a  herd  of  sub- 
jects, and  a  contemptuous  dis- 
dain for  the  luckless  horsemen 
who  occasionally  tried  to  cap- 
ture him. 


The  Story  of  Rex 


T1 


hen  when  the  stallion  was 
five  years  old,  he  was  finally 
taken.  It  was  a  costly  battle. 
One  man  was  killed  outright, 
and  another  so  badly  injured 
that  he  went  to  the  hospital  for 
months.  Believing  the  stallion 
to  be  incurably  vicious,  the 
ranch  superintendent  ordered 
him  shot. 

A  reprieve  came  from  an  un- 
expected quarter.  Xearbv  was 
the  ranch  establishment  of  the 
Colorado  State  Reformatory 
for  Children.  Breeding  of  fine  horses  was  a  specialty  of 
this  ranch,  and  Rex  was  an  unusually  fine  specimen  of  the 
Morgan  breed,  a  strain  that  was  being  rapidly  depleted. 
The  big  stallion  was  accordingly  transferred  to  the 
Reformatory  stables. 

His  life  there  did  very  little  to  improve  a  temper  that 
was  already  far  from  sweet.  Mischievous  urchins  tor- 
mented him  by  making  faces  at  him  until  even  today  to 
grimace  at  Rex  is  to  start  something  exceedingly  hard  to 
stop.  His  fame  spread  and  tourists  often  went  out  of  their 
(Continued  on  page  65) 


29 


Just  above,  you  see  the  fervid  love  scene  as  the 
movie  audience  sees  it — later. 

Below,  you  may  note  the  Great  Lover  taking  a 
lesson  or  two  in  the  Romeo  stuff  from  the  director. 


By 

Everett 

Shinn 


30 


A 
BLONDE 

From 
Pittsburgh 

By  David  Balch 


ALYCE    MILLS    has   risen    from   an 
obscurity  only  slightly  less  dense  and 
L  harrowing  than  thai  which  is  popularly 
supposed  to  attend  the  struggles  of  the  rising 
young  author  or   artist    (and   probably   does) 
and  she  has  retained  all  of  the  gentle  gravity 
that  early  distinguished  her  in  our  memory  as  a 
very  sweet  girl,  indeed. 

That  was  three  years  ago.  Now  she  is  leading 
woman  to  that  most  popular  of  popular  gentle- 
men stars,  Richard  Dix,  and  is  sharing  with  him 


i.  jriey 


William  Potter 


Alyce  Mills  won  a  Dcauty  contest  in  Pittsburgh.     She  had 

a  hard  struggle  to  get  a  film  hearing,  Elmer  Clifton  finally 

giving  her  a  screen  opportunity 


in  part  the  responsibility  for  making  "Say  It  Again." 
Dix's  latest  picture,  easy  for  folks  to  look  at.  And  we 
have  an  idea  that  she  is  going  to  succeed. 

But  three  years  ago,  when  we  first  knew  her,  Miss 
Mills  was  just  trying  to  get  somewhere,  by  all  the 
devious  means  of  endeavor  open  to  personable  young 
women,  which  included  posing  for  photographic  illus- 
trations and  for  the  various  advertising  mediums  which 
think  that  "the  pretty  girl's  head,  gentlemen,  will  sell 
the  article."  The  movies,  then,  were  a  long  way  off, 
long,  that  is,  in  one  sense,  that  the  only  screen  work- 
worth  while  was  the  "big  time"  variety  that  seemed  al- 
ways to  be  just  a  little  way  the  other  side  of  sundown. 

Beauty  Contest  Winner 

A  beauty  contest  started  it  all,  she  told  us.  It  was  in 
Pittsburgh,  her  home  town,  and  a  certain  newspaper 
had  canvassed  the  city  for  the  prettiest  girl,  a  sort  of 
Miss  Pittsburgh.  It  so  happened  (quite  logically,  we 
think)  that  Miss  Mills  was  the  choice.  For  a  fort- 
night she  dwelt  in  fairy-land,  even  as  any  other  girl 
would  have  done.  Then,  the  contest,  or  the  local  ad- 
vertising stunt,  or  whatever  else  it  was,  over,  Mi»> 
Mills  descended  to  earth  again  and  began  to  live  with 
her  memories. 

(Continued  on  page  77) 


31 


She  Reached  for 


the  MOON 


"People  are  always  wishing 
for  the  moon,"  says  Florence 
Vidor. 

"When  I  was  a  little  girl 
growing  up  in  Texas,  I  used  to 
be  laughed  at  by  the  family 
when  I  mentioned  being  an 
actress. 

"In  spite  of  the  family  laugh- 
ter, here  I  am.  By  luck,  I  some- 
times think. 

"I  haven't  had  time  to  find  out 
yet  how  it  feels  to  be  a  star.  It's 
a  little  like  what  I  imagine  a 
general  feels  when  he's  given 
charge  of  an  army. 

"Rather  frightening,  isn't  it?" 


Florence  Vidor  has  just  been  pro- 
moted to  stardom  by  Famous 
Players' — a  long  step  from  her  first 
hit,  Mimi,  in  "The  Tale  of  Two 
Cities."  Left,  Miss  Vidor  at  the 
entrance  of  her  Beverly  Hills  home 


THE  scene  was  a  Texas  movie 
house — characters,  Florence 
Vidor,  of  schoolgirl  age,  and  a 
boy  a  little  older. 

They  had  been  watching  the  pic- 
ture heroine  go  thru  thrilling  ad- 
ventures, advance  from  a  little  no- 
body on  a  bleak  farm  to  a  dazzling 
and  irresistible  queen  in  a  palace. 
Gowns,  too.  Jewels.  And  an  alto- 
gether satisfactory  hero ! 

The  lights  flared  up  and  the  girl 
sighed. 

"Oh!"  she  breathed.  "I  wish  I 
could  be  in  pictures !" 

The  boy  was  horrified.  She 
mustn't  say  such  a  thing !  Suppose 
somebody  heard  her ! 

"There's  no  chance  in  the  world 
of  my  ever  getting  in,  considering 
how  many  miles  I  live  from  Cali- 
fornia and  how  little  I  know  about 


32 


Jlf 


and   Got   It/ 


By 

Alice  L.  Tildesley 


acting,"  she  defended  herself,  "but  I  can  wish  it.  cant  I  I 
People  are  always  wishing  for  the  moon!" 

Now  She's  a  Star 

Today,  Florence  Vidot  has  the  moon.  She  ha^  just 
*  been  elevated  to  stardom  and  her  hrst  starring  picture 
is  under  wa) 

The  story  for  this  picture  was  written  by  the  Hungarian 
playwright,  Ernest  Vadja,  and  the  production  promises  to 
be  one  of  the  most  interesting  of  the  year. 

On  one  of  the  great  stages  at  the  Paramount  studio  in 
Hollvwood,  an  entire  theater  searing  twelve  hundred,  with 
balconies,  boxes  and  full  stage  has  been  erected.  A  dozen 
the  highest-paid  acts  on  the  vaudeville  circuit  have 
been  engaged  ;  special  scenery  has  been  designed  and 
gorgeous  costumes  created  ;  for  the  play  deals  with  a  com- 
.  modeled  after'  the  Chauve-Souris  of  the  Moscow 
\rt  Theater. 

"All  this  for  our  new  star !"  commented  one  of  the 
players,  above  the  music  of 
the  Russian  balalaika  or- 
chestra playing  native  in- 
struments in  the  orchestra 
pit.  His  gesture  went  from 
the  Arabian  tumblers  pyra- 
mided against  the  backdrop, 
to  the  Russian  dancers 
executing  intricate  figures 
on  the  apron  of  the  stage — 
from  the  acrobats,  clowns 
and  comedians  doing  their 
stuff  in  appointed  spaces  to 
Clive  Brook,  in  his  mid- 
night-black velvet  throwing 
knives  at  the  gilded  screen 
against  which  the  new  star 
posed. 

"So  few  people  ever  get 
their  hands  on  their  coveted 
moon.  How  do  you  sup- 
pose it  feels  when  you  do?'' 

Florence  Yidor  smiled 
when  I  asked  her. 


"I    u.is    so   much    inn    when    I    was    iiki-  tured 

player,   for  then  1   was  cast   for  a  part    for  the  limple 

son  that  I  teemed  t<>  fit  it.  and  I  wa    concerned  with  no 
more  than  my  own  performance     Now  that  I  am  a  It 
special   itor)    is  written  around  me  by  a   famous  man,  tin- 
cast  is  selected  in  reference  to  me,  and  if   for  any   reason 
the  picture  IS  unsuccessful,  the  failure  will   reflect  00  DM 
"Rather   frightening,  isn't  it?" 

She  sat  in  the  bungalow  dressing  room,  a  ga)  figure  in 

pink  silhouetted  against  the  leaf-green  of  its  walls,  the 
velvet  of  her  "back  stage"  dressing-room  gown  decorated 
with  symbols  of  the  "magic"  in  which  she  indulges  in  her 
starring  role. 

"I'm  hoping  a  lot  for  this  picture,  of  course,  hut  I  won- 
der sometimes  if  I  shall  ever  find  a  part  that  I'll  love  as  I 
did  my  first  'bit.'  It  was  Mimi  in  'Tale  of  Two  Cities.' 
Not  much  of  a  part.  I  worked  two  days  only,  hut  it's  tin 
one  thing  I've  done  that  I  haven't  said:  '<  Mi.  why  didn't  I 
(  Continued  on  page  68  i 


I 


How  It  Feels  to  Star 

haven't  really  had 
time  to  find  out,"  she 
confessed  in  that  deep  low 
voice  of  hers,  "At  first  it's 
a  little  like  what  I  imagine 
a  general  feels  when  he's 
given  charge  of  an  army. 
Tremendous  responsibility, 
you  know.  Only  the 
general  gives  orders  that 
other  people  carry  out,  and 
a  star  can  do  just  her  part 
of  the  picture  and  yet  feel 
responsible  for  everything 
in  the  production. 


Florence  Vidor's  first  real 
role  was  opposite  Sessue 
Hayakawa.  Luck  played  its 
part — and  luck  has  played  an 
important  part  in  Miss 
Vidor's  career  ever  since 

Kenneth  Alexander 


33 


Grand  Old  Men  of  the  Films 


They  Played  with  Booth  and  Barrett 


34 


She's 

From 

Alabam' 


By 

Norma 
Johnstone 


Dorothy  Sebas- 
tian made  her 
film  debut  in 
"Sackcloth  and 
Scarlet,"  directed 
by    Henry    King 


Dorothy    Sebastian's    Southern    drawl    won    her    a    place    in    George 

White's  "Scandals."     Dolores  and  Helene  Costello  were  in  the  chorus, 

too.    Then  Miss  Sebastian's  drawl  got  her  a  place  in  pictures 


THERE  is  sure  magic  in  a  Southern  drawl. 
"Are  you  from  Dixie?"  is  more  than  a  song;  the 
line,  "Yes,  I'm  from  Dixie !"  is  the  open  sesame  to 
the  hearts  of  the  world. 

So  Dorothy  Sebastian  found  it.  .  .  .  Dorothy,  with  her  youth  and 
grace  and  loveliness,  supplementing  that  distracting  Alabama  speech. 

Nobody  ever  wanted  her  to  use  her  enticing  drawl ;  the  positions  it 
helped  her  into  were  those  of  show  girl,  dancer  and  screen  actress,  but 
it  was  the  way  she  spoke  that  gained  them  for  her.  .   .   . 

When  Dorothy  was  a  curly-headed  mite  in  ruffled  dresses  and  pin 
socks,  the  proud  family  used  to  take  her  out  in  Birmingham's  tree-lined 
avenues,  no  doubt  enjoying  the  sensation  she  must  have  made. 

"And  what  are  you  going  to  be  when- you  grow  up?"  people  who 
stopped  to  greet  her  elders  would  ask  the  child. 

"An  actress!"  crowed  Dorothy,  before  her  scandalized  guardian  of 
the  moment  had  time  to  reply  for  her :  "Dot's  going  to  be  a  missionary." 
(There  was  a  missionary  in  the  family.) 

A  bit  later,  Dorothy  used  to  draw  flamboyant  figures  of  dancing  girls 
on  sheets  of  wrapping-paper,  pin  them  up  on  the  barn  as  posters,  and 
give  "one-man  shows"  inside. 

Wanted  to  Be  an  Artist 

Dut  when  she  had  finished  high  school,  another  branch  of  art  claimed 
her.     Her  mother  was  an  artist  and  Dorothy  was  clever  with  crayons 
and  colors.     The  girl  opened  her  own  studio  in  an  apartment  in  town, 
(Continued  on  page  78) 

35 


How    Charlie    Chaplin    caught   the    eye   of    the    old    Keystone 
Company  while  appearing  in  "A  Night  in   an   English   Music- 
Hall"  is  a  matter  of  history.     Here  is  the  untold  success  of  the 
queer  way  he  made  a  hit  in  films 

THERE  have  been  stories  without  number  in  present- 
day  magazines  which  devote  their  pages  to  "success" 
stories  and,  according  to  these  engaging  biographies 
of  our  big  men,  they  were  the  first  ones  at  their  desks  in 
the  morning,  the  last  ones  to  put  out  the  light  (and  also 
the  cat)  at  night,  spent  their  evenings  acquiring  twenty 
years'  knowledge  from  the  perusal  of  a  correspondence 
course  in  twelve  lessons,  eschewed  drink,  tobacco  and 
night  clubs,  and  did  all  the  other  amazing  things  which 
successful  men  usually  do,  according  to  the  chroniclers 
of  this  pleasing  type  of  fiction. 

Always,  despite  these  beloved  bromidic  high  lights  which 
feature  the  stories  of  the  rise  of  our  leading  citizens,  those 
who  buy  their  theater  seats  from  speculators  and  have 
their  garters  made  to  order,  no  writer  of  "success"  essays 
considers  he  has  done  a  professional  job  unless  he  dilates 
on  the  fact  that  "John  H.  Muchmoney  got  his  real  start  in 
life  thru  the  borrowing  of  a  dollar  from  a  friend,"  with 
which  sturdy  capital  he  proceeded  to  obtain  an  interest  in 
the  business  of  making  dog-collars,  with  the  result  that 
twenty  years  later  we  find  our  friend,  Mr.  Muchmoney, 

36 


FAME  Came 
to  CHAPLIN 

with 
Borrowed 

CLOTHES 


By  Bert  Ennis' 


in  sole  control  of  the  industry  which  has  a  monopoly 
on  the  manufacture  of  ornaments  for  canine  necks. 

Charlie's  Success  Story 

That's  the  way  the  stories  of  success  usually  run. 
At  least,  it  seems  that  way  to  this  writer.  Never 
has  he  seen  recorded  anywhere  a  story  setting  forth 
that  the  successful  one  borrowed  an  old  derby  hat, 
a  pair  of  shoes,  a  cane  and  a  garment  sometimes 
politely  referred  to  as  trousers,  and  thus  equipped 
with  an  odd  sort  of  capital,  started  blithely  down 
the  road  to  fortune  and  fan  mail  with  an  asset  which 
only  dealers  in  old  clothes  hold  in  esteem. 

No,  the  stories  of  achievement  must  always  be 
written  according  to  Hoyle,  and  therefore  they 
always  borrow  money.  Disturbing  as  it  may  be  to 
those  fellow  scribblers  who  insist  that  the  conven- 
tions be  observed  when  it  comes  to  the  rules  govern- 
ing success  and  how  to  achieve  it,  this  story  deals 
with  one  who  made  the  grade  to  fame  and  fortune 
thru  the  temporary  acquisition  of  the  ordinary  arti- 
cles of  dress  just  mentioned — Charlie  Chaplin.  The 
little  man.  who  from  the  time  he  stuck  to  the  hat. 
shoes,  cane,  et  al.,  which  he  borrowed  at  the  outset 
of  his  dash  after  success,  was  the  screen  idol  of  the 
entire  world,  and  the  funniest  man  in  pictures.  This  state- 
ment can  be  made  without  detracting  in  any  way  from  the 
consummate  artistry  and  remarkable  talents  which  he  has 
displayed  in  recent  films  of  a  totally  un-Keystone-like 
nature.  The  fact  remains  that  the  Chaplin  of  the  ludicrous 
dignity  and  jauntily  disreputable  attire  rocked  the  box- 
office  records  and  risibilities  of  a  nation  at  one  and  the 
same  time. 


In  Old  Keystone  Days 

Tn  1913,  the  Keystone  Company,  then  dominant  in  the 
field  of  movie  comedy,  acquired  the  services  of  an 
obscure  vaudeville  player,  who  was  being  paid  an. insig- 
nificant sum  weekly  for  tumbling  in  and  out  of  a  stage 
box  while  watching  the  rollicking  performance  which 
formed  the  basis  of  the  skit  of  which  he  was  a  part — 
Karno's  "Night  in  an  English  Music-Hall."  The 
obscure  actor,  who  answered  to  the  name  of  Charles 
Chaplin,  was  in  America  only  thru  an  accident.  His 
brother,  Syd  Chaplin,  had  been  scheduled  to  play  the  part 
of  the  boy  in  the  box  in  the  Karno  vaudeville  act,  but  at 


„ 


The  Inside 
Story  of  How 
the  Comedian 
Borrowed  Ar- 
buckle's  Pants 
and  Ford  Ster- 
ling's  Shoes, 
Thereby 
Achieving 
Success 


the  last  minute  had  decided 
to  give  his  brother,  Charlie. 
.1  chance  to  see  America  first. 
So  Chaplin  hied  himself  to 
new  employer  at  the 
small  studio  of  the  Key-tone 
Company  in  Hollywood 
where  a  certain  gentleman 
named  Mack  Sennett  pro- 
reded  to  put  him  thru  his  comedy  paces  via  those  comedy 
sics  of  the  old  days.  The  English  importation  was 
>een  in  a  few  pictures  filled  with  custard  pies,  runaway 


A  scene  from  an  early 
and   Mack   Sennett   him 


Keystone  comedy  with  Mabel  Normand  as  the  heroine 
self  as  the  yokel.  The  comedy  was  called  "The  Rube 
and  the  Baron" 


automobiles  and  pretty  girls,  causing  no  undue  commotion 
with  his  antics  on  the  part  of  producer  or  public.  In 
these  pictures  he  appeared  before  the  camera  in  rather 
conventional  make-up,  approximating  somewhat  his 
attire  when  amusing  patrons  of  the  two-a-day  by  his 
putty-blowing  abilities  and  tumbling  proclivities. 

It  so  happened  that  at  the  time  Chaplin  made  his 
screen  debut  in  Hollywood  there  prevailed  in  that  city 
of  tourists  and  tinsel  a  custom  of  holding  annually 
an  event  known  as  the  Baby  Parade,  a  display  in 
which  fond  mothers  trundled  thru  the  streets  in  per- 
ambulators of  all  shapes  and  sizes  their  beloved  off- 
spring, seeking  the  prize  which  was  awarded  to  the 
most  beautiful  infant.  Since  the  advent  of  the  movies, 
undoubtedly,  many  of  these  prize-seeking  infants  are 
the  same  girls  who  enter  every  beauty  contest  staged 
in  the  town  where  the  bathing  girls  never  see  the 
ocean  and  traffic  signals  are  not 

There  also  prevailed  a  custom  on  the  part  of  Mack 
Sennett  and  other  makers  of  comedy  films,  which 
helped  in  "-keeping  the  negative  cost  down,"  of  seiz- 
ing the  opportunity  to  film  the  Baby  Parade  and  other 
current  events  thru  the  simple  process  of  sending  a 
cameraman  and  a  few  actors  to  the  scene,  with  in- 
structions to  "grab  off  some  shots  of  this  thing  and 
we'll  work  it  up  into  a  comedy  release."  Among  the 
events  used  in  this  manner  by  the  astute  Sennett  may 
be  mentioned  the  Pasadena  Floral  -Parade,  the  Old- 
field  auto  races,  the  visit  of  Sir  Thomas  Lipton  to 
Hollywood,  and  other  affairs  of  the  kind. 


Another  pioneer  Keystone 
comedy  with  Fatty 
Arbuckle  as  the  country 
bumpkin.  The  comedy 
was  "Help,  Help,  Hydro- 
phobia," but,  alas,  the 
name  of  the  heroine  is 
forgotten 


The  Baby  Parade 

'Therefore,  when  the 
event  featuring  the 
ipfant  population  of 
Southern  California 
was  brought  to  the 
attention  of  the  Key- 
stone producer,  it  was 
not  strange  that  he 
( Cont'd    on    page    76  > 


37 


PUBLICITY    PROBLEMS 


By 
JOHN  HELD,  Jr. 


WHAT'S  GONE  ON 
BEFORE: 

Cella  Lloyd,  winner  of  a 
bathing-girl  contest,  has 
successfully  invaded  Holly- 
wood. She  took  along  Pa 
and  Ma  Lloyd — but  Pa  was 
shipped  home.  He  couldn't 
acclimate  himself  to  the  cel- 
luloid world.  Cella  hasn't 
actually  appeared  in  a  super- 
special  yet,  but  she  is  the 
talk  of  Hollywood.  How  to 
continue  to  be  —  ah,  that's 
the  problem.    Now  read  on! 


Scene  I 
In  quest  of  publicity,  Cella  gets  herself  ar- 
rested for  speeding  by  a  snappy  Pasadena 
traffic  cop.  The  judge,  however,  has  seen 
Cella's  bathing  pictures  and  she  gets  a  sus- 
pended sentence 


Scene  II 
Cella  feels  that  adopting  a 
baby  may  help.  Besides, 
it  will  lend  color  to  her 
interviews  about  longing 
for  a  little  home  in  the 
country  far  from  the 
tinsel   of   screen   stardom 


38 


WORRY  CELLA   LLOYD 


Scene  III 
Cella  contemplates  getting  herself  en- 
gaged to  Charlie  Chaplin,  but  that's  out, 
now  that  the  comedian  is  the  much 
publicized  father  of  two  sons.  Cella 
calls  up  Valentino,  but  Rudy  refuses  to 
come  to  the  'phone 


Cn#i 


—  <=.  :^eg 


.  Scene  IV 

There's   nothing   left   for   Cella   to   do.     So   she   sues  her 

mother — and  breaks  on  the  front  pages.    Ma  Lloyd  doesn't 

quite  understand.     Who  does?    The  ways  of  publicity  are 

indeed  strange 


39 


Karlene   A.   Armstrong 
First  Prize  Winner,  of  Philadelphia,  Pa. 


THE  MOTION  PICTURE  CLASSIC  is  glad  to 
present  the  full  results  of  the  now  famous  Your 
Opinion  Contest,  conducted  by  the  Brewster  Publi- 
cations. The  results  are  announced  by  Eugene  V. 
Brewster,  editor-in-chief  and  publisher  of  the  Brewster 
Publications. . 

.  Interest  was  almost  equally  divided  between  writing 
motion  picture  reviews  for  the  various  prizes  and  in  voting 
for  favorite  players  and  screen  plays.  It  is  interesting  to 
note  that  Richard  Dix  received  the  most  votes  among  the 
actors,  with  Rudolph  Valentino,  Richard  Barthelmess, 
Eugene  O'Brien  and  Ramon  Novarro  following  in  the 
order  named. 

Pola  Negri  received  the  most  votes  among  the  actresses 
— and,  incidentally,  the  heaviest  vote  poled  by  any  player. 
Mary  Pickford  was  second,  with  Gloria  Swanson,  Norma 
Talmadge,    Lillian    Gish   and    Colleen    Moore    following. 


Full  Awards 
in  YOUR 
OPINION 

CONTEST 


"Passion"  was  voted  the  most  popular  picture  ever  pro- 
duced. It  should  be  noted  here  that  Miss  Negri's  fol- 
lowers voted  heavily  for  "Passion"  and  for  "Forbidden 
Paradise,"  which  received  the  second  heaviest  vote  among 
all  pictures.  "Monsieur  Beaucaire,"  "The  Birth  of  a 
Nation"  and  "The  Covered  Wagon"  were  next,  in  the 
order  named. 

First  prize,  for  the  best  motion  picture  review,  goes  to 
Mrs.  Karlene  A.  Armstrong,  of  Oak  Lane  Park, 
Philadelphia,  Pennsylvania.  Mrs.  Armstrong's  review 
covered  "The  Big  Parade."  Mrs.  Armstrong  writes 
The  Classic  :  "I  feel  that  a  prize  was  scarcely  ever 
offered  which  will  be  more  appreciated  or  more  oppor- 
tune than  this  one.  You  see,  shortly  after  my  mar- 
riage last  summer,  I  was  taken  ill  and  spent  a  dreary 
winter  recuperating  from  the  subsequent  operations,  alto- 
gether incapacitated  for  work.  It  was  during  these  long 
and  disheartening  weeks  that  I  amused  myself-  writing 
letters  and  articles  to  various  magazines,  for,  being  unable 
to  participate  in  active  pleasures,  I  sought  the  picture 
world  as  a  means  of  diversion.  The  Your  Opinion 
Contest  appealed  to  me  as  unique  and  I  entered  it  in  a 
spirit  of  pure  enjoyment." 

Mrs.  Armstrong  is  twenty-two  years  of  age  and,  at 
various  times,  has  been  interested  in  kindergarten  and 
settlement  work.  She  writes  that  she  was  one  of  the  first 
readers  of  The  Motion  Picture  Magazine,  starting  to  read 


40 


Richard  Dix  and 
Pola  Negri  Win 
Heaviest  Vote  in 
Popularity  Contest 


it  when  she  was  going  to  grammai  school. 

The   second   prize   winner,    M.    Sekle- 

mian,  of    Los    \ngeles,   California,   is  ;i 

-.  e   Californian,    twent)  six    years   of 

His  father  was  a  newspaper  nun 

and  at  one  time  a  college  instructor.    Mr. 

Seklemian  himself  is  a  commercial  artist 

engaged   in   the  advertising   business   in 

Angeles.     Yes,  he  has  ambition 

a    motion    picture    director.       Hire's 

hoping  he  has  as  much  luck  as  he  had  in 

Your  Opinion  Contest. 

Theodore  A.  Baxt,  of  1121  Morris 
Avenue,  New  York  City,  third  prize  win- 
ner, likes  contests.  He  has  won  several 
contests.  Mr.  Baxt  is  but  twenty  and  he 
tployed  in  a  clerical  capacity  on  a  big 
New  York  newspaper.  Incidentally,  he 
has  found  time  to  play  minor  bits  before 
the  motion  picture  camera  as  well  as  on 
the  stage.  Like  Mr.  Seklemian,  he  wants 
to  be  a  director. 

The  fourth  prize  winner,  A.  L.  Shands, 
of  %  Ward  Street,  Orange,  New  Jersey, 
was  born  in  Russia.  His  parents  brought 
him  to  America  at  the  age  of  three.  He 
went  to  school  in  New  York  City.  Then 
he  struck  out  for  himself,  being  at  vari- 
ous times  a  telegraph  operator,  teacher, 
hobo,  and  writer.  Finally,  be  entered  the 
employ  of  Thomas  A.  Edison,  contributing  his  winning 
review  while  stationed  at  New  London,  Wisconsin. 

Marcia  Sanguin,  of  1120  North  Stevens  Street,  El 
Paso.  Texas,  re- 
ceives fifth  prize. 
Miss  Sanguin  is 
twenty  -  one  years 
of  age  and  at  pres- 
ent is  the  cub  re- 
porter on  The  El 
Paso  Post. 

The  complete 
list  of  winners  is 
as  follows : 

First  Price — 
$1,000.00— Karlene 
A.  A  rmstrong, 
Oak  Lane  Park, 
Philadelph  i  a, 
Pennsylvania. 
Second  Price — 
$100.00  and  Gold 
Medal— M.  Sekle- 
mian, P.  O.  Box 
22,  Los  Angeles, 
California.  Third 
Prize— $75.00  and 
Silver  Medal  — 
Theodore  A.  Baxt, 
1121  Morris  Ave- 
nue,   New    York 


B.  rij 


Final  Standing  of  Your  Opinion  Contest 


ACTORS 

Richard  Dix 

Rudolph  Valentino.  . 
Richard    Barthelmess 

Eugene  O'Brien 

Ramon  Novarro 

Lloyd  Hughes 

Ben  Lyon 

Douglas   Fairbanks.  . 

John  Gilbert 

Thomas  Meighan.  .  .  . 

Rod  La  Rocque 

Harold  Lloyd 

Milton  Sills 

Lon  Chaney 

Ronald  Colman 

Tom  Mix 

Lionel   Barrymore.  .  . 

Adolphe  Menjou 

Ricardo  Cortez 

Lewis  Stone 


Richard  Dix 

Who  received  the  heaviest  vote  among  all  screen  actors  in 

Your  Opinion  Contest 


City.  Fourth  Price— $50.00  and  Bronze  Medal— A.  L. 
Shands,  96  Ward  Street,  Orange,  New  Jersev.  Fifth 
Price— $25.00—  Marcia    Sanguin,     1120    North    Stevens 

Street,     El     Paso, 
Texas. 

Fifty  $10.00 
Prices  —  PhilHppa 
Bruce,  Box  228, 
University,  Vir- 
ginia ;  Louise  Det- 
lefs.  1609Onondaga 
Avenue,  I.akewood, 
Ohio;  Janice  M. 
S  wa  r  ner  ,  5641 
Garfield  Avenue, 
Kansas  City.  Mis- 
souri ;  Glen  Corn- 
well,  Ponca  City 
Xews.  Ponca  City. 
Oklahoma ;  Isolde 
Groom,  3  Bed- 
ford Road.  Cheam, 
England  ;  Marie  C. 
Elliot,  4  Suffolk- 
Square,  Chelten- 
ham, England  ; 
Paul  S.  Lippold, 
3332  Gwynne  Falls 
Parkway,  Balti- 
more, Maryland  ; 
(Com.  on  page  80) 


11,561 

10,956 

9,328 

8,697 

6,215 

5,379 

5,291 

4,521 

2,827 

2,288 

1,144 

1,096 

1,034 

1,023 

858 

792 

759 

693 

605 

594 


ACTRESSES 

Pola  Negri 

Mary  Pickford 

Gloria   Swanson 

Norma  Talmadge  .  .  . 

Lillian  Gish 

Colleen  Moore 

Mary  Carr 

Lois  Wilson 

Leatrice  Joy 

Marion  Davies 

Constance    Talmadge 

Norma   Shearer 

Corinne   Griffith 

Mae  Murray 

Bebe  Daniels 

Betty   Bronson 

Alice  Terry 

Betty  Compson 

Anna  Q.  Nilsson.  .  .  . 
Blanche  Sweet 


27,599 

18,766 

11,462 

10,296 

4,422 

3,652 

2,464 

2,310 

1,309 

1,287 

1,177 

1,144 

1,076 

1,002 

989 

979 

946 

627 

594 

385 


41 


Cloudy— With  Continued 

SHOWERS/ 


Cecil  De  Mille  has  announced 
his  next  Biblical  invasion.  It 
will  be  "the  Deluge,"  and 
naturally  it  will  center  around 
that  pioneer  house-boat  cap- 
tain, Noah.  The  betting  is  fifty 
to  one  that  the  flood  will  come 
just  as  a  super-orgy  is  at  its 
height.  Thus  "the  mightiest 
cataclysm  in  all  the  world's 
known  history,"  as  Mr.  De 
Mille  expresses  it,  will  collide 
with  the  greatest  orgy  this 
director  has  yet  attempted 


Cecil  De  Mille  wants  it  un- 
derstood that  his  plans  to  pro- 
duce "The  Deluge"  have  no 
reflection  upon  the  California 
rainy  season.  Mr.  De  Mille 
has  not  announced  his  cast  yet, 
but  it  is  anticipated  that  there 
will  be  a  lot  of  competition  in 
Hollywood  over  the  role  of 
Noah.  Already  the  blonde 
extras  of  Hollywood  are  get- 
ting out  their  bead  costumes 
for  the  super-orgy.  It's  going 
to  be  a  great  year  for  extras, 
mates! 


Carsey 


Two  glimpses  of  the  Deluge  as  visualized  by  Gustav  Dore 


Paniiemaker,  Sf 


42 


_____ 


M    I 


CAROL  DEMPSTER 

During   the   past   year    Miss    Dempster    has    established    herself    as    one    of    the    most 
promising  of  the  screen's  younger  actresses 


43 


It's 

the  OLD 

ARMY 


Game 

this 

SODA 

BUSINESS 

Bl 


No  comedian  since 
Chaplin  has  ap- 
peared above  the 
screen  horizon 
with  so  much 
original  humor  as 
W.  C.  Fields.  Re- 
cruited from  the. 
stage  by  D.  W. 
Griffith  for  "Sally 
of  the  Sawdust,"  he 
has  brought  to  the 
films  a  distinct  per- 
sonality  and  a 
talent  for  creating 
spontaneous  laugh- 
ter. He  is  en- 
thusiastic about 
the  screen,  and  this 
enthusiasm  will 
carry  him  in  pop- 
ular favor  in  "It's 
the  Old  Army 
Game" 


44 


Li 


You  couldn't  possibly 
stay  away  when  the 
Costello  sisters,  Do- 
lores and  Helene,  ask 
you  over.  They  have 
one  of  those  snug  little 
bungalows  which  radi- 
ate charm  and  con- 
tentment. The  tree-- 
and  shrubs  lend  a 
homey  hospitality  and 
the  girls  are  asking  you 
to  share  it 


The 

COSTELLOS 

Ask  You 

OVER 


If  the  stranger  passing  by  could  see  Dolores 
and  Helene  draped  in  the  window  seat  or 
against  the  archway  of  their  home  and  smil- 
ing a  happy  welcome,  no  one  would  deny 
him  the  privilege  of  doffing  his  hat  and 
saying  "Howdy  do" 


45 


Owr 
OWN 

NEWS 

CAMERA 


International  Ncwsreel  photos 


Between  scenes  of  Ramon  Novarro's  new 
picture,  "Bellamy  the  Magnificent,"  now 
renamed  "The  Man  from  London."  Here 
you  see  Mr.  Novarro,  Sally  O'Neil  and 
Director  Hobart  Henley 


Gene  Tunney,  contender 
for  the  heavyweight  pugi- 
listic championship,  ar- 
rives in  Hollywood  to 
start  his  film  work  and 
takes  a  lesson  in  make-up 
from    Rudolph    Valentino 


Joan  Crawford  is  here  again!     She  just 

won   a  life  membership   to  The   Gables, 

a   Santa   Monica,   California,   beach   club 

with  her  dancing  of  the  Charleston 


ET  j| 

K 

W  "*"  * 

B^kr 

m  A^F 

fl 

K^^M 

It 

.^r 

Lj 

i 

46 


International 
Newsreel 


-I 


The  young  lady  with 
the — er — pedal  extrem- 
ities is  Georgia  Hale, 
who  plays  one  of  those 
dance-hall  gals  in 
Famous'  production 
of  "The  Rainmaker.'' 
Ernest  Torrence  plays 
an  old-fashioned  bar- 
keep  in  the  picture. 
The  other  gentleman 
on  view  is  Director 
Clarence   Badger 


You'll  soon  see  W.  C.  Fields'  first  starring  comedy,  "It's  the 
Old  Army  Game."  Here  you  have  Mr.  Fields  conferring  on 
location  at   Palm  Beach  with  his  director,  Eddie  Sutherland 


Batter  up! 
Curves  are  un- 
necessary here. 
La-a-dies  and 
gentlemen,  the 
pinch-hitter  is 
Doris  Hill,  who 
also  is  leading 
woman  for  Syd 
Chaplin 


47 


A  flock  of  would-be 
Rooscvelts  apply  to  Di- 
rector Victor  Fleming  at 
the  Lasky  Hollywood 
studios.  They  all  want 
to  play  the  famous  Teddy, 
in  Famous'  forthcoming 
production  of  "The  Rough 
Riders."  The  man  with 
the  book  in  his  hand  is 
Herman  Hagedorn,  offi- 
cial biographer  of  Theo- 
dore Roosevelt 


The  Charleston  has  now  captured 
the  great  open  places.  Here  is 
Virginia  Bradford,  cowgirl  de  luxe, 
demonstrating  some  new  steps  to 
George   Lewis 


Claire  Windsor,  left, 
demonstrates  how 
Ginger,  the  screen 
dog,  retrieves  tennis 
balls  that  go  over 
the  wire 


International  Ne\v?reel 


48 


Big  Pictures  and  Little  Ones 


By  Robert  E.  Sherwood 


Till'',  season  which  has  just  pasted  has  produced  a 
veritable     tidal     wave     of     BIG     pictures    extra- 
special  super  features,  of  ten  <>r  more  reels,  that  are 
sold  to  the  public  at  advance  prices. 

irting  with  "  The  Merry  widow,"  "The  Wanderer," 
"The  Phantom  of  the  Opera,"  and  "Don  O."  there  nave 
appeared,  subsequently,  such  extensive  offerings  as  "The 
Big  Parade."  "Stella  Dallas."  "The  Vanishing  American," 
"Hcn-Hur,"  "The  Sea  Beast,"  "1  a  Boheme,  "The  Flam- 
ing Frontier,"  "Mare  Nostrum,"  "The  Black  Pirate," 
"The  Midnight  Sun,"  "The  Volga  Boatman,"  "Sparrows" 
and  "Aloraa  of  the  South  Seas.' 

The  money  invested  in  this  group  of  offerings  would 
be  sufficient  to  launch  a  medium-sized  war.  The  revenue 
that  will  eventually  he  derived  from  them  would  put 
Germany  on  its  feet  again,  with  enough  left  over  to  re- 
habilitate Russia. 

Tidal  Wave  of  Specials 

Cor  the  season  ahead,  the  tidal  wave  of  super-specials 

threatens  to  assume  the  proportions  of  a  deluge.  There 
will  t>e  "Old  Ironsides,"  "What  Price  Glory,"  "Tell  It 
to  the  Marines,"  "The  Scarlet  Letter,"  "Uncle  Tom's 
Cabin,"  "The  Garden  of  Allah,"  "The  Greatest  Show  on 
Earth,"  "Don  Juan"  and  some  dozens  of  others. 

In  fact,  the  old  six-  or  seven-reel  picture  seems  to  be 
going  out  of  style.  Today,  any  director  who  manages 
to  gather  unto  himself  a 
reputation  demands  twelve 
crowded  reels  or  he  wont 
play. 

This  brings  us  up  to  a  con- 
sideration of  the  problem : 
what  makes  a  big  picture  big? 
Is  it  the  footage  of  celluloid 
that  is  consumed,  or  the  size 
of  the  sets,  or  the  number  of 
extras  employed  in  the  mob 
scenes,  or  the  amount  of 
money  expended  by  a  gen- 
erous producer? 

To  answer  this  question, 
we  must  delve  into  the  ma- 
chinery of  the  movie  industry 
itself  (and  if  you  aren't  inter- 
ested in  machinery,  you  can 
drop  off  at  this  point  and  take 
a  run  thru  the  rotogravure 
section). 


The  Program  Picture 


What  makes  a  big  picture  big? 

Is  it  the  footage  of  celluloid  that 
is  consumed,  or  the  size  of  the  sets, 
or  the  number  of  extras  employed 
in  the  mob  scenes,  or  the  amount 
of  money  expended  by  a  generous 
producer? 

Two  such  hits  as  "The  Covered 
Wagon"  and  "The  Big  Parade" 
started  as  program  pictures.  Both 
unexpectedly  grew  out  of  bounds. 

Just  what  makes  a  big  picture 
big? 


w 


hen      the      movies      first 
started  to  gain  their  uni- 
versal popularity  and  to  earn  their  fabulous  dividends,  a 
few  astute  magnates  decided  that  it  would  be  easier  to 
sell  films  in  groups  rather  than  as  individual  offerings. 

Thus,  the  "program  picture"  was  born — and  the  pro- 
gram picture,  as  subsequent  events  have  proved,  is  the 
curse  of  the  silent  drama. 

To  explain  what  a  program  picture  is,  I  may  take  the 
case  of  Famous  Players-Lasky,  which  was  the  pioneer  in 
this  particular  field  of  endeavor.  Famous  Players  decides 
to  produce  forty  pictures  in  six  months,  which  will  be 
divided  up  among  its  various  stars  and  directors ;  there 


ma\    he  two  Thomas   Meighan  productions 

Swanson   productions,  three    Raymond   Griffith   produc 

tiotlS,  two  James  ( 'ru/e  productions,  and  so  forth. 

The   stars,    stories,   directors  and   casts    for   these    forty 
pictures   will   Ik-  lined  up  in  advance,  and   then   the  high- 
powered  salesmen  will  start  out  to  sell  the  entire  program 
to  exhibitors     sight   unseen.       The   exhibitor  will   be   sold 
on    the    strength    of   the   titles   of    the    pictttn 
office  reputations  of  the  stars,  directors  and  authors,  and 
the   salesman's   own    personal   ability   to   hoist    the   ( 
husband.    Thus,  an  exhibitor  who  wants  to  book  a  Strong 
feature,  like  a  Harold  Lloyd  comedy,  will  have  to  a< 
a  number  of  weaker  sisters,  on  the  same  program,  along 
with  it. 

Since  most  of  the  selling  is  done  before  the  pictures  are 
even  made,  the  actual  work  of  production  becomes  of 
minor  importance.  Program  pictures  must  be  ground 
out  on  schedule  time,  of  scheduled  length  and  at  a  sched- 
uled cost. 

Factory  Products 

\X/ith  the  result  that  program  pictures  are  apt  to  be 
'     slipshod  in  form,  hazy  in  story  and  played  in  a  list- 
less,  pepless   manner.      They   are    factory  products,   and 

they  look  it. 

A  special  production — one  which  is  made  on  the  side, 

regardless   of   the  prearranged   program — is   much   more 

likely  to  represent  careful, 
sustained,  intelligent  effort. 
Its  producers  spend  more 
time  and  money  on  it,  and 
they  dont  have  to  be  re- 
stricted by  an  early  release 
date. 

All  the  independent  come- 
dians— Chaplin,  Lloyd  and 
Keaton,  in  particular — make 
their  pictures  in  this  way. 
They  work  over  each  produc- 
tion until  they  are  convinced 
that  it  is  right,  or  as  close  to 
right  as  they  and  their  collab- 
orators can  possibly  make  it. 
Douglas  Fairbanks  works 
in  the  same  way.  So  does 
Mary  Pickford.  So  do  Ernst 
Lubitsch,  Erich  von  Stro- 
heim,  John  Barrymore. 
Norma  Talmadge,  Lillian 
Gish  and  a  few  others.  So 
will  Gloria  Swanson.  when- 
ever and  if  ever  she  is  given 
the  chance  to  do  so. 
It  is  obvious  that  pictures  made   in   this  way   will   be 

superior  to  pictures  that'  are  ejected,  at  tediously  regular 

intervals,  from  a  sausage  machine. 

There  are  two  productions  which  illustrate  this  point 

effectivelv  :  one  is  "The  Covered  Wagon,"  the  other,  "The 

Big  Parade." 

Unexpected  Specials 

Doth    of    these    pictures    were    intended,    originally,    to 
conform  to  the  requirements  of  the  program.      Both. 
{Continued  on  page  7~~ 


49 


BB&k^^vS 

^^■m^l 

^^Mii 

'v^v'^^3 

Br.  a  i                          ^P1 

HE**. 

if/    "^ ■ M 

William  Boyd  and  Elinor  Fair  in  "The  Volga  Boatman" 


THE  real  romance  of  Russia  has  yet  to  be  written. 
The  country  of  the  communists  surges  too  strongly 
with  emotions  to  be  understood  completely  by  those 
who  would  translate  its  life  into  terms  of  screen  drama. 
The  song  of  Russia  is  pitched  in  a  tragic  key  and  some 
fine  day  a  director  may  be  given  carte  blanche  to  give  an 
authentic  version  of  it. 

Cecil  B.  De  Mille  romanticizes  Russia  in  his  "Volga 
Boatman,"  which  is  nothing  but  a  love  triangle  that  sel- 
dom approaches  moving  drama.  It  is  flavored  with  the 
military  touch  and  there  is  a  first-rate  element  of  contrast 
present  which  depicts  the  lowly  peasant  as  the  conquering 
hero  in  affairs  of  the  heart.  But  in  showing  his  conflict 
of  the  Reds  against  the  Whites,  De  Mille  makes  opulent 
excursions  into  sentimental  and  erotic  pastures.  In  other 
words,  he  introduces  his  own  personality  to  create  pictorial 
effects  and  so  his  story  gets  away  from  him.  He  is  all 
for  the  color  of  the  thing. 

The  trouble  with  "The  Volga  Boatman"  as  I  see  it  is 
its  lack  of  a  gripping  climax  which  should  have  shown  the 
inexorable  march  of  pathos  and  tragedy.  Still  in  giving 
De  Mille  credit,  it  is  best  to  call  this  an  experiment.  He 
has  played  with  Russian  conflict  as  it  concerns  peasant  and 
aristocrat — artistically,  there  is  nothing  to  criticize  here. 

It  is  only  in  his  subject  matter  that  he  falters.  Russia 
may  sing  joyously,  but  there  is  a  tear  behind  the  song — 
a  tear  symbolic  of  a  people  who  look  with  tremendous 
seriousness  upon  life. 

There  are  Hollywoodian  touches  in  the  picture,  too, 
which,  while  gratifying  in  a  pictorial  way,  are,  neverthe- 
less, out  of  harmony  with  the  theme.  The  points  which 
will  be  remembered  here  are  the  highly  creditable  atmos- 
phere, the  detail — and  the  sincere  performances  contribu- 
ted by  William  Boyd  as  the  Red,  Victor  Varconi  as  the 
Prince  and  Julia  Faye  as  a  Tartar  maid.  Elinor  Fair 
does  not  realize  the  full  possibilities  of  the  character  of 
the  princess.  It  is  a  part  which  fairly  cried  for  the 
release  of  pent-up  emotions. 

Marion's  "Princely  Role 

Cver  since  Marion  Davies  discovered  that  her  forte  is 

light  comedy,   she  has  given  her  public  some  highly 

mirthful  character  studies.     There's  no  room   for  argu- 

50 


The 


Celluloid 

critic 


ment  that  she  cannot  masquerade  as  a  youth — 
and  get  away  with  it.  There  is  spirit  in  her 
acting — and  conviction  too. 

So  what  does  it  matter  if  they  have  changed 
"Beverly  of  Graustark"  to  fit  her  talent  and 
personality?     What   matters   if  the  girl    dons 
princely    attire,    if    the    creaking    plot    can    be 
spiced  up  a  little?     The  good,  old  Graustark  pattern  has 
gone  to  the  movie  well  many  many  times  since  the  birth 
of  the  five  reeler.     If  it  can  be  changed  in  its  stock  situ- 
ations— well,  so  much  the  better  for  those  patrons  who 
are  shouting  for  originality  or  novelty. 

Broad  liberties  are  taken  here  with  McCutcheon's  yarn. 
Which  gives  Miss  Davies  her  chance  to  masquerade. 
Accordingly,  the  scenarist,  the 
Marion,  herself,  have  adopted 
magician — Presto,  Chango — and 
resplendent  in  princely  attire.  Her  mannerisms,  her  play- 
fulness— these  are  the  factors  toward  this  picture's  popu- 
larity— for  it  is  destined  to  be  popular. 

It  contains  oodles  of  sentiment  and  romance — and  quite 
a  spark  of  adventure.  The  Davies  personality  is  stamped 
all  over  it.  She  wears  her  clothes  quite  as  well  as  David, 
Prince  of  Wales.  Roy  D'Arcy  is  present,  but  not  so 
versatile  as  I  anticipated.  His  performance  differs  in  no 
respect  from  his  work  in  "The  Merry  Widow."  Antonio 
Moreno  plays  the  hero  in  the  approved  story-book  and 
stage  manner.  Altogether,  the  picture  has  plenty  of  appeal. 


director  and  possibly 
the  by-words  of  the 
the    star    comes    forth 


Mostly  a  Fashion  Show 

Cometimes  musical  comedy  adaptations  turn  out  very 
well  on  the  screen,  but  at  best  it  is  a  gamble  whether 
they  will  succeed  or  not.  "Sally"  and  "Irene"  turned  out 
fair  enough,  principally  because  they  contained  some 
sprightly  fun.  To  get  right  down  to  brass  tacks,  it  all 
depends  upon  whether  there  is  enough  plot  and  gags  after 
the  music  is  eliminated. 

In  remembering  the  twosome  above — and  their  enter- 
taining qualities  brings  to  mind  the  shortcomings  of  "Mile 
Modiste."  True,  the  decorative  Corinne  Griffith  enhances 
the  piece  with  her  presence.  She  is  resplendent  in  some 
striking  sartorial  effects.  Otherwise,  it  is  a  long  and 
tedious  fashion  show — one  bolstered  up  with  wise-crack- 
ing subtitles  which  lose  their  power  to  provoke  laughter 
thru   their   constant   repetition   and   lack   of    spontaneity. 

I  cannot  see  any  reason  for  adapting  it  in  the  first  place. 
It  wasn't  so  much  a  plotty  comic  affair  as  it  was  a  me- 
dium to  express  Victor  Herbert's  melodious  score.  The 
original  offered  a  perfect  synchronization  of  plot,  char- 
acterization and  music.     Thus,  with  the  operatic  matter 


Laurence 

Reid 

Reviews  the  New 

Photoplays 


removed,  Miss  Griffith  wasdeprived 
oi  a  chance  to  do  anything  else  than 
display  a  complete  wardrobe  of  glad 

There  is  hut  an  inkling  of  the 

plot.  It  shows  itself  when  the  star, 
Impersonating  a  Paris  mannequin, 
ii  set  up  in  business  by  a  butter- 
ind-egg  man  from  America.  Natur- 
ally, this  piques  the  French  count 
who  loves  her  and  who  believes  the 
worst.  There's  your  story — and 
your  picture,   too. 

What  remains  is  a  fashion  parade 
— with  Corinne  Griffith  wearing  her 
u">\vn>  exceedingly  well.  The  only 
hit  of  characterization  is  offered  by 

Willard  Louis  as  the  afore-mentioned  b.  and  e.  man.     He 
looks  the  part,  but  the  gags  supplied  him  are  weak.     Xor- 
man  Kerry  looks  spick  and  span  in  some  gay  uniforms. 
In  other  words,  it  is  a  talky  picture  in  which  the 
players  walk  on  and  off  the  sets. 

This    MacLean    Fellow 

In    watching    a    Douglas    MacLean    comedy    I 

always  recall  his  memorable  effort,  "Twenty- 
three  and  a  Half  Hours'  Leave."  That's  the 
penalty  he  pays  for  ringing  the  bell  a  few 
seasons  ago.  With  each  succeeding  pic- 
ture I've  anticipated  something  as  de- 
lightfully human  and  amusing,  but  none 
has  quite  reached  the  mark.  The  new- 
contribution,  "That's  My  Baby."  comes  as 
close  as  any — without  trespassing  on  its 
plot.  This  is  another  way  of  saying  that 
it  has  its  rollicking  moments. 

The  piece  runs  dry  at  the  start — but 
the  minute  the  Baby  is  introduced  it  picks 
up  momentum  and  finishes  in  a  volley  of 
laughter.  This  baby,  incidenta'ly,  is 
played  by  Harry  Earles.  who  you  will 
remember  as  the  midget  in  "The  Unholy 
Three."  He  is  the  chap  who,  really  more 
than  MacLean.  changes  the  complexion  of  the 
story.  And  why  not,  since  the  plot  motivates 
around  him? 

There  is  no  great  shakes  about  the  story — 
which  concerns  a  couple  of  bachelors.     One 
of  them,  Mr.  Hero,  falls  in  love  so  badly  that 
his  partner  becomes  disgusted  with  him.    But 
the  bride  elopes,  thus  giving  the  disappointed 
swain  the  opportunity  to  re- 
nounce    the     opposite     sex. 
This  chap,  however,  is  made 
of  sentiment  and.  sympathy. 
So    when    a    damsel    sprains 
her   ankle,    he    promptly    renders    first   aid. 

There  is  slap-stick  here — quite  a  lot  of  it, 
but  it  doesn't  spoil  the  idea.     The  piece  is 


Corinne   Griffith 
in  "Mile  Modiste" 


Marion    Davies   and    Antonio    Moreno    have   a   romantic    moment   in' 
"Beverly  of  Graustark" 


consistently    funny.      MacLean,   acting   in   his   customary 
bewildered    manner,    extracts    an    adequate    amount    of 
humor,     while     Claude    Gillingwater,     wearing    his    ex- 
aggerated scowls,  makes  a  praiseworthy  foil. 

The  War  Comes  to  Vienna 

lot  of  money  has  been  spent  on  "The  Greater 
Glory,"  but  the  result  is  negligible.     Whatever 
those  in  charge  were  driving  at  is  difficult  to 
discern  as  it  is  impossible  to  make  anything 
out  of  it.     There  is  a  little  bit  of  every- 
thing in  the  story  and  the  effort  to 
make   it   clear   has   brought    forth 
nothing  but  confusion. 

The  original  tale,  "The 
Viennese  Medley,"  was 
scheduled  for  the  big  thea- 
ters. But  it  became  swal- 
lowed up  in  a  mass  of  de- 
tail during  production  and 
emerging  as  "The  Greater 
Glory"  it  has  just  been  al- 
lowed to  swim  or  sink  by 
itself. 

The    four    horsemen    are 

resurrected     again.       They 

gallop  across  the  sky,  while  on  terra  firma  the 

spectator  sees  a  lot  of   movement   in   Vienna 

before,  during  and  after  the  war. 

It  is  all  very  much  to  the  hodge-podge.  One 
reason  for  the  rambling,  shambling  plot  may- 
be found  in  the  wealth  of  characters,  there 
being  no  less  than  two  dozen  relatives  who  are 
difficult  to  identify  because  of  their  Teutonic 
names — and  the  fact  that  they  appear,  disappear 
and  re-appear  without  rhyme  or  reason. 

I  get  the  general  impression  that  the  author 
tried  to  duplicate  "The  Four  Horsemen"  from  the 
Germanic  side  of  the  argument — and  that  the  di- 
rector attempted  to  reproduce  that  memorable 
effort. 

(Continued  on  page  70) 


51 


MORE  IMPRESSIONS 


POLA  NEGRI  was  one  of  the  surprises  of  my  life. 
When  invited  recently  to  a  little  dinner-party  at  her 
home,  I  hesitated  about  accepting  because  I  dislike  to 
waste  an  evening  and  hate  to  be  bored.  I  had  never  met 
Pola  Negri  but  I  had  heard  and  read  a  lot  about  her,  and 
was  not  anxious  to  meet  her.  This  only  shows  how  we  get 
wrong  impressions,  and  how  Dame  Rumor  and  General 
Publicity  often  blunder  and  do  grave  injustice.  And  so  I 
accepted  the  invitation  with  some  reluctance,  for  I  fully 
believed  that  I  would  be  required  to  sit  for  an  hour  in  the 
drawing-room  while  the  guests  were  assembling  and  until 
the  stately  Pola  should  slowly  descend  the  grand  stairway 
with  queenly  dignity  while  we  guests  should  rise  and  bow 
and  scrape  and  do  her  homage. 

I  had  pictured  her  there  in  all  her  glory,  the  observed  of 
all  observers,  and  as  she  finally  seated  herself  on  her 
throne  I  saw  myself  among  her  satellites  sitting  around 
her  highness  as  she  haughtily  told  us  what  a  great  artiste 
she  was.  I  could  hear  them  all  saying  "yes,  yes"  to  the 
self-centered  tragedy  queen,  and  I  saw  myself  at  the 
dinnef-table  listening  to  her  subjects'  praise  and  adula- 
tion. I  felt  sure  she  was  temperamental,  Ritzy,  up-stage, 
and  all  that  sort  of  thing,  and  I  had  been  told  that  she 
never  suffered  from  inferiority  complex.  And  there  are 
other  things  I  thought  and  believed  about  Pola  Negri  off 
the  screen  which  made  me  anything  but  an  admirer. 

But  how  different  it  all  was.  The  stage  was  not  set  for 
a  grand-stand  entrance,  there  was  no  throne,  no  idol- 
worshiping,  no  attempt  to  be  the  center  of  attraction. 
Pola  Negri  was  seated  among  some  guests  when  I  entered. 
She  rose,  came  forward  and  greeted  me  cordially.  She 
was  dressed  simply  but  elegantly,  with  no  signs  of  gaudi- 
ness.  Her  manner  was  natural  and  without  affectation. 
She  has  a  pleasant  voice,  and  rather  a  strong  one,  and 
speaks  with  a  slight  foreign  accent.  If  she  had  any  make- 
up on,  it  was  not 
obvious.  At  no  time 
during  the  whole 
evening  did  I  see  any 
attempt  on  her  part 
to  monopolize  atten- 
tion or  conversation, 
and  she  succeeded  in 
making  everybody 
feel  perfectly  at  ease 
without  any  appar- 
ent effort.  I  feel 
sure  that  the  Pola 
Negri  I  saw  was  the 
real  Pola  and  not  an 
artificial  one.  Bluff, 
hypocrisy,  posing, 
coquetry  and  artifice 
are  evidently  not  on 
her  program  nor  in 
her  nature. 

She  presided  over 
the  dinner  table 
gracefully,  naturally 
and  unaffectedly, 
and  nobody  felt  that 
it  was  necessary  to 
include  her  in  the 
conversation  altho 
she  often  joined  in. 
I  asked  her  opinion 


The  Fourth  of  July  is  coming!    A  little  preparation  is  under  way  with 
Syd    Chaplin    and    Doris    Hill — but    Chuck    Reisner    seems    bent    upon 

upsetting  things 


of  Americans  in  general  and  of  many  plays  and  players 
in  particular,  and  she  seemed  always  to  have  a  good  word 
rather  than  a  bad  one.  If  she  hates  anybody,  she  keeps 
it  a  secret;  if  she  admires  anybody,  she  does  not  hesitate 
to  say  so.  And  yet  she  is  far  from  being  a  "yes  man." 
She  has  decided  opinions  on  everything  and  expresses 
them  with  candor,  but  somehow  she  gives  the  impression 
that  she  finds  something  in  everything  and  in  everybody 
to  admire  and  nothing  to  condemn.  In  other  words,  she 
is  not  at  all  "catty"  nor  envious,  nor  jealous,  and  I  want 
to  remark  right  here  that  these  are  rare  virtues  out  here 
in  Hollywood. 

But  the  one  thing  that  surprised  me  most  was  the  men- 
tality of  Pola  Negri.  I  soon  felt  myself  in  the  presence 
of  a  great  woman.  She  has  a  very  wise  head  on  her  fair 
shoulders  and  her  process  of  deduction  and  induction  are 
nothing  short  of  masculine,  because  one  rarely  sees  such 
a  logical  and  profound  insight  into  things  in  a  feminine 
brain.  I'll  wager  that  she  is  seldom  wrong  in  her  estimate 
and  analysis  of  the  affairs  of  life.  Women  usually  depend 
on  their  intuition,  in  which  faculty  they  always  excel  the 
male,  but  Pola  Negri  seems  to  be  guided  more  by  logic 
and  reason  than  by  guesswork.  And  she  is  a  student — 
she  goes  into  the  whys  and  wherefores  of  things.  And 
her  library  is  the  finest  I  have  yet  seen  out  here.  She 
reads  much,  but  she  thinks  more.  She  is  sociable  but  I 
imagine  she  is  somewhat  bored  by  the  general  run  of  light 
conversation  that  is  so  common  among  players.  To  make 
oneself  agreeable  to  Pola  Negri  one  must  talk  about  some- 
thing deeper  than  clothes  and  the  weather,  and  yet  she 
is  graciously  tolerant.  Just  to  show  how  generous  and 
whole-hearted  she  is,  one  of  the  first  remarks  she  made 
to  Corliss  Palmer  in  the  presence  of  several  people  was : 
"I  have  several  times  been  told  that  you  were  the  most 
beautiful  girl  in  Hollywood,  and  I  was  prepared  to  doubt 

it,  but  now  I  am 
free  to  admit  that 
the  report  was  not 
exaggerated." 

I  believe  that  Pola 
Negri  is  one  of  the 
most  admired  of  all 
women  of  the  screen, 
but  I  am  now  in- 
clined to  think  that 
she  will  never  be  so 
popular  in  real  life 
as  are  many  others, 
because  the  average 
man  does  not  usually 
fall  in  love  with 
intellectual  women, 
and  •  women  dont 
often  take  kindly  to 
those  of  their  sex 
who  are  smarter 
than  they  are.  While 
Pola  is  not  a  mascu- 
line woman,  she  is 
the  exact  opposite  of 
the  Lillian  Gishtype. 
One  would  never 
liken  Pola  to  the 
fragile  lily  nor  to 
the  delicate  violet. 
She  is  more  than  a 


52 


of  HOLLYWOOD 


By  Eugene 

V.  Bkhwster 


Bower    she  is  a  sturdy  oak.   full  of  life,  strength  and 

It'  one  had  never  seen  her  on  the  stage  or  screen, 

would  feel  safe  to  bet  that  she  was  a  great  artiste 

And  that  she  will  In-  just  that,  long  after  many  Others  now 
in  her  general  class  air  dead  ami  buried. 


II    roa  V'arconi,  known  as  the  Hungarian  Romeo, 
his  charming  wife,  who  was  recently  a  celebrated  re 


One'l    Car,   and   another    half-hour    to   gel    a    pair 


prooi  I'll  \  \ii\ii\"  i    certainly  a  different  young  man 

from  what  he  was  a  t<  w  ;<>     Perhaps  you  no- 

ticed when  you  WW  him  last   that  he  looked   worried  and 

careworn.  Well,  now  he  is  full  of  confidence  and  he 
looks  younger  than  ever,     lie  is  a  type  that  became  ■•< 

standard  and  his  name  a  household  word  a  few  years  ago, 
and  as  such  he  has  never  had  a  competitor.  I  figure  that 
from  now  on  Rudy  will  go  up  and  stay  up  at  the  top. 
There  can  he  Gilberts  and  Colmans  and  so  on,  hut  then 
can  he  only  one  Valentino. 


and 
g  wite.  who  was  recently  a  cci.cnraieu  musi- 
cal comedj  star  in  Europe,  entertained  me  at  a  sort  of 
-five-o'clock  tea  the  other  day.  hut  it  turned  out  to  he  an 
informal  musicale.  Corliss  Palmer  and  Dorothy  lhvan 
went  with  me,  and  we  had  to  enter  thru  the  kitchen 
door  because  the  heavy  rains  had  washed  away  some  of 
the  hills  up  above  their  dwelling  and  washed  tlum  down 
on  their  lawns  and  gardens.  I  told  him  that  "The  Volga 
Boatman"  should  have  established  a  ferry  across  the  lawns 
and  that  I  was  thinking  of  building  an  ark  for  myself. 
It  doesn't  rain  very  often  here  hut  when  it  does,  it  cer- 
tainly does.  And  the  hill-dwellers  get  the  worst  of  it. 
But  the  rainy  season  is  over  now  and  we  shall  have  sun- 
shine for  about  nine  months.     But  it  seldom  rains  all  day.      'There  is  a  conspiracy  on  foot  to  do  some  very  big  things 

s  tired,  and  stops  for  a  few  in  the  picture  world,  and  the  conspirators  are  Clarence 


am    dining   with    Lloyd    Hughes   next    week,   also    with 
Robert  Frazer,  and   I  am  impatient  to  meet  and  know 

them  well.     I  shall  take  pleasure  in  telling  you  all  about 

it  in  my  next. 

*         *         * 


It  rains  so  hard  that  it  get 

hours,  and  the  sun  comes  out.  Victor  is  a  handsome 
young  Hungarian  about  six  feet,  thirty  years  old.  He  is 
full  of  humor  and  good  nature.  When  he  laughs,  his  eyes 
almost  close,  like  slits.  He  is  very  frank,  wholesome, 
polite  and  likable.  He  speaks  "broken  English"  very  well 
indeed  and  it  is  a  delight  to  listen  to  him.  A  Hungarian 
musician  was  there,  and  how  he  could  play  the  piano !  I 
think  the  hills  round  about  are  still  echoing.  And  then 
they  all  sang  some  rollicking  Hungarian  folk-songs,  and 
they  put  a  lot  of  feeling  and  emotion  in  them.  These 
foreigners  certainly  have  us  poor  Americans  beaten  a  mile 
and  a  half  when  it  comes  to 
music  and  expression  of  the 
emotions.  And  I  think  we  are 
going  to  hear  from  this  Vic- 
tor Varconi.  Cecil  De  Mille 
has  signed  him  to  do  leads, 
and  he  has  a  fine  personality. 
I  think  you  are  going  to  like 
him   immensely.      More   later. 


It's  a  funny  thing,  but  Holly- 
wood is  about  the  worst 
place  I  know  of  to  see  pic- 
tures. One  would  think  that 
right  where  they  are  made  one 
could  see  anything  almost  any- 
time. But  theaters  are  scarce 
and  far  between  and  they  run 
old  pictures  and  poor  ones 
most  of  the  time.  Several 
new  and  big  theaters  are 
planned,  however.  Grauman's 
Egyptian  is  here,  of  course, but 
they  have  been  running  "The 
Big  Parade"  ever  since  I  have 
been  here.  Of  course,  there 
are  many  big  theaters  down- 
town in  Los  Angeles,  but  it 
takes  half  an  hour  to  motor 
there  and  half  an  hour  more 
to   find   a    parking   place    for 


Rudolph    Valentino    demonstrates    his    three    prize 

dogs.     Left  to  right,  Mirtza,  an  Arabian  greyhound; 

Centaur  Pendragon,  Irish  wolfhound;  and  Shartan, 

Great  Dane  pup 


Brown  and  Irving  Thalberg  (a  Metro  chief).  I  spent  an 
evening  with  the  congenial  Clarence  and  he  confidentially 
unfolded  some  of  their  plans.  Since  directing  "The  Goose 
Woman,"  "The  Eagle"  and  "Kiki,"  he  is  taking  plenty 
of  time  to  decide  on  his  next,  because  it  must  be  his  best 
yet.    And  I'm  betting  it  will. 


had  luncheon  with  dear  old   Uncle  Carl   Laemmle  at 

Universal  the  other  day  and  I  am  afraid  he  wont  invite 

me  again.    Unfortunately  I  am  not  a  "yes  man,"  of  which 

characters  Hollywood  is  full — 
I  mean  those  who  say  only 
nice  things  and  who  never 
dare  to  offer  a  friendly  criti- 
cism. Poor  Uncle  Carl  is  and 
always  has  been  surrounded 
with  "yes  men"  and  I  doubt 
if  he  really  knows  what  is  go- 
ing on  and  just  where  his 
company  stands.  He  knows 
he's  making  money  and  that's 
about  all.  I  want  to  see  Uni- 
versal "come  back"  and  get  in 
with  the  big  ones  and  do 
things,  but  I  fear  thev  never 
will. 


Defore  any  picture  goes  out 
of  Hollywood  it  is  given  a 
try-out  at  one  of  the  smaller 
theaters,  and  sometimes  at 
two  or  three.  They  plant  scouts 
around  and  a  few  dozen  "yes 
men,"  and  try  to  find  out  how 
the  picture  "goes,"  then  they 
take  it  back  to  the  studio  and 
correct  it  accordingly.  They 
try  to  keep  me  and  other 
critics  away  from  these  pre- 
liminary previews,  because 
{Continued  on  page  72  i 


53 


. 


Muray 

Charles    Emmett    Mack    was    raised    among    the    Pennsylvania 

miners.    He  was  a  member  of  the  Griffith  studio  crew  when  the 

dean  of  directors  selected  him  for  a  role  in  "Dream  Street" 


SOUNDS  like  the  title  of  an  old-fashioned  dime  novel, 
doesn't  it?  But  it  is  the  true  story  of  Charles  Emmett 
Mack.  .  .  . 

The  young  actor  has  just  finished  making  "The  Unknown 
Soldier,"  a  role  for  which  leading  men  fought  and  bled  even 
as  feminine  stars  once  struggled  over  Peter  Pan,  yet  it  is 
not  so  long  ago  that  directors  were  calling : 

"Oh,  Charlie,  get  me  a  kitten  that  will  look  like  this  one 
did  before  she  grew  up !"     Or 

"Say,  I've  gotta  have  a  knife  that'll  look  dangerous,  but 
the  baby  has  to  pick  it  up,  so  it  mustn't  be  dangerous — and  a 
couple  calves  marked  alike — yes,  and  a  lamp  from  a  forty- 
niner  stage  coach,  by  one  o'clock,  Charlie !" 

Before  that,  tho,  Charles  Emmett  Mack  was  a  studio  guide 
in  the  Griffith  Mamaroneck  Studios.  He  used  to  take  parties 
of  visitors  over  the  sets. 


Prop  Boy 


to 


STAR 

By 

Alice  L.  Tildesley 


because  that  was  the  real  thrill.  He'd  look  at 
me  when  we'd  come  in,  but  he'd  never  speak. 
I  always  thought  that  he'd  manage  to  worry 
along  if  I  never  came  back. 

"Then  I  got  into  the  property  room. 
Naturally,  I  saw  more  of  Mr.  Griffith.  He 
wasn't  like  the  others — he  always  made  it 
easy  to  get  things  from  him.  You  know  the 
definition  of  a  prop  man :  'A  fellow  who 
wants  to  borrow  something.'  And  you  know 
how  popular  that  makes  one. 

"One  day,  I'd  gone  down  to  his  set  for 
some  reason,  and  was  sitting  on  the  curb 
waiting  for  a  bus  to  go  back,  when  Mr.  Grif- 
fith came  out  after  me. 

"  'Come  and  rehearse  this  scene,'  "  he  in- 
vited me. 

"I  was  just  a  kid  and  I  thought  he  was 
making  fun  of  me.  'No  thanks,'  I  said,  'I 
came  to  this  studio  to  learn  to  be  a  director. 


I 


Griffith's  Prop  Boy 

was  allowed  five  minutes  on  each 
set,"  he  explained,  "and  I  used  to 
think  up  rtew  jokes  every  night  to  spring 
on  them  next  day.  We  went  on  Mr. 
Griffith's  set  whenever  he  was  working, 

54 


Charles  Emmett  Mack's 
first  appearance  as  an 
actor,  opposite  Carol 
Dempster  in  "Dream 
Street" 


Abbe 


Griffith  Made 

Charles 

Emmett 

Mack 

Into  an  Actor 


I  couldn't  consider  being  an 
>r.' 

"He  looked  at  me  then — 
I  -and  smiled. 

"  'So  you're  going  to  be  a 
director!  Well,  you  come 
and  rehearse  this  scene  for 
me,  Charlie,'  he  said.  That 
was  the  first  time  he  had 
called  me  'Charlie,'  so  I 
went. 

Then — "Dream   Street" 

"Mr.  Griffith  al ways  re- 

hearsed  for  weeks  be- 
fore he  turned  one  crank  of 
the  camera.  I  rehearsed  the 
part  in  'Dream  Street'  with 
everyone  on  the  set  kidding 
me.  I  didn't  know  whether 
or  not  it  was  all  a  joke, 
sometimes.  But  I'd  been 
around  a  studio  two  years 
and  I'd  picked  up  a  little.  I 
liked  the  part  and  Mr. 
Griffith  was  wonderful. 

"One  day,  after  we'd  re- 
hearsed the  last  scene,  Carol 
Dempster,  Ralph"  Graves 
and  I  were  sitting  in  a  row 
on  a  bench  when  Mr.  Grif- 
fith came  up. 

"  'Got  your  clothes  for 
the  picture?'  he  asked. 
Carol  and  Ralph  both  said 
■Yes.'  and  Mr.  Griffith 
turned  to  me  and  said : 
•That  suit'll  do,  Charlie.' 

'"Oh,  no!  This  isn't  the 
kind  of  suit  I  want,'  I  re- 
turned. You  see,  I  was 
born  and  brought  up  in  the 
anthracite  region  where  im- 
migrants come  in  just  'as 
and  I  knew  exactly 
what  the  boy  as  I  saw  him 

should  wear.  Mr.  Griffith  let  me  have  my  way.  I  think 
he  was  pleased  that  I  had  ideas.  At  any  rate,  that  was  the 
first  time  I  was  absolutely  sure  there  was  no  mistake  about 
my  playing  the  part. 

"The  first  time  I  saw  myself  on  the  screen  I  thought 
I  couldn't  stand  it.  We  were  all  in  the  projection  room 
looking  at  the  rushes  of  my  first  day's  work.  I  couldn't 
think  of  the  shadow  on  the  screen  as  myself — I  thought 
of  it  as  'It.'  I  saw  this  thing  sneak  in.  It  had  such  big 
ears  and  such  a  strange  nose.  Its  mouth  seemed  to  be  all 
over  its  face.  And  then  suddenly  it  turned  around  on  me 
and  I  bolted  out  of  the  room. 

"Mr.  Griffith  sent  for  me  and  had  me  sit  by  him  while 
he  showed  me  what  was  wrong  and  why.     I  thought  it  all 


Not  so  many  years  ago 
Brothers  circus.     Now 


Kuth  Harriet  I.ouisr 

Charles  Emmett  Mack  was  a  peanut  vender  with  Ringling 
he's  looked  upon  as  one  of  the  screen's  most  promising 
young  actors 


terrible,  but  he  seemed  to  think  it  good,  and  so  I  kept  on 
acting  instead  of  going  back  to  the  property  room." 

Raised  Among  the   Miners 

"The  Macks  were  Irish,  which  was  possibly  the  reason 
Charles  could  wheedle  anything  from  crested  card  trays 
to  the  gardener's  baby  out  of  reluctant  "prospects"  when 
he  was  a  prop  boy.  The  Irish  tongue  was  also  no  doubt 
the  cause  of  his  forgivable  alibis  when  black  swans  or 
thirteenth  century  swords  failed  to  measure  up  to  direc- 
torial desires. 

But  when  Charles  was  little,  his  playmates  were  as  likely 
to  be  Czechs  or  Poles  or  Russians  as  native  Pennsylvanians. 
(Continued  on  page  88) 

55 


Ruth  Harriet  Louise 


GRETA  GARBO 


The  Scandinavian  meteor  is  to  play  opposite  Jack  Gilbert  in   "The   Undying    Past."     The   mercury   ought   to   touch 

its  highest  point  of  the  summer  in  their  love  scenes 


56 


The  KID  From 

CAPE   COD 


By  Mary  B.  Chapman 


DAREOS,    Hollywood's    favorite   crystal-gazer,   left 
the  table  of  well-known  rtars  at   Marion   Davits' 
party  and  walked  across  the  room  to  one  at  which 
an  obscure  young  player  named  Charles  Farrell. 
■'You  should  be  happy,"  Dareos  observed,  in  that  far- 
voice  of  his.    "Your  future  holds  the  biggest  prom- 
!   any  man's  on  the  screen." 
Charles  Farrell  beamed  at  the  seer,  as  he  would,  1 
believe,  beam  at  an  enemy  if  it  were  possible  to  con- 
ceive of  Charles  as  having  an  enemy.      But   he  didn't 
pay  much  attention  to  the  prophecy.     He  thought  it 
was  just  part  of  the  party.  .   .   . 

Opportunity    in    "Old    Ironsides" 

A\n  now  Charles  Farrell  is  playing  the  most  coveted 
juvenile   lead   of   the   year,    the   part    of   the    Com- 


modore  in   "Old    Ironsides."   after   nearly   three   years 
in  extra  roles 

He  sat  on  the  rocky  beach  at  Catalina,  stripped  to 
the  waist  and  barefoot, 
chained  with  an  iron 
chain  to  George  Ban- 
croft, who  was  similarly 
bound  to  Wallace  Beery, 
in  turn  manacled  to 
George  Godfrey,  negro 
champion  of  the  ring. 
The  rocks  were  sharp, 
the  sun  was  blistering, 
and  leg-irons  chafed 
and  cut  in  the  rougher 
action  of  their  scenes. 
First  aid  was  continu- 
ally being  called  on  be- 
tween clicks  of  the 
cameras  as  the  four 
escaping  captives  fought 
and  struggled,  slipped 
and  scrambled  among 
the  jagged  boulders  at 
the  edge  of  the  blue  sea. 

"Isn't  it  great?"  cried 
Charles,  in  an  interval 
between  shots.  "We've 
been  inseparable  for 
two  weeks — we  four — 
and  soon  we  have  to 
swim  out  to  the  Esther. 
chains  and  all !" 

He  seemed  pleased  at  the  prospect. 

"We've  done  about  everything  else — been  lost  at  sea, 
almost  wrecked  on  Dead  Man's  Island,  dropped  over 
walls,  been  in  every  kind  of  fight — oh.  yes,  we  still  have 
the  big  battle  scenes  and  the  explosions!  After  I  had 
worked  in  the  picture  for  three  days,  I  went  out  and  got 
my  life  insured  for  twenty-five  thousand  dollars,  took 
accident  insurance  and  everything,  so  it  doesn't  matter. 


Charles  Farrell 
played  extras  for 
Fox  and  small 
roles  with 
Warner.  Now 
James  Cruze  has 
given  him  the 
leading  role  in 
"Old  Ironsides." 
Farrell's  oppor- 
tunity is  here. 
Left,  as  he  ap- 
pears in  "Old 
Ironsides" 


«^T  jF .^F  I'm  bavin- 
jr^r    \\\e     linn 
Xmv  life!" 
^^^Ile    looked    it. 
^^wilh    bis    laughing 
brown     eyes,     his     hair 
wind-blown     and     bis     di-- 
irming    smile.      His    is    truly 
"the  face  pf  one  who's  steppin' 
to  a  fair."  as  the  Irish  say. 

Distinct  Irish  Type 

Deople  are  always  picking  out  a 

successor  to  the  beloved  Wallace 
Rcid — so  why  shouldn't  I  ? 

Part  of  Wallie's  hold  on  fan- 
was  his  hold  on  those  immediately 
around  him.  Charles  has  that 
fascination  off  the  screen — now  if 
he  can  get  it  over  on  the  screen ! 

When  he  played  his  scenes  in  the 
rigging  of  the  Esther,  a  sailor 
by.  Not  that  he  could  do  anything 
if  Charles  fell  but  just  for  "moral 
support."  An  ex-prize-fighter 
waited  with  a  warm  robe  during 
Charles'  scenes  in  the  storm  and 
had  a  berth  and  hot  coffee  ready 
for  the  almost  frozen  young  actor. 
They  used  to  do  things  like  that 
for  Wallie. 

And  Wallie  used  to  do  the  sort 
of  things  Charles  does. 
The  Esther  went  out  looking  for  a  storm,  for  far  be  it 
from  Jim  Cruze  to  use  wind-machines!  They  looked  for 
ten  days  and  returned  disappointed.  Xo  sooner  bad 
supplies  been  removed  from  the  ship  and  everyone  landed 
than  clouds  appeared  on  the  horizon  and  the  Pacific  began 
to  belie  its  name. 

"Everybody  with  me""  asked  Mr.  Cruze. 
"Aye,  aye.  sir!"  chorused  the  cast,  in  proper  seagoing 
style. 

(Continued  on  page  74  i 

57 


Ramon  Novarro,  of  "The  Man  from   London,"  John   Gilbert,  of 

"Bardelys  the  Magnificent,"  and  Roy  D'Arcy,  of  "The  Temptress," 

compare  mustaches  and  use  a  rule  to  do  it 


Marceline  Day,  appearing  in  "Toto," 

does  an  imitation  of  Charlie  Chaplin 

in  "The  Gold  Rush" 


Letters  to  King  Dodo 


Hollywood. 
Dear  Majesty : 

I  HAVE  just  returned  to  the  twentieth  century  after 
living  for  a  few  days  in  the  early  part  of  the  nine- 
teenth. Your  Majesty  is  familiar  with  the  theory 
advanced  by  Bergson,  Ousprensky  and  other  mystic 
philosophers — the  theory  that  time  and  space  do  not  really 
exist,  and  everything  that  ever  was  or  ever  will  be  is 
accessible,  if  we  have  the  key. 

My  experience  in  the  last  few  days  leads  me  almost  to 
accept  this  theory.  For  I  was  as  completely  isolated  in 
the  period  of  1812  as  if  I  had  never  lived  at  any  other 
time. 

I  was  aboard  the  good  ship  Esther,  which  sailed  from 
Salem,  Massachusetts,  in  the  spring  of  1812  and  was 
captured  by  Barbary  pirates  and  rescued  by  the  frigate 
Constitution.  The  Esther  lay  at  dock  on  the  Isthmus  at 
Catalina  Island.  This  side  of  the  island  was  deserted 
except  for  the  Paramount  players  who  represented  the 
village  life  of  that  earlier  day  and  the  crews  of  the 
thirty-odd  ships  which  are  being  used  in  the  filming  of 
"Old  Ironsides." 

The  Cabrillo,  one  of  the  largest  of  the  ships  in  this 
fleet,  on  which  the  cast  of  "Old  Ironsides"  is  quartered, 
was  afloat  for  two  weeks  without  landing.  During  this 
time  she  was  caught  in  one  of  the  violent  storms  that 
have  scourged  the  peaceful  waters  of  the  Pacific  this  last 
spring,  and  for  hours  she  ran  before  the  wind,  a  toy  in 
the  hands  of  Providence. 

The  village  at  the  Isthmus  is  a  picturesque  collection 
of  wharves,  warehouses,  and  roistering  taverns.  Sailors 
of  a  hundred  and  fifty  years  ago  swagger  thru  its  streets 
in  ballooning  trousers  and  straw  hats  from  which  long 
ribbons  float.  In  a  sunny  nook  on  the  docks  an  old  salt — 
Wallace  Beery  or  George  Bancroft — will  be  lounging. 
At  the  entrance  of  the  Pilgrim's  Inn  a  noisy  group  will 


58 


stand,  persuading  a  recruit,  well  plied  with  grog,  to  ship 
for  foreign  ports. 

Altogether,  it  was  an  amazing  experience  for  1926. 
And  when  I  returned  to  my  native  habitat  of  Hollywood, 
the  sight  of  speeding  automobiles  and  the  flappers  in  their 
abbreviated  skirts  struck  me  with  dumb  wonder. 


Hollywood. 

Dear  Majesty : 

Ceom  the  maritime  scene  of  the  early  nineteenth  century, 

which  I  endeavored  to  picture  for  Your  Majesty  in  my 
last  letter,  I  took  a  radical  departure  and  went  with  an- 
other Paramount  company  into  the  midst  of  the  Arizona 
desert. 

Here,  on  a  waste  of  sand,  stretching  as  far  as  we 
could  see,  under  a  sun  which  caused  the  thermometer  to 
register  as  high  as  115  degrees  in  the  shade,  a  square 
mud  fortress  had  been  erected  for  the  battle  scenes  of 
"Beau  Geste."  There  was  a  grimness  about  this  desert 
which  impressed  us  immediately  upon  arrival.  And 
before  we  left,  the  desert  had  taken  its  toll.  Diph- 
theria and  dysentery — dread  monsters  that  had  lurked 
•concealed  among  our  company,  came  out  now  and 
boldly  attacked  us.  One  extra  player  died ;  many  were 
ill  for  days.  The  disabled  were  removed  to  hospitals  in 
the  nearest  towns  and  everything  was  done  to  alleviate 
their  suffering. 

The  picture  went  on — for  pictures  must  go  on,  just  as 
a  circus  performance  must  continue,  altho  the  lions  have 
eaten  their  trainer.  At  night,  after  work,  some  of  us 
would  gather  in  Ronald  Colman's  tent  and  try  to  drive 
away  the  evil  genius  of  the  desert  by  making  disagreeable 
sounds  on  musical  instruments.  Ron  torments  the  har- 
monica, Ralph  Forbes  can  blow  an  eery  blast  on  the 
bugle,  and  Neil  Hamilton  is  able  to  torture  a  saxophone 
until  it  groans  in  agony. 


The    Duke   of    Connaught    visits    Rex 

Ingram    at     Nice    during    filming    of 

"The  Magician" 


Here's   a    surprise!     The    one    whiskerless    gent    of    this    trio    is 

Albert  Smith,  of  the  famous  cough-drop  company.     The  others? 

George  Bancroft  and  Wallace  Beery  of  "Old  Ironsides" 


By  Don  Ryan  and  Frederick  James  Smith 


"Beau  Geste,"  as  Your  Majesty  may  know,  is  a  story 
of  the  French  Foreign  Legion.  Much  of  the  action  takes 
place  in  the  Egyptian  desert.  There  is  a  Bedouin  attack 
on  the  fort,  a  spectacle  rendered  more  grisly  by  the 
silent,  beating  sun  and  the  vast  expanse  of  deathly 
wasteland. 


Hollywood. 
Dear  Majesty : 

I/'nowim;  well  the  interest  Your  Majesty  has  expressed 
at  various  times  in  the  social  life  of  Hollywood — so 
different  from  the  quiet  evenings  on  Your  Majesty's 
beautiful  Island  of  Oz — I  shall  endeavor  to  remember 
something  of  what  occurred  on  the  fete  of  St.  Patrick's 
Day,  as  it  was  celebrated  at  the  Beverly  Hills  domicile  of 
Lew  Cody. 

Lew  is  one  of  those  rare  bohemians  who  appreciate 
comforts.  His  place  is  called  the  Old  Boot  and  Goat. 
This  name  conveys  the  atmosphere  of  the  house.  It  is 
like  an  English  inn  of  a  past  generation.  Stairs  lead 
downward  to  a  rathskeller,  half  under  ground,  the  walls 
are  hung  with  rare  old  theater  programs  and  photographs 
of  famous  players  long  since  dead. 

The  elite  of  the  film  world — as  the  society  editor  would 
say — were  present  that  evening.  Around  the  oaken  table 
in  the  center  of  the  room  were  gathered  Renee  Adoree, 
Renee's  sister  comique,  Priscilla  Dean,  Gaston  Glass, 
Hoot  Gibson,  and  Charley  Ray.  wearing  a  dinner  suit 
with  a  green  necktie.  In  an  ingle-nook  sat  John  Gilbert 
and  Jack  Pickford,  exchanging  confidences.  John  Steel 
came  over  from  the  Oq)heum  and  sang  for  us.  The  fare 
provided  by  the  hospitable  Lew  was  none  of  the  cream- 
puff-and-tea  variety  such  as  Pola  Negri  might  dispense, 
but  rather  good  baked  beans  and  onions,  roast  fowls,  a 
shoulder  of  ham  and  scuttles  heaped  with  corned-beef 
hash. 


Lew  had  to  excuse  himself  at  midnight  and  retire  to 
his  chamber.  He  had  just  received  a  call  to  "be  on  the  set 
at  nine  o'clock."  Lew  was  engaged  at  that  time  on 
Metro-Goldwyn-Mayer's  picturization  of  "Toto,"  the 
stage-play  immortalized  by  Leo  Dietrichstein.  Lew  in 
the  beard  and  earrings  of  Othello  should  be  a  new  thrill 
for  his  many  girl  admirers.  There  is  plenty  of  subtle, 
sophisticated  acting  in  the  story,  the  >ort  of  acting  in 
which  Lew  Cody  excels,  but  M-G-M  has  been  careful  t" 
give  it  a  nice  sweet  ending,  which  successfully  demoli-lie- 
the  spirit  of  the  original. 


Hollywood. 
Dear  Majesty  : 

|r  I  may  be  pardoned  the  pun  in  Your  Majesty's  pres- 
ence, I  should  say  that  John  Gilbert  promises  to  be  truly 
magnificent  in  "Bardelys  the  Magnificent,"  the  story 
from  Rafael  Sabatini's  novel  which  is  being  directed  by 
King  Yidor  for  Metro-Goldwyn-Mayer. 

I  saw  Jack  working  in  one  of  the  scenes  as  Bardelys 
and  was  impressed  by  the  perfection  of  his  art.  The  hero 
of  "The  Big  Parade"  was  in  quite  different  dress  and 
mood.  His  dress  was  a  leather  jerkin  trimmed  with 
silver  braid  and  a  sword  at  his  side.  He  was  stained  with 
mud  and  gore,  having  just  come  thru  one  of  the  numer- 
ous encounters  in  which  this  story  of  adventure  in  the 
picturesque  years  of  the  seventeenth  century  abounds. 
As  I  sidled  up  to  the  scene,  the  fugitive  Bardelys,  hid- 
ing in  the  house  of  his  prospective  father-in-law.  came 
to  the  grilled  door  separating  his  lady's  bedchamber  from 
the  balcony  on  which  he  stood,  and  peered  thru. 

The  eyes  of  the  wounded  lover,  hungry  with  desire. 
searched  the  room.  His  eyes  sent  their  appeal  thru  the 
grilled  aperture  so  potently  that  his  glance  seemed  fairly 
to  crackle  in  the  charged  air.  The  door  opened  slowly  as 
his  hand  moved  the   latch  and   the  splendid,  bedraggled 


59 


Jack  Holt  and  his  family,  including  Betty  and  Jack,  Jr.,  who 

used  to  be  called  Tim.     The  children  returned  to   Hollywood 

recently  from  a  trip  East 


Lois  Wilson  returns  to  Los  Angeles  and 

is    welcomed     by     her     younger     sister, 

Constance 


figure  crossed  the  threshold — moving  into  the  camera  for 
a  close-up — large,  passionate,  yearning.  Not  acting — 
living.  From  the  hardened  juicer  at  a  stand  of  lights  a 
sigh  and  "Gee !"  Highest  tribute  to  acting  that  takes  its 
place  with  the  best  on  the  screen  today. 

Under  Vidor's  direction  "Bardelys  the  Magnificent" 
is  taking  form  as  a  dashing,  romantic  piece — no  effort 
to  psycho-analyze*  anybody — merely  a  rattling  good  ad- 
venture story,  but  done  with  artistry  and  authenticity 
that  should  attract  the  discriminating  as  well  as  the  in- 
discriminate of  movie-goers. 


Hollywood. 

Dear  Majesty : 

W/£  weary  writers  of  the  screen  have  our  moments-  of 

.  relaxation.  I  have  already  told  Your  Majesty  some- 
what flippantly  how  we  enjoy  these  precious  moments  at 
the  Writers'  Club. 

But  joking  aside,  the  Writers  have  been  producing  a 
string  of  excellent  one-act  plays.  Indeed,  these  theatrical 
inventions  of  the  Writers  are  about  the  only  amusement 
for  sophisticated  amusement-seekers  in  a  desert  of  plays 
and  pictures  designed  to  capture  the  interest  of  the  eight- 
year-old  mind.  Harry  Singer,  head  of  the  Orpheum 
circuit,  went  so  far  as  to  remark  to  me  recently  that  the 
Writers'  plays  present  the  best  acting  in  America  at  the 
present  time. 

There  was  an  amusing  evening  at  the  Club  on  April  1. 
The  announcement  said  that  Washington's  Birthday  and 
the  return  of  Major  Hughes  (who  is  being  groomed  for 
a  colonel  of  reserves)  from  the  War  College  would  be 
celebrated  simultaneously  on  this  evening.  Indignant 
protests  were  received  from  Sons  and  Daughters 
of  the  Revolution,  but  the  celebration  went  on  just  the 
same. 

After  dinner  the  curtain  went  up  and  on  the  stage  at 
the  end  of  the  assembly  room  was  presented  the  Wash- 
ington's Birthday  Exercises  of  the  Rupert  Hughes 
Grammar  School.  Donald  Ogden  Stewart,  that  uncanny 
Scot,  was  the  principal.  Our  President — the  Major — 
responded  by  telling  us  the  low-down  on  his  widely 
quoted  Washington's  Birthday  speech  in  Washington. 
Major  Hughes  said  that  his  speech,  describing  the  Father 


of  Our  Country  as  a  Good  Scout,  was  well  received  by 
all  the  Sons  of  the  Revolution  present  except  one  Son 
who  was  slightly  stewed.  And  it  was  this  old  boy  who 
made  the  holler  because  Major  Hughes  described  George 
Washington  as  a  gentleman  who  would  take  a  drink 
occasionally ! 


Hollywood. 

Dear  Majesty : 

Vour  Majesty  has  often  graciously  expressed  his  curi- 

osity  at  the  amazing  methods  of  motion  picture  manu- 
facture. Here  is  another  example  of  the  mysterious 
workings  of  studio  minds. 

William  Fox  is  making  "What  Price  Glory."  Xow 
when  M-G-M  filmed  "The  Big  Parade,"  by  Laurence 
Stallings,  joint-author  of  "What  Price  Glory,"  they  had 
the  good  taste  to  shoot  the  works.  Titles  and  action  gave 
a  realistic  picture  of  the  war.  True,  those  movie-goers 
unfortunate  enough  to  live  under  censorship  lost  much 
of  the  picture,  but  those  fortunate  enough  to  live  where 
there  is  still  liberty  of  thought,  enjoyed  a  cinematic 
masterpiece. 

It  is  Fox  policy  to  make  nothing  that  can  be  censored. 
Now  "What  Price  Glory"  is  all  highly  censorable — 
from  the  distorted  view-point  of  the  average  movie 
censor.  You  would  naturally  suppose  that  Fox  would 
select  an  uncensorable  piece  to  begin  with,  but  that 
is  not  the  way  things  are  done  in  the  movies.  In- 
stead, we  shall  see  an  expurgated  version  of  "What 
Price  Glory"  with  -most  of  the  kick  taken  out.  Fox 
is  filming  a  series  of  stage  successes  and  it  is  not 
beyond  the  range  of  probability  that  he  may  get  around 
to  some  of  the  masterpieces  of  Shakespeare  and  other 
Elizabethan  dramatists.  If  so — God  help  the  Elizabethan 
dramatists ! 

On  the  other  hand,  Fox  can  take  a  stage-play  such  as 
"Pigs,"  have  it  adapted  by  a  clever  fellow  such  as  Al 
Cohen,  and  produce  a  passable  picture:  In  "Pigs"  the 
leading  man  is  Richard  Walling.  He  was  shooting  still- 
camera  on  the  Fox  lot  when  somebody  grabbed  him  off 
for  the  type-hero  of  this  piece.  Every  film  juvenile  in 
Hollywood  had  been  tested  and  found  wanting  when  this 
youth,   who   never  acted   before,   stepped   into  the  part. 


60 


Between  scenes  of  "Lovey  Mary"  Bessie  Love 

and     Director      King      Baggott     discuss     the 

weather 


Remember  the  "baby"  of  "The  Unholy  Three"?  Here  he  is 
again  visiting  Douglas  MacLean.  Name?  Harry  Earles.  Re- 
member when  he  shook  the  toy  elephant  with  the  jewels  inside? 


iod. 

Dear  Majesty  : 

Ft  looks  as  tho  Warner  Brothers  are  over  the  hill — for 

the  time  being.  The  creators  of  Classics  of  the  Screen 
were  very  (.lose  to  the  rocks  during  recent  months.  They 
have  just  been  subsidized  by  Los  Angeles  bankers  to  the 
extent  of  two  millions — not  a  large  sum  as  money  goes 
in  the  movies,  but  enough,  perhaps,  to  enable  them  to 
break  the  strangle-hold  which  the  Lasky-Zukor-Loew 
combine  had  on  their  throats. 

The  Warner  boys  did  a  shrewd  piece  of  business  in 
Raymond  L.  Shrock  as  associate  executive  to 
function  with  Jack  Warner  in  charge  of  production. 
rock,  formerly  head  of  Universal,  is  that  rare  com- 
bination in  pictures,  a  business  man  who  knows  literature 
and  dramatic  art.  I  am  expecting  a  consequent  improve- 
ment in  the  quality  of  Warner  Brothers  Classics. 

The  Warners  will  lose  John  Barrymore  after  the  pic- 
ture on  which  he  is  now  engaged.  They  have  a  flashing 
new  star  in  Dolores  Costello.  whom  they  wisely  sewed  up 
with  a  long-term  contract  when  the  other  studios  would 
have  none  of  her. 

Strange  to  relate,  Helene  Costello  is  a  much  prettier 
girl  ami  possesses  about  the  same  talent  as  her  favored 
r,  Dolores.  But  Dolores  got  the  breaks  in  pictures. 
Helene  has  the  best  part  she  ever  was  given  with  Ray- 
mond Griffith  in  "Wet  Paint"  for  Paramount.  Both  the 
sister>  were  working  as  extras  with  Paramount  at  the 
Eastern  studio  when  the  Warners  picked  them  up  and 
put  them  under  contract.  Xow  the  Warners  have  the 
pleasure  of  lending  Helene  at  a  goodly  sum  to  her  former 
employers. 


Hollywood. 

Dear  Majesty : 

The  first  pieces  to  come  out  of  the  Universal-Ufa  mill 

are  being  awaited  with  curiosity  by  the  celluloid  critics 
hereabout.  One  of  the  first  of  the  new  series  to  be  made 
under  the  hands-across-the-sea  arrangement  for  exchang- 
ing directors  with  Germanv  is  to  be  called  "Love  Me  and 
the  World  is  Mine." 

The  title  is  indicative  of  a  result  that  will  be  a  strange 
conglomeration.     The  title  is  American — the  director  is 


the  celebrated  Continental.  A.  E,  Dupont — and  the  origi- 
nal story  was  "The  Affairs  of  Hannerl,"  by  Rudolph 
Hans  Bartsch,  an  Austrian  novelist. 

Mary  Philbin  and  Betty  Compson  have  leading  roles. 
The  picture  will  be  in  the  nature  of  a  sequel  to  "The 
Merry-Go- Round." 

The  German  cinema  has  shown  promise  of  a  high 
artistry.  Is  it  going  to  be  Americanized  thru  the  efforts 
of  Carl  Laemmle,  or  will  it  maintain  its  own  integrity 
while  elevating  the  tone  of  Uncle  Carl's  American 
product ? 

Your  Majesty  can  well  understand  why  we  await  the 
first  of  the  cross-bred  pictures  with  curiosity  and  some 
little  alarm. 


Hollywood. 
Dear  Majesty  : 

Mot  to  be  outdone  by  Metro-Goldwyn,  Paramount  and 
First  National,  who  have  established  their  own  houses 
or  made  arrangements  with  chain  theaters  to  display  their 
pictures,  Producers  Distributing  Corporation  have  been 
studying  this  merger  business  ever  since  they  embarked 
upon  the  idea  of  making  Bigger  and  Better  Films. 

Your  Majesty  has  seen  the  way  the  wind  was  blow 
from  the  time  Cecil  B.  De  Mille  became  Producers'  guid- 
ing spirit.     The  Ince  studios  were  acquired — and  then  the 
Metropolitan.     And   just   to  keep  the   pot   a-boiling,   the 
Christies  hopped  on  the  P.  D.  C.  band  wagon. 

What  was  the  result,  Your  Majesty?     Why  the  realiza- 
tion of  one  of  the  biggest  producing  plants  in  Hollywood. 

But  that  is  not  all.  The  B.  F.  Keith  vaudeville  inter 
have  wanted  to  get  into  the  picture  field  for  many  years. 
For  forty  years  the  Keith  organization  has  been  engaged 
in  vaudeville,  which  under  F.  F.  Albee's  regime  has 
established  itself  solidly  in  all  the  cities  of  the  country 
What  did  this  man  Albee  do?  Why.  he  took  his  time 
and  realized  that  his  opportunity  arrived  with  Producer^. 
So  the  powers  higher  up  signed  on  the  dotted  line  and 
the  film  company  as  a  result  of  signing  their  "John  Han- 
cocks" will  have  approximately  four  hundred  theaters  in 
a  chain  extending  from  coast  to  coast. 

With  such  an  extensive  chain  Producers  are  assured  of 
exhibiting  their  product  in  first-run  theaters  everywhere. 


61 


/ 


1 

"Up  in 

Mabel's 

ROOM!" 


Al  Christie,  master  of  the  film  farce,  has  just  transferred 
"Up  in  Mabel's  Room"  to  the  screen.  This  comedy  was 
looked  upon  as  a  bit  rakish  and  peppy  when  it  was 
presented  behind  the  footlights  by  Al  H.  Woods,  famed 
for  his  near-naughty  bedroom  farces 


Piquant  Marie  Prevost  plays  Mabel  whose  lost — er — under- 
garment causes  a  hundred  complications  at  a  house-party. 
Harrison    Ford   is    Garry,   the   other   chief   victim   of   the 
complications 


62 


The  Answer 


[nan      1  lei  i-  we  arc  and  an- 
other month  gone.     Richard   Uix   is 
playing    in    "Say    It    Again,"    which 
formerly     "Take    a     Chance." 
U  "Adam's  apple  is  something 
landed    him    that    he    couldn't 
>wallo\v."      Yes.   and   that's   no  apple 


THE  ANSWER  MAN  is  at  your  tervice.  If  you 
want  an  answer  by  mail,  enclose  a  stamped  addressed 
envelope.  If  you  wish  the  answer  to  appear  in  THE 
CLASSIC,  write  at  the  top  of  your  letter  the  name 
you  want  printed,  and  at  the  bottom  your  full  name 
and  address.  Address:  The  Answer  Man,  Motion 
Picture    Classic,    176    DuPReld    Street,    Brooklyn,    N.    Y. 


sauce. 

Another  Dixie  Fan.— Your  the- 
ater  is   the   only   one  that   gave  out 

Harold  Lloyd  buttons.  "For  Heaven's  Sake"  has  been 
playing  at  the  Rialto  Theater  on  Broadway  for  the  last  six  weeks 
and  is  there  at  this  writing.  He  surely  has  no  equal.  His  next 
will   be   "The    Mountain    Lad.  '    with    Jobyna    Ralston. 

Madeline  1'.  D. — So  you  think  it  is  warm  enough  for  me  to 
have  my  beard  removed.  I  wouldn't  be  able  to  answer  these 
questions  if  I  did  that.  William  Boyd  is  playing  in  "Her  Man  O' 
War"  with  Jetta  Goudal. 

Edn  \  D.  T. — Your  letter  reminded  me  of  the  old  joke — "Are 
you  the  mate  of  this  ship?"  said  a  passenger  to  the  cook."  "No, 
sir,  1  am  the  man  that  cooks  the  mate,"  said  the  Irishman.  That 
dates  back  to  when  I  was  a  child.  James  Kirkwood  is  playing 
with  Laura  Ijl  Plante  in  "Butterflies  in  the  Rain." 

Kanga.— No,  I  never  counted  my  vocabulary,  but  the  average 
man  speaks  about  twelve  thousand  words  a  day.  George  B.  Seitz 
directed  "The   Vanishing  American."     See  you  later. 

Blanche  A.  L. — Yes,  Mabel  Xormand  is  going  to  play  for  Hal 
Roach,  and  she  signed  a  three-year  contract  with  him.  She  just 
finished  her  first  picture,  "Raggedy  Rose."  What's  this,  another 
club,  "The  Better  Picture  Club,  29  Fernwood  Avenue,  Rochester,' 
New  York,"  and  you  want  me  as  an  honorary  member.     Thanks. 

Rollen. — Batter  up!  I  should  say  I  do  go  to  see  the  Brooklyn 
Dodgers.  We  head  the  list  at  this  writing.  Huntly  Gordon  is 
playing  with  Lillian  Rich  in  "The  Golden  Web"  for  Warner. 
Yes,  it  is  difficult  to  rise  to  the  heights,  but  it  is  more  difficult 
to  stay  there. 

Dorothy. — He  must  be  a  sad  fellow  that  nobody  can  please. 
Monte  Blue  has  the  lead  in  "The  Brute,"  from  the  novel  by 
VY.  Douglas  Newton.  So  you  liked  Elinor  Fair  in  "The  Volga 
Boatman."  You  write  a  very  clever  letter.  Let  me  hear  from 
you  again. 

Anthony  O.  B. — Yes,  I  often  think  back  to  when  I  was  a  little 
boy  in  short  trousers.  No,  I  never  ran  to  school,  I  ran  away 
from  it.  Y'ou  know,  he  that  has  led  a  wicked  life  is  afraid  of 
his  own  memory.  Mae  Busch's  last  picture  was  "The  Perch  of  the 
Devil."  Belle  Bennett  and  Ian  Keith  have  the  leads  in  the  stage 
success,  "The  Lily,"'   for  Fox. 

Edmund  Lowe  Fan. — Yes,  I  have  my  buttermilk  every  day. 
I  couldn't  live  without  it.  Barbara  La  Marr  was  born  July  28,  1896. 
H.  B.  Warner  has  signed  a  contract  with  Cecil  De  Mille  for 
one  year.  Dolores  Costello  will  be  starred  with  John  Barrymore 
in  "The  Tavern   Knight." 

Danseuse. — Your  motto  is  very  good,  but  here  is  mine Do 

not  all  you  can;  spend  not  all  you  have;  believe  not  all  you  hear, 
and  tell  not  all  you  know  Well,  I  used  to  do  the  old-fashioned 
waltz  and  the  two-step.  I  wouldn't  venture  the  Charleston  in 
public  for  anything. 

Blanche  B. — Eleanor  Boardman's  birthday  is  August  19,  and 
Philadelphia  was  her  birthplace.  She  was  a  chorus  girl  before 
she  made  her  first  screen  appearance  for  the  Goldwyn  company. 
Ramon  Novarro  was  born  September  20,  1899,  and  he  played  in 
"Where  the  Pavement  Ends." 

Peggy. — You  will  see  John  Bowers  in  "Laddie"  with  Bess 
Flowers.  Until  recently  Miss  Flowers'  hands  were  photographed 
in  close-ups   to   be   used   as   those   of   the   stars.      Betty    Compson 


and    Mary    I'hilbin   in   "Love    Me  and 

the  World   Is   Mine,"  with   Norman 
Kerry. 

Lokktta  P.— Here  we  are.  I  tried 
not  to  disappoint  you.  Walter  Miller 
is  Allene  Ray's  leading  man.  Ronald 
Colman  and  Neil  Hamilton  in  "Beau 
Geste."  Conway  Tearle  is  playing 
with  Mae  Murray  in  "Altar-,  ol 
Desire." 

PaNSY. — Well,  I  guess  I  had  a  raise  since  that  time.  Anyway, 
I  am  getting  $15  per  now.  You  want  to  see  more  of  Rockcliffc 
Fellowes,  Louise  Fazcnda  has  brown  hair.  But  wait  until  you 
sec  John  Gilbert  and  Greta  Garbo  playing  together  in  "The  Flesh 
and  the  Devil." 

S.  O.  S.  Lassie. — Well,  I've  come  to  the  rescue.  Richard 
Barthelmess  is  playing  in  "The  Amateur  Gentleman."  That  re- 
minds me.  A  man  is  known  not  so  much  by  the  company  he 
keeps  as  the  company  he  keeps  out  of.  You  want  a  picture  of 
Jack  Mulhall. 

Louise. —  No,  I  wont  tell  you  whether  Betty  Bronson  is  Catholic. 
I  dont  know,  and  what's  the  difference,  anyway.     Next ! 

Baby  B. — Yres,  Anita  Stewart  is  playing  in  "Rustling  for  Cupid" 
for  Fox.  Standing  still  may  be  easy,  but  it  means  stagnation. 
There  is  a  lot  I  have  to  learn  before  I  die.  Antonio  Moreno  in 
"Love's   Blindness"   with    Pauline   Starke. 

Helen  K. — My  dear  girl,  remember  that  there  is  a  warm,  life- 
giving  sun  behind  that  dark  cloud,  and  that  it  must  soon  break 
thru.  That  was  Ronald  Colman  in  "The  White  Sister."  Mary- 
Brian  and  Buddy  Rogers  are  playing  the  leads  in  the  Peter  B. 
Kyne  story,   "More   Pay,  Less  Work."  Run   in   again   some  time. 

Sheikess. — You  want  a  picture  of  Dorothy  Seastrom.  She 
has  been  in  the  mountains  for  several  months  due  to  illness,  but 
is  back  playing  in  "Delicatessen."  Isn't  such  a  nice  title  for  a 
sick  girl. 

Mk.  and  Mrs. — Well,  speaking  of  love,  there  is  no  house  so 
small  that  it  hath  not  room  for  love ;  there  is  no  castle  so  wide 
that  it  cannot  be  filled  with  it.  Love  can  glorify  mean  things 
and  make  lowly  things  lovely.  Thomas  Meighan  is  happily 
married  to  Frances  Ring.  His  next  picture  will  be  "Tin  Gods" 
and  Metro-Goldwyn  have  loaned  Renee  Adoree  to  play  opposite 
him.     Aileen    Pringle   and    Norman    Trevor   also   in   the   cast. 

Polly  Lee. — Well,  the  first  picture  in  the  world  refers  to  "The 
Transfiguration,"  by  Raphael.  Virginia  Valli  is  playing  in  "The 
Family  Upstairs."  Lois  Wilson  is  to  play  with  Ford  Sterling 
in  "The  Show-Off. "  No,  "Rose-Marie"  has  not  been  produced 
yet,  but  Arthur  Hammerstein  intends  to  do  it  next  year  himself 
with  Renee  Adoree  as  the  lead. 

Florence  L. — Just  write  to  Richard  Dix  at  the  Famous  Players 
Studio,  Astoria,  Long  Island.  I  understand  that  Ernst  Lubitsch 
is  to  produce  three  pictures  a  year,  for  a  period  of  five  years, 
and  he  is  to  receive  a  minimum  of  $150,000  per  picture.  Never 
mind  figuring  how  wealthy  he  will  be  at  the  end  of  the  five  years. 

Cl'Tie. — George  Lewis  is  playing  in  "His  People."  Blanche 
Sweet  is  being  directed  by  her  husband,  Marshall  Neilan,  in 
"Diplomacy."     I  wonder  if  that  is  diplomacy. 

Zoe  C. — So  this  is  your  first  offense.  Welcome  to  the  throne. 
You  say  among  those  who  bring  undesirables  into  America  are 
smugglers  and  the  stork.     Yes,  I  guess  it  is  often  true. 

Minnie. — We  might  as  well  get  acquainted  right  now.  Rudolph 
Schildkraut  is  playing  the  lead  in  "The  Music  Master."  What 
shape  is  a  kiss?     Elliptical.      (A-lip-tickle.) 

Lily    W. — Y'es,    I    certainly    do    like    perfume.      It    takes   about 
50,000  roses  to  produce  one  ounce  of  attar  of  roses.     "Morals  for 
{Continued  on  page  711 


63 


The  Centaur  of  the  Cinema 


about  who  won  the  war.  They  say  the 
taxicab  drivers  won  it,  and  after  ridin'  in 
one  of  their  taxis — say,  did  you  ever  ride 
in  one  of  these  Paris  taxis?" 

We  both  paid  a  tribute  to  the  dare- 
devils who  propel  trusting  Americans 
about  the  streets  of  Paris  at  maniac  speed. 
Mix  went  on : 

"I  was  in  a  taxi  there  and  was  ready 
to  go  back  to  the  ho-tel.  Didn't  speak 
a  worda  French,  but  I  waved  my  arm  in 
what  I  thought  was  the  right  direction. 
There  was  a  square  thare  with 
a  monument  in  it.  I  thought 
I  kept  passin'  that  monument 
too  much  and  come  to  find 
out,  that  taxi  driver  had  been 
drivin'  me  around  that  square 

P 


.(Continued  from  page  23) 

even  get  themselves  a  monocle.  But  I 
noticed  the  foreigners  didn't  seem  to  cater 
much  to  these  people. 

"When  I  went  over  there,  I  didn't  have 
any  intention  of  changin'  my  ways.  I 
wanted  to  see  what  that  country  was  like. 
I  didn't  see  why  I  should  try  and  be  like 
those  people  any  more  than  they  should 
try  to  be  like  me  if  they  come  over  here 
for  a  visit." 


An   Aboriginal   American 


W: 


hat  I  am  try  in  to  say  is  that  Tom 
Mix  is  an  American — an  aboriginal 
American — undiluted  by  foreign  influence. 
As  such  he  deserves  a  great  deal  more 
respect  and  attention  than  the  rest  of  us 
Americans  who,  in  spite  of  our  native 
language  and  habits,  are  pale  copies,  all, 
of   European  models. 

When  I  looked  at  Mix  talking  to  me 
in  his  dressing-room  and 
noted  the  big  white  som- 
brero, edged  in  black — 
which  he  was  still  wear- 
ing— the  vivid  vest,  white 
riding  breeches  and  the 
polished  boots,  and  then 
examined  my  own  reflec- 
tion in  the  mirror  I  won- 
dered which  of  us  would 
look  the  funnier  to  a  vis- 
itor from  some  other 
planet.  I  was  wearing  a 
suit  that  was  a  Holly- 
wood tailor's  endeavor  to 
imitate  a  New  York  tai- 


^/(^v-AVo-^ 


Even  Tom  Mix  was  appalled  by  the  Paris  taxis 


tor  twenty  minutes — faster  'n  a  locoed 
bronc  and  pumpin'  his  horn  all  the  time. 
I  had  a  hell  of  a  time  makin'  him 
understand  I  wanted  to  go  back  to  the 
ho-tel." 

No   Cosmopolite  is   Mix 

IT  here  was  amused  disdain  in  his  voice 

when  Mix  related  the  ineffectual  efforts 
of  his  entourage  to  be  cosmopolites  in 
strange  metropolises.  Mix  is  scornful  of 
any  efforts  by  fellow  countrymen  who  in 
Rome  try  to  do  as  the  Romans. 

"My  wife  and  two  of  the  gang  bought 
French  dictionaries  and  tried  to  learn 
French.  I  got  along  better  by  talkin' 
English.  I  didn't  even  change  any  Ameri- 
can money  into  their  money.  I  always  had 
a  waiter  in  the  restaurants  or  the  clerk 
in  the  ho-tel  who  spoke  English.  And  I'd 
ask  'em  to  -turn  the  check  into  Ameri- 
can money.  When  I  accumulated  a  lot 
of  small  change  in  French,  I'd  give  it  to 
the  kids. 

"One  day  in  a  restaurant  I  said  to  the 
gang,  'Now,  you've  been  studyin0  French 
so  hard,  let's  see  you  order  something  in 
French.'  The  three  of  them  set  there  and 
tried  to  order  port  wine  and  damned  if 
they  didn't  get  asparagus !" 

"It's  funny — a  lot  of  Americans  go  over 
there — try  to  talk  with  an  English  accent 
or  act  Frenchy.     Carry  a  cane  and  maybe 


The   Honesty   of   Mix 

■"The  downright  honesty  of  Mix  struck 
home  forcibly  as  he  talked  in  this 
fashion.  His  honesty  and  a  touch  of  the 
pride  of  a  man  who  is  sufficient  unto  him- 
self. A  quality  that  aroused  a  tardy  ad- 
miration.    A  trait  that  explained  a  lot. 

For  instance,  the  outlandish  garb  affected 
by  Tom  Mix.  Come  to  think  of  it,  his 
garb  is  not  outlandish — it  is  his  native  cos- 
tume. Buckskins  trimmed  in  beadwork, 
showing  the  influence  of  the  plains  Indians. 
Cowboys  always  wore  such  fancy  garb 
when  they  dressed  up — overalls  for  work, 
usually — but  always  the  great  sombrero  of 
finest  felt  and  the  boots  as  costly  as  the 
purse   could  buy. 

Mix  was  and  still  is  a  cowboy.  The 
fact  that  he  has  made  a  fortune  doing 
daredevil  stunts  before  a  movie  camera 
has  not  changed  him  one  whit.  If  he  has 
spent  some  of  this  money  in  childish  van- 
ities— in  putting  his  name  in  colored  elec- 
trics six  feet  high  on  the  roof  of  his 
cottage  at  Catalina  Island ;  in  doeskin 
riding  breeches  and  a  snowy  white  som- 
brero to  be  worn  with  evening  clothes ;  in 
purchasing  the  automobile  horn  of  the  un- 
fortunate ex-Kaiser  Wilhelm  II  as  a  play- 
thing for  his  small  son — if  he  has  com- 
mitted these  and  a  dozen  other  barbarities, 
that,  too,  is  in  character. 


lor's  idea  of  how  an  English  tailor  makes 
clothes.  And  I  had  to  admit  that  the  vis- 
itor from  Mars,  if  he  had  good  taste, 
would  decide  that  Mix  was  dressed  more 
practically  and  more  naturally  and  much 
more  becomingly  than  I.  His  costume 
fitted  the  figure.  The  coloration  was  bold 
and  symphonic.  It  was  what  should  have 
been  our  native  American  costume — what 
the  ignorant  proletariat  of  Europe,  addicted 
as  it  is  to  the  cinema,  still  believes  to  be 
the  American  national  dress. 

To  the  eyes  of  those  worshipful  peas- 
ants abroad,  Tom  Mix  is  the  typical 
American.  They  do  not  see  the  bespec- 
tacled, slack-trousered,  round-shouldered, 
paunchy  horde  who,  alas,  compose  the  bulk 
of  our  population..  Mix  is  the  more  mod- 
ern equivalent  of  such  a  figure  as  Leather- 
stocking.  He  is  what  we  might  have 
been  in  America — except  for  our  accursed 


progress. 


A  Born  Plainsman 


Comebody  told  me  once  that  Tom  Mix  is 
of  Italian  parentage.  His  keen,  swart, 
hawk-like  profile  would  bear  out  such  a 
conclusion.  But  his  speech  and  manner 
are  those  of  the  born  plainsman  and  he 
has  a  cowboy's  provincial,  half-humorous 
contempt  for  the  Latin  races  which  "are 
kinda  hysterical  and  dont  exactly  know 
what  it  is  all  about." 

(Continued  on  page  82) 


64 


The  Story  of  REX 


onthwtd  from  m?- 

ee    ih<-    great 
wild  Jtallion,  the  known 
killrr  "    lie  seldom  dis 
linted    them,       V 
times  hi-  exhibition 
wild  fun    seemed  those 
end  incarnate 

Famed   as   a   "Killer" 

Tiu\  word  of  tin-  stal 
1      m  was   brought   to 
lywood  b>  the  Moi 
brothei  s,  specialists 
iding     Western 
sphere  for  motion- 
ire  companies.     The 
word  came  at  an  auspi- 
-    time   on    the    Hal 
h  lot      For  months 
.man     had     been 
ching  for  a  fit  sub- 
for    a    brand-new 
wild   animal 
something    that 
would  bo  entirel)  out  of 
the    beaten    path       Rex 
rounded  like  a  good  bet. 
Jackman  went  to  Colo- 
redo  to  see  for  himself. 
and  was  more  than  sat- 
isfied. 
The    horse    seemed    too    vicious    to    be 
sported  to  California  at  that  time,  so 
his  first  picture.   "Rex,   King   of  the  Wild 
Horses,"  was  made  there  in  the  picturesque 
terrane  of   Colorado. 

It  was  originally  planned  to  make  only 
the  one  picture,  but  Rex  proved  such  a 
n  sensation  that  others  soon  followed. 
"Black  Cyclone"  was  filmed  in  Nevada  and, 
la-t  summer,  "The  Devil  Horse,"  the  most 
pretentious  of  the  series  so  far,  was  filmed 
in  Wyoming.  Now  preparations  are  under  "CuCH  things  as  galloping  madly  across 
r  a  fourth  feature.  country,  rounding  up  a  herd  of  mares, 

"Making  a  picture  with  an  animal  that       and     fighting     other     stallions,     are     easy. 


The  Rex  company  on  location  for  "The  Devil  Horse,"  with  Gladys 
McConnell  and  Fred  Jackman  in  the  foreground 


me  over  this  phone.  This  does  away  with 
shouting  that  would  only  result  in  making 
Rex  too  nervous  to  handle. 

"Often,  when  you  see  Rex  posed  on  the 
crest  of  a  hill  far  away,  looking  intently 
into  a  hidden  valley,  there  will  be  a  small 
herd  of  mares  in  that  valley  out  of  camera 
range,  carefully  planted  there  to  attract 
and  hold  his  attention. 


Once  Started,  Hard  to  Stop 


.ally  trained,"  Jackman  explained,  "is 
mparatively  easy  matter.  But  with  a 
brute  as  incurably  wild  as  Rex,  it's  an  en- 
tirely different  proposition.  About  all  that 
we  can  actually  do  is  to  let  him  do  the 
things  that  he  really  wants  to  do,  that 
come  natural  to  him,  and  then  fit  the  re- 
sulting scenes  into  our  story. 

"After  a  long  effort,  his  trainer  has 
finally  taught  him  a  few  rudimentary  com- 
mands so  that  we  can 
at  least  slightly  con- 
trol his  actions  before 
the  camera.  He  knows 
that  'Get  going !'  means 
to  start  running ;  that 
'Stop'  means  just  that; 
and  that  'Hold  it'  means 
to  hold  his  pose  of  the 
moment.  He  chewed 
four  dummies  into  tat- 
ters before  he  was 
finally  taught  to  push 
a  man  with  his  nose 
without  taking  a  sample 
bite  of  him. 

"In  fairly  close  shots, 
Rex's  trainer  directs 
him  from  just  outside 
the  camera  lines.  In 
long  shots,  which  are 
usually  taken  in  very 
hilly  country,  the  trainer 
is  usually  near  the  stal- 
lion, but  out  of  sight 
behind  the  brow  of  a 
hill.  We  carry  a  port- 
able field  telephone  out- 
fit on  location,  and  on 
long  shots  the  trainer 
gets  his  directions  from 


Those  are  in  line  with  Rex's  natural  in- 
stincts, and  he  does  them  readily.  The 
only  difficult/  usually  is  to  get  him  to  stop 
when  we  are  thru.  In  fight  scenes  with 
another  stallion,  both  Rex  and  his  opponent 
are  shod  with  rubber  shoes  and  a  protec- 
tive leather  band  fastened  across  their  teeth. 
This  does  away  with  possible  injury  from 
biting  or  kicking.  Otherwise,  they  might  kill 
each  other  before  we  could  separate  them. 


"  I 
mounted 

bj    a 

inn        '1  h< 

herd    the    itallion 

into  control  after  mir  . .  t 

hi-    running 

imetitnes, 
hapm  "■>  t"  feel  pla 
lii-'ll  lead  then  on   i<<r 
mild  t"  fore  th 
Kit   him      afakmf 
with    Kex    i 
from    being    either    a 
ly    or    an    efficient 
est.    I've  teen  dayi 
when    we   thought    we 
wire    lucky    if    we   suc- 
ceeded   in    getting    a- 
many    a-    two    or    three 

usable  scene*. 

"1  dont  believe  that 
Rex  is  really  vicious. 
He  is  only  wild,  with  a 
genuine  and  incurable 
wildness  that  defies  all 
efforts  to  tame  him. 
We've  never  had  a  se- 
rious accident  in  work- 
ing with  him  yet.  He 
isn't  handled  by  fear,  but  thru  respect  for 
his  trainer  and  others  working  with  him. 
When  he  is  once  shown  that  a  person  is  not 
afraid  of  him,  and  is  not  an  enemy,  that 
person  has  little  to  fear  from  him  so  long  as 
he  uses  reasonable  caution  and  common 
sense  when  near  him.  The  stallion's  judg- 
ment of  human  nature  is  infallible.  Those 
people  whom  he  dislikes  usually  prove  un- 
popular with  the  rest  of  us  eventually. 

"Rex  has  been  ridden  by  three  or  four 
men,  one  of  them  being  Yakima  Canutt. 
but  he  is  almost  useless  as  a  saddle-horse. 
He  doesn't  buck  or  pitch  when  a  rider 
mounts  him.  He  either  stands  still,  utterly 
refusing  to  budge,  or  else  heads  for  the 
nearest  wall  or  tree  to  scrape  his  rider 
from  his  back.  He  is  too  inherently  wild 
ever   to   be   saddle-broken." 

Rex's  Mate,   Lady 

Two  other  star  boarders  at  the  Hal  Roach 
ranch   on    Preuss    Boulevard  are   "Mar- 


quis" and  "Lady. 


Rex,   Lady  and  their  colt 


villain  and  leading  lady 
respectively  of  the  Rex 
troupe.  "Lady"  is  a 
Kentucky  thorobred  and 
was  brought  to  Holly- 
wood especially  to  play 
with  Rex.  It  proved  to 
be  an  equine  case  of 
love  at  first  sight,  and 
the  little  grey  mare  has 
been    Rex's   mate   since. 

"Marquis,"  better 
known  on  the  screen  as 
"The  Killer."  is  the 
eternal  villain  of  the 
wild-horse  pictures. 
Like  many  screen  vil- 
lains, this  vividly 
marked  black-and-white 
"pinto"  is  absolutely 
harmless  in  real  life, 
and  is  even  somewhat 
of  a  clown. 

His  screen  battles 
with  Rex.  however,  are 
as  deadly  serious  as  rub- 
ber shoes  and  guarded 
teeth  will  permit.  The 
enmity  between  the  two 
is  deep-rooted  and  gen- 
uine, in  everyday  life  as 
well  as  on  the  scree 


65 


Four  More  Authors 


(Continued  from  page  25) 

rights  to  what  was  left  of  the  carcass  when 
the  edible  meat  had  been  extracted.  The 
residue  might  make  mighty  good  glue  and 
shaving  brushes  and  imitation  ivory.  In 
the  case  of  my  friend's  novel,  it  had  not  a 
movie  in  it,  and  failed  as  such.  The  public 
did  not  even  get  good  glue  or  shaving 
brushes.  The  author  was  the  only  one 
who  got  a  benefit,  handed  to  him  on  a  sil- 
ver platter,  from  the  movie  heaven — twice 
the  amount  he  received  for  his  story  legiti- 
mately. 

This  indiscriminate  by-product  industry 
that  has  grown  up  in  the  production  of  mo- 
tion pictures  is  not  particularly  appetizing 
for  the  box-office  public.  If  they  can  ex- 
tract a  savory  bouillon,  or  beef -juice,  from 
some  beefy  book,  all  well  and  good,  but 
glue  and  shaving  brushes  do  not  belong  in 
the  great  public  dining-room  at  all.  What 
the  motion  picture-hungry  public  need — and 
where  are  they  not  to  be  found  today! — is 
a  special  kind  of  animal,  born,  bred  and 
sacrificed  for  their  screen  table — that  fits 
their  tastes,  their  palate,  their  appetite  and 
their  needs.  Some  stories  of  some  well- 
known  authors  fill  the  bill  of  fare.  Many  do 
not.  While  many  artistic  motion-picture 
chefs — like  Rex  Ingram,  for  instance — can 
make  a  dish  fit  for  the  gallery  gods  out  of 
a  little  fiction  curds  and  whey ! 


VICENTE  BLASCO  IBANEZ 

(Continued  from  page  25) 

Senor  Ibafiez's  secretary  met  me  and  told 
me  that  Ibaiiez  had  given  instructions  that 
first  I  was  to  be  shown  all  over  the  place, 
no  doubt  so  that  I  \should  be  prepared  to 
tell  the  world  about  it.  There  is  a  little 
touch  of  Hollywood  flourish  about  Senor 
Ibaiiez.  Imagine  a  childish  quality  of 
pleasure  as  tho  showing  new  toys  and  then 
ignite  it  all  with  his  combustible  Spanish 
temperament,  and  you  will  get  an  idea  of 
Ibaiiez  psychologically. 

Chiefly,  was  I  taken  to  Ibafiez's  own  pri- 
vate motion-picture  theater,  just  finished. 
Here  is  an  ideal  little  movie  theater  that 
will  seat  about  two  hundred  people.  It  is 
a  separate  concrete  building  and  is  as  com- 
plete in  every  detail  as  the  little  theater 
around  the  corner  in  America  to  which  you 
and  I  go  once  or  twice  a  week — except  for 
the  familiar  box-office.  The  walls  were  not 
decorated  yet,  with  the  exception  of  posters 
in  English  that  announce  "The  Four  Horse- 
men of  the  Apocalypse,"  "Blood  and  Sand," 
"Enemies  of  Women,"  etc.  The  same  post- 
ers that  attracted  you  and  me  to  the  origi- 
nal productions.  In  this  little  theater, 
Senor  Ibafiez  will  entertain  his  friends  and 
guests  with  "personal"  reels  of  his  picture 
plays. 

"I  like  'The  Four  Horsemen'  best,"  he 
told  me.  "See,"  he  said,  leading  me  to  the 
other  end  of  his  long  study,  "here  it  is  in 
bronze !"  On  a  stand  he  had  built  for  the 
purpose,  was  a  remarkable  bronze  group 
showing  the  terrible  four  horses  over- 
riding the  world.  A  small  plate  announced 
it  to  be  the  "Gift  of  Rex  Ingram,  Director 
of  'The  Four  Horsemen  of  the  Apoca- 
lypse.' " 


"The  future  of  the  cinema?"  he  repeated 
in  very  bad  French.  "Ah,  who  can  say? 
It  is  limitless.  But,  it  must  come  into  the 
hands  of  the  right  people.  Now — well, 
now  it  is  not  going  ahead  very  fast.  You 
see,  there  is  no  standard  in  the  cinema — 
the  American  cinema.  It  is  mainly  in  the 
hands  of  workmen  and  grisettes.  There 
must  come  a  school — a  school  of  definite 
standards  and  a  school  of  definite  study  to 
attain  those  standards  and  maintain  them. 
Now,  each  man  is  for  himself — and  he  has 
little  idea  where  he  is  going  unless  he  has 
great  genius — like  Rex  Ingram,  for  in- 
stance. Most  of  the  directors  are  follow- 
ing something  that  is  being  done  over  and 
over,  year  after  year.  I  dont  ask  that  there 
must  always  be  something  new,  but  I  de- 
mand that  there  be  something  progressive. 
Here  is  a  fine  art  being  born!  There  is 
pain  in  all  birth,  so  perhaps  what  is,  is 
right.  They  always  have  the  convention 
to  sell  the  films — that  is  one  side  of  it — 
they  are  not  the  artists,  no.  Why  do  the 
artists  not  get  together  and  set  up  stand- 
ards? It  is  just  as  important  that  we 
make  good  pictures  as  it  is  that  we  sell  bad 
ones.  In  the  cinema  is  a  greater  Art — ■ 
hidden.  It  is  waiting  for  intelligent  stu- 
dents and  artists  to  unearth  it.  For  that 
there  must  be  a  school,  and  standards,  and 
generous  co-operation." 


WILLIAM  J.  LOCKE 

(Continued  from  page  25) 

you  will  find  that  sentiment  running  strong 
thruout  their  length  and  breadth.  There 
is  something  clean  and  joyous  about  them 
all. 

"I  was  last  in  Hollywood  when  there 
wasn't  a  camera  in  the  place,"  he  told  me 
when  I  asked  him  if  he  had  ever  been  in 
Hollywood. 

"Oh,  one  cant  be  too  hard  on  the  films, 
I  suppose — no  more  than  one  can  unjustly 
scold  a  child.  They  have  done  practically 
all  my  books  at  one  time  or  another.  'The 
Beloved  Vagabond,'  of  course,  which  is 
my  favorite ;  'Stella  Maris'  was  done  by 
Mary  Pickford,  you  may  remember?  'The 
Fortunate .  Youth,'  'Septimus,'  'Simon  the 
Jester' — you  may  have  seen  some  of  them? 
I  really  dont  care  to  go  on  record  with  my 
opinions  as  to  the  merits  of  the  produc- 
tions. I'll  leave  you  and  the  audiences  to 
judge  for  yourselves. 

"However,  I  do  think  that  in  another 
fifty  years  or  so,  pictures  will  be  taken  in 
such  a  manner  that  they  will  need  no  cap- 
tions either  to  tell  the  story  or  even  to 
assist  in  doing  so.  They  will  be  more  like 
an  act  in  the  theater  instead  of  being 
chopped  up  into  irritating  bits.  There  is 
too  much  going  backward  and  forward. 
I  become  confused  even  in  following  them 
about  in  some  of  those  enormous  rooms 
they  always  portray  in  the  pictures,  where 
one  must  get  it  in  segments  and  sections — 
and,  for  the  life  of  me,  I  can  never  tell 
whether  or  not  we  are  still  in  the  same 
room.  There  is  quite  too  much  galloping 
about  in  them  as  they  are.  But  as  I  said, 
they  are  only  in  their  infancy,  aren't  they?" 

In  which  you  get  a  perfect  sample  of 
Locke's  light,  whimsical  touch. 


W.  B.  MAXWELL 
(Continued  from  page  25) 

we  sat  before  a  blazing  fire  in  his  luxuriou 
London  apartment  in  Kensington  Gar 
dens.  "I  consider  the  film  situation  in  Eng 
land  tragic.  That  is  about  all  one  cai 
really  say  about  it — both  the  best  and  th 
worst.  And  after  that,  there  is  nothini 
but  the  American  film  left. 

"I  am  convinced  that  all  Englishmei 
take  a  personal  delight  in  seeing  a  realh 
good  film.  Most  certainly  I  do.  However 
after  seeing  a  really  good  one,  when 
naturally  return  to  the  cinema  expecting 
a  repetition  of  the  treat,  I  am  almost  sun 
to  meet  with  something  unutterably  bad 
blankly  stupid  and  unspeakably  dull.  Tha< 
makes  me  renounce  the  films  for  months  ai 
a  time. 

"I  cant  see  why  there  should  be  thest 
frightful  ups  and  downs  in  the  merit  oi 
the  films  offered  to  the  public.  I  am  well 
acquainted  with  many  of  the  leading  Amer 
ican  potentates  in  the  film  world  and  j 
know  very  well  that  they  are  actuated  by 
the  highest  motives  and  ideals.  They  want 
to  make  great  and  noble  pictures  and  do 
not  shrink  from  any  expense  in  the  pursuit 
of  their  object,  which  may  be  remunerative 
only  in  the  event  they  achieve  their  worth} 
object  and  ambitious  end.  A  cynic  might 
say  that  they  have  already  made  so  much 
money  that  they  dont  mind  throwing  it 
away,  but  personally  I  think  that  is  vcrj 
far  from  the  truth. 

"It  seems  to  me  that,  in  the  American 
idea  of  making  films,  there  is  too  much 
tendency  to  concentrate  on  big  pictures,  or 
super-films,  and  so  disregard  the  require- 
ments of  the  less  ambitious  work.  And  so 
it  is  usually  the  ordinary  film  that  is  so 
atrociously  bad. 

"Personally — as  I  said  in  America  once 
and  have  been  saying  ever  since — I  believe 
that  in  the  divorce  of  the  film  from  litera- 
ture is  where  the  trouble  lies.  The  film 
as  a  vehicle  for  the  transmission  of  letters 
to  the  multitude  has  really  never  begun  to 
be  tested.  The  opportunity  to  carry  to  even 
the  masses  of  illiterate  people  the  message 
of  the  great  masterpieces  thru  the  simple 
medium  of  pictures — that  is  the  great  point, 
pictures — in  motion,  is  simply  incalculable. 
From  a  literary  point  of  view,  then,  I  be- 
lieve the  possibility  of  the  films  is  inex- 
haustible. 

"But  I  dont  mean  for  a  moment  that  I 
think  authors  generally- — or  most  gifted 
literary  people — would  be  able  to  write  suc- 
cessfully for  the  films.  Evidently  the 
writing  of  continuity  in  the  construction  of 
film  plays  is  a  special  and  very  difficult 
work,  requiring  a  great  deal  of  study  and 
experience.  Nor  would  it  be  worth  the 
while  nor  the  time  of  successful  authors 
to  attempt  to  acquire  this  art.  But  when 
their  expressionistic  existence  is  being 
translated  into  the  film  media  they  should 
be  freely  allowed  to  offer  their  invaluable 
advice,  both  in  the  preservation  of  the  main 
theme  and  the  method  of  its  illustration, 
which  is  a  secret  that  often  belongs  alone 
to  them  as  its  creator. 

"It  is  a  dreadful  thing  to  see  a  noble  book 
murdered  on  the  film,  as  so  frequently 
happens !" 


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66 


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67 


She  Reached  for  the  Moon  and  Got  It! 


(Continued  from  page  33) 


do  this  ?'  or  'I  wish  I 
had  done  that !'  when 
I  saw  it  on  the  screen. 

"After  all,  every 
picture  is  simply  one 
scene  after  another. 
In  any  given  scene  a 
bit  player  may  have  as 
much  to  do  as  a  star — 
but  a  star  has  this  ad- 
advantage  : 

"A  bit  player  must 
get  over  her  character 
and  her  emotion  in  a 
single  scene — all  she 
knows  about  it  and  all 
she  can  show.  She 
stands  or  falls  by  that 
brief  instant  before 
the  camera. 

The    Latitude    of 
Stardom 

',  A  star  may  do  some- 
thing that  is  not 
good  in  one  scene,  see 
it  in  the  projection 
room,  and  say  to  her- 
self :  'That's  bad,  but 
just  before  this  scene, 
or  just  after  it,  I'll  do 
so-and-so  and  that  will 
lift  the  thing.  May- 
be no  one  will  notice 
that  one  bad  bit,  any- 
way, in  a  host  of  other 
scenes.' "  _ 

She  touched  the 
splashy  purple  planet 
painted  on  the  velvet 
of  her  sleeve. 

"Another  item  in  fa- 
vor of  stars,"  she 
laughed,  her  dark  eyes 
crinkling  up  in  the  way 
that  we  find  so  fasci- 
nating. "Clothes !  An 
artist  in  clothes  de- 
signs mine  —  Travis 
Banton.  He  under- 
stands how  to  dress 
me.  He  can  take  my 
very  nebulous  idea  for 
a  gown  and  create  one 
that  surpasses  my  fondest  dream.  He 
knows  what  sort  of  head-dress  I  can  wear, 
and  I  needn't  worry  about  my  jewels— I 
can  be  sure  they'll  be  exactly  right  for 
each  costume. 

"I  have  a  beautiful  black  gown — I'd 
rather  wear  black  than  anything  else  when 
I'm  doing  a  scene  that  matters  to  me. 
Every  player  has  her  favorite  color,  no 
doubt,  just  as  she  has  a  special  abhorrence 
— mine  is  a  certain  shade  of  red." 

A  waiter  served  us  a  dainty  luncheon 
on  the  green-enameled  table  in  the  bunga- 
low, and  Miss  Vidor's  eyes  crinkled  again 
as  she  apologized  for  not  serving  orchid 
salad   from  orchid-decorated   plates. 

"They  tried  to  call  me  the  'Orchid 
Lady,' "  she  explained.  "What  have  I 
done  to  deserve  that?  But  you  really  can 
get  orchid  salad — it's  probably  made  of 
paraffine  but  it  looks  lovely.  .  .  . 

"I  prefer  human  beings  to  exotic  charac- 
terizations, dont  you?  It  was  the  most 
'human'  casting  director  in  the  business 
who  gave  me  my  first  lead. 

"I'd  just  done  Mimi  at  the  time — Mr. 
Vidor  and  I  hadn't  been  in  Hollywood  very 
long  but  I  had  confidence  in  myself,  and 
I    wasn't    afraid    of    Mr.    Goodstadt — he 


Florente   Vidor,   as   she   appears    in   her   first   starring   vehicle, 
"Love,  the  Magician" 


seemed  more  like  a  friend  than  a  casting 
director. 

"I  admired  Sessue  Hayakawa,  the  Jap- 
anese star,  who  was  on  this  lot  then,  but 
I  thought  him  hampered  by  his  leading 
ladies.  I  told  Mr.  Goodstadt  so.  'I  couldn't 
be  worse  than  they  are!'  I  said.  'They're 
perfectly  vile  and  it  couldn't  do  you  any 
harm  to  let  me  see  if  I'll  do.' 

Won  a  Role  with  Hayakawa 

"I— Ie  tried  to  explain  to  me  that  Hayakawa 
wouldn't  need  a  new  leading  lady  for 
eight  weeks.  No  doubt  he  thought  me 
quite  mad.  But.  miraculously  enough,  the 
girl  who  was  playing  the  lead  left  after 
working  for  two  weeks  and  they  let  me 
try  it. 

"I  find  that  people  in  pictures  are  usually 
reasonable  about  trying  to  give  me  a 
chance  at  the  things  I'd  like  to  do. 

"I'd  love  to  do  artistic  pictures  always. 
I  have  three  very  special  stories  in  mind 
that  I  sometimes  dream  of  doing,  and 
maybe  I  shall  get  my  chance  at  them  some 
day.  At  present  producers  think  them  im- 
possible because  they'd  appeal  to  such  a 
small  percentage  of  the  public. 

"I  can  see  the  producers'  side.     Pictures 


must  be  made  for  the 
people  who  go  to  sec 
them.  I  know  Mr. 
Lasky  and  Mr.  Zukor 
and  many  of  the  others 
would  prefer  to  give 
more  attention  to  the 
artistic  thing,  but  they 
are  not  making  pic- 
tures merely  for  pleas- 
ure. 

"A  magazine  is  pub- 
lished for  a  certain 
group  of  readers — but 
pictures  are  made  for 
the  world. 

"Still — one  of  these 

days " 

From  the  latticed 
window  of  the  bunga- 
low we  could  see 
groups  of  players 
from  her  set  strolling 
along  "Paradise  Al- 
ley"— Rue  Enos,  the 
"frog  man,"  with  El 
Brendel,  featured 
comedian  from  the 
Winter  Garden ;  the 
"Juggling  Rianos," 
with  one  of  the  acro- 
batic clowns;  the 
scarlet  tunic  of  a 
drummer  flashing 
against  the  yellow  and 
green  of  a  Russian 
dancer.    " 

"Call  for  work  to- 
night !"  somebody  said, 
and  a  man  in  white 
tights  echoed  him  on 
a  higher  key. 

"That  is  where  our 
new  quarters  at  United 
are     going     to     mean 
something,"    observed 
Miss  Vidor.    "We  are 
to   have — or   we  hope 
we  are  to  have — real 
kitchens    in    our    little 
apartments.     We  wont 
have    bungalows,    but 
nice    little    two-room- 
and-kitchen     apart- 
ments.    Think  of  the  good  hot  suppers  we 
can   get   on   our    little    stoves !      We   wont 
mind  working  at  night  then." 

Homey  Dressing-Rooms 

Che  turned  back  to  the  restful  green  of 
the  little  room. 

"Isn't  it  odd  how  we  revel  in  the  little 
homey  things  that  we  used  rather  to  de- 
spise when  there  seemed  no  danger  of  our 
ever  getting  our  hands  on  our  moon? 

"When  I  was  a  little  girl  growing  up, 
I  used  to  be  laughed  at  by  the  family  when 
I  mentioned  being  an  actress.  I  was  shy, 
you  see.  I  always  talked  very  fast  and  very 
much,  not  waiting  for  an  answer,  when  I 
went  to  parties  or  found  myself  in  a  crowd. 
So  people  wouldn't  know  I  was  shy! 

"But  in  spite  of  the  family's  laughter — 
here  I  am.  By  luck,  I  sometimes  think.  I 
believe  Mr.  Vidor  and  I  were  attracted  to 
each  other  because  we  both  loved  pictures. 
We  lived  in  Texas  and  knew  nobody  else 
who  cared  for  them  as  we  did.  As  soon  as 
we  were  married,  we  set  out  for  Holly- 
wood. He  wanted  to  be  a  director,  and  I 
wanted  to  be  a  star.  He  worked  the  hard- 
est— but  I  had  the  most  luck — and  so  we 
each  have  our  moon  todav." 


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69 


The  Pace  That  Kills 

(Continued  from  page  27) 


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plays,  new  movies,  new  concerts,  new  in- 
ventions, new  political  situations,  new  mur- 
ders, new  discoveries,  new  strides  in  medi- 
cine, surgery,  psychology,  philosophy ;  new 
propaganda  for  or  against  Prohibition  .  .  . 
hundreds  and  hundreds  and  hundreds  of 
thick  columns  that  you  HAVE  to  keep  up 
with  if  you  are  to  be  a  Modern  in  any 
sense  of  the  word.  If  you  are  to  have 
any  glimmering  notion  of  what  the  man 
next  to  you  in  the  subway  is  talking  about 
when  he  addresses  a  chummy,  unwelcome 
remark  to  you  some  evening. 

Keeping  Up  with  Things 

It   would  take,    for   we  have  estimated   it, 

the  entire  time  and  attention  of  any  nor- 
mal person  to  keep  up  with  the  new  maga- 
zines. What  they  are  using.  What  they 
are  aiming  at.  The  fiction  and  facts  set 
forth  in  staggering  array. 

Unless  you  are  to  sit  like  a  mouth-open 
moron  when  some  little  creature  says  to 
you,  "What  DID  you  think  of  the  next-to- 
the-last  article  in  the  next-to-the-last  issue 
of  Harpers?"  You  will  have  to  read 
Harpers.  And  ditto,  ditto,  ditto  for  all  of 
the  magazines  treating  of  general  fiction, 
movies,  gland  discoveries,  ct  cetera. 

It  would  take  the  entire  time  and  atten- 
tion of  any  normal  person  to  keep  up  with 
the  unstemmed  flood  of  new  books  .  .  . 
to  be  able  intelligently  to  discuss  Michael 
Aden  versus  Theodore  Dreiser  or  Ethel 
M.  Dell  versus  Edith  Wharton.  Not  to 
mention  the  fact  that  this  same  normal 
person  is  supposed  to  dip  now  and  again 
into  the  poets  ancient  and  modern. 

Try  and  do  it ! 

It  would  take  any  normal  person's  entire 
time  and  attention  to  see  all  of  the  new 
plays — no,  only  the  "worth  while"  new 
plays,  operas,  concerts,  lectures  and  magic- 
lantern  slides  on   Palestine. 

No  human  being  has  three  entire  times 
and  attentions.  No  human  has  more  than 
one. 

And  assuming  that  some  thrice-gifted 
individual  does  keep  up  with  drama,  litera- 
ture, politics  and  Prohibition,  there  still 
remain  such  items  as  family  obligations.  .  .  . 
Sister  Susie  having  a  new  baby,  which 
means  the  gift  of  a  pacifier  and  a  family 
call  .  .  .  shopping,  for  we  must  remain 
covered,  if  not  gowned  .  .  .  social  pleas- 
ures or  penalties,  as  one  chooses  to  regard 
them    .    .    .    the  gift  of  leisure.    .    .    . 

How  is  it  to  be  done? 

And— the  Stars! 

NJow  we  come  to  the  stars. 

We  talked  with  Douglas  Fairbanks 
the  other  day  and  he  said,  truly,  that  in 
and  about  New  York  one  cannot  even 
have  a  thrill  of  one's  own  making. 

"Thrills    in    New    York,"    he    said,    "are 


forced   upon   you   at   the   rate  of   one  pe 
second." 

All  of  which,  as  we  have  remarked,  lead 
us  to  the  long-suffering  and  too-often 
maligned   screen   stars. 

Screen  stars  are  expected  to  know  every 
thing.  If  they  do  not  know  everything 
they  are  labeled  "Morons"  without  benefi 
of  a  trial  by  their  peers. 

They  are  expected  to  be  immediatel; 
able  to  discuss  anything,  everything,  sacrei 
and  profane,  at  the  turning  of  the  inter 
rogative  tap. 

Interviewers  and  the  Fan  Public  tur 
up  noses  and  right  about  face  if  the  hard 
working  children  of  the  cinema  fail  t< 
know  and  orate  eloquently  about  the  funda 
mentals  of  Theosophy,  Freudianism,  tb 
precepts  of  Havelock  Ellis,  the  bases  o 
Capital  Punishment,  the  fifth  chapter  o 
Genesis  interpreted  figuratively  and  lit 
erally. 

If  John  Gilbert  cannot  discuss  the  origit 
of  Love,  the  Lives  of  Plutarch,  "Why  W 
Behave  Like  Human  Beings"  (if  we  do' 
and  the  latest  best  seller  by  an  authoress 
he  is  branded  as  a  dumb-bell.  "Just  an 
other  movie  actor  ...  no  brains,  no  brains 
at  all.    .    .    ." 

If  Bebe  Daniels  cannot  hold  forth  ir 
flowing  rhetoric  about  the  Montessor 
Method,  the  feudal  system.  Higher  Edu- 
cation for  Women,  Economics,  the  hidalgos 
of  Spain  and  the  function  of  the  thyroid 
gland,  the  dear  Public  will  say,  "Oh,  well. 
those  movie  stars  have  sawdust  brains  .  .  . 
we  always  knew  that!    ..." 

And  ...  if  these  same  stars  are  not 
smartly  clad,  peppy  in  their  various  roles, 
convivial,  friendly,  prompt  to  answer  Tottie 
Toddle  about  the  Best  Way  to  Enter  Mo- 
tion Pictures  .  .  .  again  they  are  branded. 
This  time  as  "high  hat,"  "ritzy,"  "up- 
stage," or  some  such  opprobrious  term. 

The  Deadly  Pace 

Tt  is  the  pace  that  kills. 

We  ask  you,  how  can  you  expect  it? 
How  can  you  expect  it  of  anyone?  How, 
especially,  can  you  expect  it  of  the  stars? 
We  marvel  that  they  know  anything  save 
Kleig  lights,  tissue-paper  scripts,  location 
trips,  personal  appearances,  fan  mail,  the 
shopping  they  have  to  do  for  every  sep- 
arate production  and  the  way  their  family 
might  look  if  they  ever  had  time  to  look 
at  'em. 

Think  it  over.     It  cant  be  done. 

Mary  Pickford  went  to  bed  when  she 
last  reached  New  York.  Barbara  La  Marr 
is  dead.  And  in  the  past  six  weeks  we 
have  personally  heard  D.  W.  Griffith,  Carol 
Dempster,  Douglas  Fairbanks,  Mary  Pick- 
ford,  John  Gilbert,  Adolphe  Menjou  and 
Dorothy  Gish  all  cry,  "Take  me  back  to 
the  Farm !" 


The  Celluloid  Critic 

(Continued  from  page  SI) 


The  big  family  reunion  breaks  up  into 
little  family  reunions,  and  accompanying 
their  bickerings  and  sentimentalities  the 
spectator  sees  the  action  developing  ro- 
mantic episodes,  a  triangle  or  two,  a  lot 
of  war  talk,  a  party  or  three  given  by 
war  profiteers — and  plenty  of  symbolic 
touches  pertaining  to  the  galloping  steeds 
—and  what  not. 

The  most  tangible  scenes  are  those 
which  involve  the  handling  of  the  mobs. 
Naturally,     the     players     are     submerged. 


They  become  so  lost  in  the  shuffle  that 
not  one  (not  even  Jean  Hersholt  as  a  pig- 
gish and  priggish  profiteer)  is  able  to 
appear  real  and  convincing. 

No  Bull's-Eye  Here 

:  Jxiversal  didn't  strike  the  bull's-eye 
with  "The  Midnight  Sun,"  which  was 
heavily  exploited  as  a  true  picture  of 
Russian  intrigue — Russ — passion  and  what- 
not. To  come  right  down  to  brass  tacks, 
(Continued  on  page  76) 


70 


The  Answer  Man 

from  page  63) 

u  is     taken     from     the     rttoi 

Mori  is      "i  <^.   (  a  il    1  >e    Mille 

kinK    "lit    bin    pictures        Hi-* 

||  In-  "  I  he  Deluge,"  which  will  U- 

N'oah's    \ik 
i        I     can     -n     you     are     .ill     lor 
.    Vaughn 
Brutus      \ou    waul     to    know     whj     .1 
s    death    iv    the    mo,t    terrible      Be 
makes    laces   and    bust-.!      til    In. 
John    dilhert    was   horn   Jul>     10, 
Richard   Dix's  real  name  is   Ernest 
iter 
Clair'      Enjoyed  your  letter  on  the  blue 
\\  rite  me   again. 

1       Well,     1     should     say     next     to 
n  pa  thy    is   the   divinest    passion   oi 
he  human  heart      Read  the  interview  with 
Rogers  in   the    May ,   lu2o,    '  ' 

NlvKiiKKirv:   B—  That   was    Mary    ^stoi 
Betty    Bronson    is    playing 
Milton   Sill-  in   "Paradise."     Yes, 
gri    and    Erich   von    Strohcim    are 
barred  some  time  during  the  Sum- 
ner in  "Hotel   Imperial,"  which  von  Stro- 
,mi    in    to    direct    himself.      Some    com- 
•ination. 

HXLEN  D.  T. — Thanks  again  for  the 
vooderful  book  you  sent  me.  So  you  liked 
\anion  Novarro  in  "Ben-Hur."  It  was  a 
;reat  picture. 

Mkku.iia. — Sorry  I  cannot  help  you. 

Norma. — You  want  to  know  which 
layer  drinks  the  most.  I  have  no  way 
if  gaging  the  intake  of  players'  beverages, 
mt  it  you  are  referring  to  pre-Yolsteadian 
.pirits,  that's  out ! 

Alice  in  Wonderland. — You  say  you 
ire  just  a  plain,  common  girl,  dont  dance, 
■moke,  pet  or  anything  like  that.  You 
iurely  selected  an  appropriate  name  for 
•  ourself.  You  think  Lois  Wilson  is  a 
■aving  beauty.  Wallace  Beery  is  playing 
n  "The  Greatest  Show  on  Earth."  Sounds 
ike  a  circus. 

Mary  C— That  was  Carl  Miller  in  "We 
Moderns." 

A.  B.,  Chicago. — Your  letter  was  quite 
philosophical.  He  who  imagines  he  can 
Jo  without  the  world  deceives  himself 
nuch ;  but  he  who  fancies  the  world  cannot 
Jo  without  him  is  still  more  mistaken. 
Greta  Garbo  and  Conrad  Xagel  are  play- 
ing for  Metro-Goldwyn,  Culver  City, 
California. 

A.  B. — So  "The  Gold  Rush"  was  shown 
in  your  leading  picture  house  252  times 
straight.  That's  some  record.  Chaplin 
ought  to  buy   that  house. 

Adelina. — Oh,  Adelina  !  You  say  why- 
is  the  fourth  of  July  like  oysters?  Because 
we  cant  enjoy  them  without  crackers. 
Bang !  No,  Valentino  didn't  use  a  double 
in  "Blood  and  Sand."  Lois  Wilson  is  to 
he  featured  in  "New  York,"  by  Sinclair 
Lewis,  a  romance  built  around  New  York's 
night  clubs,  cabarets,  etc. 

Apron-  Strings.  —  That  was  Blanche 
Sweet  in   "The   Sporting   Venus." 

Robert  F. — Bull  Montana  did  play  the 
part  of  the  ape  in  "The  Lost  World." 
Ford  Sterling  is  to  be  featured  in  "Louie 
the  14th,"  which  will  be  personally  super- 
vised by  Florenz  Ziegfeld  and  which  will 
have  in  the  cast  the  chorus  of  Ziegfeld 
beauties.  "Kid  Boots"  is  also  being  filmed 
with  the  Ziegfeld  girls  prominent. 

Dave  H. — Yes,  of  course,  I'm  all  for 
Dolores  Costello.  She's  a  Brooklynite, 
you  know. 

Millicent  P. — Thanks  for  yours. 

Barcelona. — Yes,  Theda   Bara  has  been 
in  a  comedy    for    Hal   Roach.      She   first 
became   famous   in   "A   Fool    There   Was" 
(Continued  on  page  79) 


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No,  wc  wont  pull  the  bromide  about  the  house  that  Jack  built.     However, 
this  is  the  home  of  John  Gilbert  atop  Beverly  Hills 

More  Impressions  of  Hollywood 

(Continued  from  page  53) 


they  dont  want  us  to  see  the  pictures  until 
they  are  fixed  up  the  best  they  know  how. 
And  even  so,  they  often  overlook  the  very 
things  that  have  spoiled  so  many  pictures 
that  might  otherwise  have  been  excellent. 
There  are  two  kinds  of  eyes :  the  studio 
eyes  and  the  outside  public  eyes,  and  they 
are  just  as  different  as  a  Ford  and  a 
Lincoln.  But  you  cant  get  any  studio  man 
to  admit  this.    They  think  they  know  it  all. 


T  told  Louis  B.  Mayer,  the  Metro  chief, 
that  I  thought  his  company's  supremacy 
was  to  be  challenged  not  by  Famous 
Players-Lasky  or  First  National,  but  by 
Joseph  Schenck's  United  Artists.  He  said 
that  he  thought  I  was  right  and  also  that 
he  hoped  so.  With  Norma  Talmadge, 
Constance  Talmadge,  Buster  Keaton,  Ru- 
dolph Valentino,  John  Barrymore,  Gloria 
Swanson'and  so  on  he  has  a  pretty  good 
start,  says  I,  Louis  Mayer  is  a  very  wise 
and  far-seeing  man,  and  so  is  Joe  Schenck, 
and  I  am  telling  Jesse  Lasky  and  Adolph 
Zukor  to  watch  out. 


I/'athlf.en  Clifford  combines  business 
^  with  her  picture  art,  and,  since  she  also 
married  a  banker,  she  manages  to  eat  three 
meals  a  day.  She  has  several  very  smart 
florist  shops,  one  at  the  Ambassador  Hotel, 
and  since  she  is  one  of  the  most  popular 
ladies  in  Hollywood  she  does  a  flourishing 
business. 


A  way  back  in  the  dark  ages,  say  about 
1913,  we  used  to  run  pictures  of  Ollie 
Kirby  and  George  Larkin  in  our  gallery 
of  famous  players.  They  took  me  out  the 
other  night  to  a  preview  of  "The  Wise 
Guy"  at  Glendale,  and  after  that  a  few 
of  us  went  to  their  home  in  the  mountains 
near-by.  The  picture  was  very  bad  and  it 
will  need  a  lot  of  doctoring  before  it  will 
be  fit  for  release,  but  the  home  of  Ollie 
and  George  Larkin  was  one  of  the  cutest 
affairs  I  ever  saw  and  very  artistic.     And 


neither  of  them  has  aged  a  bit.  They  have 
been  working  in  State  Rights  pictures 
latelv. 

*      *      * 

\7ilma  Banky  lives  all  alone  on  a  quiet 
street  in  a  beautiful  home  which  she  rents 
furnished.  She  does  not  go  out  much  and 
has  but  few  intimate  friends  and  callers. 
She  was  present  at  two  large  parties  given 
by  Samuel  Goldwyn  but  otherwise  she  has 
not  been  seen  out  much.  On  those  occa- 
sions she  did  not  seem  to  mix,  but  kept 
aloof.  She  thinks  that  her  foreign  accent 
and  difficulty  of  expressing  herself  make 
her  society  undesirable  and  she  keeps  aloof. 
Yes,  she  is  lonesome  at  times,  and  then 
she  reads.  Corliss  Palmer  and  I  dined 
with  her  the  other  night  and  we  three  spent 
the  evening  together.  She  was  dressed 
very  simply,  almost  plainly,  and  her  man- 
ner and  appearance  were  that  of  a  lady 
high-born — a  typical  princess.  She  has  a 
soft,  sweet  voice,  a  pleasant  smile  and  a 
winsome  personality.  She  is  distinctly  fem- 
inine, rather  quiet  than  vivacious,  and  sub- 
dued rather  than  demonstrative.  Her  for- 
eign accent  is  captivating,  and  her  gocd- 
natured  distress  at  being  unable  to  say 
what  she  wants  to  say  is  quite  enchanting. 
If  she  has  any  deep  emotions,  any  hatred, 
contempt,  hauteur,  or  anger,  it  is  not 
obvious.  She  is  nothing  like  Lillian 
Gish,  yet  she  is  the  exact  opposite  of  Pola 
Negri.  Lillian  is  frail  and  defenseless  and 
was  made  to  suffer  and  be  batted  about; 
Pola  was  made  to  rule  a  nation,  lead  an 
army  and  put  up  a  fiery  fight  for  her 
country  or  for  the  one  she  loves :  but  Yilma 
was  made  for  a  gentle  princess,  to  love 
and  be  loved  amid  sunshine  and  flowers. 


California  is  the  land  of  sports,  amuse- 
ments,  sunshine,  motoring  and  gaiety 
and  out-of-doors.  Prize-fights,  yachting, 
baseball,  racing,  tennis,  dancing,  bathing 
and  everything  lively  and  athletic.  As  for 
literature,  art,  sculpture,  painting,  opera, 
drama,  symphony,  lectures,  etc. — not  so 
much. 


72 


Cm  mo  m  Chase,  who  is  so  funni  in  those 
Hal    Roach    comedies,    and    who    will 
da)    l><-   making    five  reel    features,   iv 

gulai      fellow     ufl      screen.        1     lunched 

«nh  him  recently    and  iuiUkIj    would  ■ 
lake  hnn   foi    an  aetoi       He   isn't  even   so 
funny    as   1  am     ami   that'*  nut  much      Hi 
ng    the    same    path    that    Douglas 

UllKIld       (illlVltll       .1 1  111       11.11  I  \ 

traveled    and    within    .1    yeai 
'  probabl)    arrive  .it   the  same  dea 
feature  stardom 


Cu\r.   Hkih'k    w.i^   m   the   same   luncheon 
,    with    Chase   and   myself   and   he 
is  an   interesting    conversation    (not    ".il" ) 
He,  tiK>,  looks  nothing  like  an  actoi 
he  ilu^  or  talk  like  one.     The) 
are    hoth    natural,    genteel,    dignified    and 

«       •       • 

"Dl'N  -'l  vv     w'tn  Jonn   Barrymore  and 
^   Estelle  Taylor,  \\a>  finished  and  pre 
viewed  some  months  -   1  write  this) 

and  yel  the)  are  taking  .1  few  more  scenes 
Sunday.     Warner    Brothers   have  al- 
spent    .1    small    fortune   on    thi>    pic- 
ture, and  let  us  all  hope  that  they  are  not 
"throwing  ^»u  i!  money  after  had." 

*  *      * 

(~)\e  of  the  best  jokes  I  have  heard  is  on 
^  Corliss  Palmer.  Some  time  ago  while 
at  a  Marion  Davies  party  she  chanced  to 
fall  in  with  a  tunny  little  foreigner  who 
i  n  with  a  black  ribbon  and  spoke 
poor  English.  "'Are  you  in  pictures:"  he 
asked,  and  Corliss  said  that  she  was  just 
beginning  but  had  played  a  few  parts.  "Oh, 
wont  you  help  me  to  get  in.  too?"  the 
foreigner  begged.  "Please  let  me  go  around 
with  you  to  the  different  studios,  and  I 
know  you  can  help  me.  I  long  to  Ik  an 
actor     I  must  be  a  great  actor." 

I  wishing  to  offend  him.  altho  she 
saw  that  he  was  well-looking  and  rather 
pleasing  and  attractive,  Corliss  replied : 
"I  suppose  you  want  to  play  such  parts  as 
a  musician,  or  a  poet  or  a  professor?" 

Oh,  no!"  he  replied  in  broken  English, 
"I  want  to  play  the  great  lover  like  Valen- 
tino and  Gilbert — I  want  to  make  violent 
love  to  beautiful  women — full  of  fire  and 
passion." 

And  thus  thruout  the  evening  the  villain 
still  pursued  her  and  repeatedly  begged 
Corliss  to  help  him  get  into  the  movies. 
Corliss  did  not  want  to  hurt  the  poor 
man's  feelings  and  she  felt  sorry  for  him, 
but  somehow  she  got  out  of  it,  and  did 
not  even  remember  his  name,  nor  he  hers, 
and  she  did  not  see  him  again.  The  cur- 
tain now  rises  on  the  last  act.  The  other 
day  Corliss  was  in  my  office  looking  over 
the  latest  Motion  Picture  Classic  when 
I  heard  her  "exclaim,  "Great  Scott  I"  and 
then  laugh  repeatedly.  I  looked  over  her 
shoulder  to  see  what  she  was  reading  and 
it  was  a  long,  illustrated  article  about 
Ernest  Yadja,  the  famous  Hungarian 
dramatist,  who  has  been  writing  screen 
stories  for  Famous  Players  at  about  a 
million  dollars  apiece.  "Well,  what  do 
you  think  of  that !"  laughed  Corliss,  "the 
mean  man !  But  he  certainly  did  fool  me, 
all  right " 

*  *       * 

ropping  in  at  the  Mack  Sennett  studio 
I  ran  across  charming  little  Alice  Day 
who  had  just  finished  for  the  day.  She  is 
just  as  cute  and  pretty  off  the  screen  as 
on,  and  I  am  convinced  from  what  I  saw 
and  since  heard  that  she  is  not  only  a  good 
girl  but  one  of  excellent  morals,  principles 
and  habits.  There  is  nothing  wild  or  loose 
about  her.  She  lives  with  her  mother  and 
sister.  Marceline,  about  three  miles  from 
the  studio,  and  she  is  very  popular  with 
the  younger  set  of  high-class  girls  of 
which  Mary  Philbin  is  one  and  who  lives 
only  a  few  blocks  awav. 


D 


{jmart  women      ; 

everywhere 

recognize  the  importance 
of  a  fresh  clear  skin 

THE  effect  of  many  a  Paris  gown  has  been  ruined  by  a  bad 
complexion.     This  is  an  age  of  absolute  cleanliness,  fresh- 
ness, daintiness — when  a  clear  satin-like  skin  is  more  to  be 
desired  than  the  latest  style  creation. 

Yet  frequently  the  excessive  perspiration  of  summer  com- 
bined with  dust,  powder  and  the  natural  oil  of  the  skin  makes 
the  charm  of  daintiness  seem  impossible.  There  is  one  way  to 
attain  it.  Keep  your  s\m  clean  by  using  plenty  of  pure  soap  and 
warm  water. 

Resinol  Soap  is  ideal  for  every  skin  and  will  stand  any  test 
of  purity.  It  has  no  heavy  perfume — just  the  delightful  refresh- 
ing Resinol  fragrance.  This  distinctive  fragrance,  as  well  as  its 
rich  color,  is  your  guarantee  for  the  healthful  Resinol  properties 
it  contains. 

Buy  a  cake  from  your  druggist  or  toilet  goods  dealer,  and 
bathe  your  face  with  it  tonight.  Note  how  readily  it  lathers, 
how  gently  but  thoroughly  it  cleanses  the  pores,  how  easily  it 
rinses,  how  soft,  velvety  and  refreshed  it  leaves  your  skin. 
Resinol  Soap  makes  you  feel  clean. 

If  blackheads,  blotches,  etc.,  are  already  present,  apply  Resinol 
Ointment  to  the  irritated  spots  and  see  how  it  clears  them  away. 
This  soothing,  healing  preparation  has  been  used  for  years  in 
treating  skin  troubles  slight  or  serious.  Excellent  for  the  relief 
of  sunburn,  chafing,  prickly  heat,  etc. 

Resinol 


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73 


Only 

this  way 

is  sure 


I 


Nothing  else  can  clean  toilet 
bowls  so  thoroughly  and  surely 
as  Sani-Flush.  It  does  away 
with  mops,  pails  and  acids. 

Just  sprinkle  Sani-Flush  in  the 
bowl.  Follow  directions  on  the 
can.  Flush.  Every  mark,  stain 
and  incrustation  is  gone.  The 
bowl  is  white  and  clean.  Even 
the  unreachable  trap,  so  espe- 
cially dangerous  if  neglected  in 
hot  weather,  has  been  cleared  of 
all  sediment. 

Always  keep  a  can  of  Sani- 
Flush  handy  in  the  bathroom. 
Harmless  to  plumbing  connec- 
tions. 

Buy  Sani-Flush  in  ne<w  con- 
venient punch-top  can  at  your 
grocery,  drug  or  hardware  store, 
or  send  25c  for  a  full-size  can. 
30c  in  Far  West.  35c  in  Canada. 

Sam-Flush 

Cleans  Closet  Bowls  Without  Scouring 

The   Hygienic  Products  Co. 
Canton,  Ohio 


The  Kid  from  Cape  Cod 

(Continued  from  page  57) 


FRECKLES 

Tells    How    to    Get    Rid    of    Tliese    F&ly    Spots 
and    Have   a   Beautiful   Complexion 

There's  no  longer  the  slightest  need  of  feeling 
ashamed  of  your  freckles,  as  Othine — doub'e 
strength — is  guaranteed  to  remove  these  homely 
spots. 

Simply  get  an  ounce  of  Othine  from  any 
drug  or  department  store  and  apply  a  little  of 
it  night  and  morning  and  you  should  soon  see 
that  even  the  worst  freckles  have  be?un  to  dis- 
appear, while  the  lighter  ones  have  vanished 
entirely.  It  is  seldom  that  more  than  an  ounce 
is  needed  to  completely  clear  the  skin  and  gain 
a    beautiful    complexion. 

Be  sure  to  ask  for  the  doub'e  strength  Othine, 
as  this  is  sold  under  guarantee  of  money  back 
if    it   fails   to    remove   your    freckles. 


Face  Powder 

Known  and  loved  by  four  generations 

-      .ON  SAI.E   EVERYWHERE 
/rite  for  free  tample'of  face  powder  and  Booklet 
illustrating  new  Lahlachk  Creations 
Ben  Lki  YCn.,l)cpt.  C  lis  Kingston i  St.,  Boston, U.S. A. 


74 


"Come  on,  then.  Let's  shoot  it  quick  and 
get  it  over." 

On  board  they  went,  pell-mell,  stopping 
not  for  fresh  supplies  nor  changes  of  garb. 
Straight  into  the  teeth  of  the  worst  storm 
in  years  they  sailed. 

In  the  brief  intervals  when  the  Esther 
was  not  attempting  to  stand  on  her  head, 
or  engaged  in  inventing  a  maritime  step 
for  a  sea-Charleston,  it  was  discovered 
that  the  two  compasses  on  board  disagreed. 
They  tried  following  first  one,  then  the 
other,  and  ended  by  becoming  hopelessly 
lost.  Instead  of  the  three  hours  they  had 
anticipated,  time  stretched  to  thirty-six. 

At  eight  o'clock  on  the  evening  of  the 
first  day,  Charles,  who  was  of  the  very, 
very  few  who  could  still  think  of  food  as 
something  to  be  eaten,  began  to  inquire 
about  dinner.  The  crew — who  were,  of 
course,  not  sick — were  also  inquiring. 

"Let's  go  down  to  the  cook's  lair,"  sug- 
gested Charles.  "If  he's  there,  we'll  make 
him  give  us  something — if  he  isn't,  I'll 
cook.!' 

Takes  Cook's  Role 

""There  was  nothing  to  eat  in  the  cook's 

lair,  but  there  was  a  box  of  flapjack 
flour  on  a  shelf. 

"If  we  can  find  some  maple  syrup " 

planned  Charles. 

Somebody  did. 

From  eight  o'clock  until  past  one  next 
morning,  the  juvenile  lead  of  "Old  Iron- 
sides" stood  by  the  stove  and  fried  flap- 
jacks for  the  sailors  and  those  few  others 
who  could  look  on  a  flapjack  without 
loathing.  .    .   . 

When  Charles  was  on  the  high-school 
team  back  in  Massachusetts,  he  once  an- 
swered the  question,  "What  are  you  going 
to  do  when  you  leave  school?"  with  the 
words,  "Go  into  pictures."  The  rest  of 
the  team  yelled  "Yah — Sissy !"  and  other 
things  at  him.  So  he  prudently  decided  to 
become  a  dentist.  Besides,  Hollywood  is 
a  good  many  days'  walk  from  Cape  Cod. 

However,  when  he  was  on  his  way  to 
register  at  a  dental  college,  he  began  to 
consider  that  all  his  pals  were  registering 
at  Boston  University.  After  all,  what  is 
life  without  pals?  He  registered  with 
them,  for  a  four-year  course  in  business 
administration. 

It  appeared  that  three  of  these  years  were 
to  be  spent  at  the  U.  and  the  fourth  in 
actual  experience.  When  Charles  reached 
the  fourth  year,  the  authorities  wished  to 
place  him  in  an  office  at  eighteen  dollars  a 
week. 

Hails  from  New  England 

"I  struck  for  twenty-five,"  chuckled 
Charles.  "I  told  'em  I  could  go  to 
work  for  my  father  for  that,  and  his  work 
was  more  interesting.  He's  a  picture  ex- 
hibitor and  has  three  theaters.  They 
wouldn't  come  up  to  twenty-five,  so  I  left." 

A  chance  to  go  out  with  a  vaudeville 
troupe  playing  one  of  his  father's  theaters 
took  the  boy  as  far  West  as  Fort  Worth, 
Texas. 

"I  had  money  enough  saved  either  to  go 
home  or  to  go  to  Hollywood,"  remembered 
Charles,  his  laughing  eyes  on  the  sea, 
giving  me  thus  a  profile  view  of  his  side- 
burn-ornamented  face,  the  profile  without 
the  scars,  which  is  as  different  as  may  be 
from  the  profile  with  the  scars. 

"I  decided  on  Hollywood.  I  went  to  the 
studios,  trying  to  get  extra  work,  but  had 
no  luck.  I  thought  I'd  crash  the  gates, 
but  the  gateman  always  said,  'Where's 
your  check?'  and  I  hadn't  one.  One  day, 
one  of  the  boys  who  "knew  the  gateman 
let  me  have  his  check  and  I  flashed  it  and 


got  by  while  the  other  fellow  said,  'H'are 
you,  Bill?'  and  sailed  in  without  showing 
his. 

"I  thought  I  had  to  have  experience- 
that  they'd  ask  me  questions.  'Who  di- 
rected you?'  etc.  But  they  never  do  ask 
anything. 

"Soon  I  got  in  as  extra  in  most  big  pro- 
ductions— 'Ten  Commandments,'  'Hunch- 
back of  Notre  Dame.'  I  worked  a  lot  in 
Poverty  Row.  Small  independents  would 
make  a  picture  in  a  week.  Charles  Hutch- 
inson was  usually  the  lead.  Karl  Dane  wis 
the  heavy  and  I  was  the  juvenile.  Then 
I'd  go  back  to  extra  or  bits. 

"Fox  was  the  first  studio  to  give  me  a 
part  in  a  big  picture.  I  was  in  'Wings  of 
Youth.'  After  the  first  rushes,  they  of- 
fered me  a  contract,  but  I  thought  I  must 
be  good,  so  I  wouldn't  take  it. 

Discovered   by   Craze 

,' A  week  later,  Mr.  Cruze  sent  for  me. 
I  didn't  see  him  the  first  time  I  went 
to  Lasky's,  so  I  thought  it  was  just  one  of  i 
those  things  and  let  them  send  for  me 
again.  When  I  went  to  Mr.  Cruze's  office, 
Walter  Woods,  who  wrote  the  story,  wa> 
in  the  room. 

"  'What  have  you  done  in  pictures  ?'  Mr. 
Cruze  asked  me. 

"  'Nothing.' 

"He  talked  to  me  a  minute  or  two.  Then 
he  asked:    'How's  your  physique?' 

"  'So-so,'  I  said.  I  felt  contrary,  because 
I  thought  it  was  all  a  form  and  they  didn't 
mean  anything. 

"He  made  me  take  my  things  off.  'How 
about  your  back?'  he  asked. 

"  'Not  so  good,'  I  said,  but  he  seemed 
satisfied  with  it. 

"  'Would  you  be  afraid  to  play  scenes  in 
the  rigging  of  an  old  sailing  vessel?'  he 
asked. 

"  'No.  I  was  born  near  Cape  Cod,  and  I 
used  to  dive  off  the  riggings  of  ships  in  the 
harbor  when   I  was  a  kid.' 

"I  noticed  they  gasped  when  I  spoke  of 
Cape  Cod.  The  chap  in  the  story  is  from 
Cape  Cod.  I  didn't  know  that  then.  Fi- 
nally, they  decided  I  was  the  man  they 
wanted,  and  after  a  while  Fox  let  them 
have  me,  and  here  I  am. 

"And  what  I'll  do  when  it's  all  over  and 
I  have  to  go  home,  I  dont  know!" 

He  looked  up  at  the  Tripolitan  fort, 
rising  in  gray-green  tiers  above  us.  in  the 
peace  of  its  palms  and  the  menace  of  its 
cannon.  Pirates  in  striped  turbans  and 
baggy  red  trousers  dangled  pointed  shoes 
over  the  walls,  and  here  and  there  a  ragged 
slave  slept  in  the  shadow  of  an  embrasure. 
Adventure.     Excitement.     Romance.   .    .   . 

"Come  on,   Kid!" 

Tim  Cruze  came  back  from  shooting  at  an 
J  elusive  wild  duck  lurking  about  the 
Esther  at  anchor  in  the  cove.  Wallace 
Beery  appeared  from  beneath  the  coat 
where  he  was  sheltering  his  shaven  head 
from  the  sun,  and  George  Bancroft  tossed 
his  long  bob  out  of  his  eyes. 

"Come  on,  kid!"  bellowed  the  last 
named.  "Come  back  to  your  Uncle  George 
and  your  L^ncle  Wrallie!" 

Charles  Farrell.  as  he  was  buckled  back 
into  his  iron  belt  that  bound  him  to  his 
"Uncle   George,"    smiled    his    happy   smile. 

"We've  got  to  stick  together,  boys !"  said 
the  youth,  who  is  said  to  have  the  most 
promising  future  in  Hollywood,  as  they 
manacled  Champion  Godfrey  to  the  other 
end  of  the  chain. 

And    the    four    started    gaily    into    the 


j 


Big  Pictures  and  Little 
Ones 

({    ■   h om  h'-i' 

tlu-\    had  been   started,  grew   out  oi 
bounds,    and    were    th<  o(    extra 

il  ,  .in-  Until  proved  tu  he  ti  mm 
phant  successes,  artistically  and  com 
merciallj  as  well. 

Here  were  two  ..w^,  then,  wherein  qua! 
it\  u.is  alio wcil  u>  predominate.  Ii  "The 
red  Wagon"  and  "The  Big  Parade" 
had  been  produced  in  the  usual  manner,  in 
foui  or  m\  weeks'  time,  and  delivered  to 
the  exhibitors  on  a  scheduled  date,  two 
memorable  pictures  would  have  been  lost 

\s  it  happened,  James  Cruze  in  the  one 

and    King    Vidor    in    the   other,    weir 

free  reign  and  allowed  to  run.     The 

theii    spiints    have    been    enoi 

mously  profitable,  to  producers  and  public 

alike. 

Ii  you  look  back  thru  the  list  of  movies 
that,  for  one  reason  or  another,  have 
ed  a  position  in  the  Hall  of  Film 
Fame,  you  will  find  almost  no  program 
pictures  They  are  essentially  creatures 
of  the  moment,  sold  across  the  counter  for 
what  they  would  bring — a..d  speedily  for- 
gotten 

It  is  not  the  money,  or  the  size  of  the 
sets,  or  the  number  of  extras  that  makes 
a  big  picture  big.  It  is  the  amount  of 
intelligent  effort  that  goes  into  its  pro- 
duction. Artists  who  are  compelled  to 
punch  a  time-clock  cease  to  be  artists. 
they  are  converted  into  machines,  and  their 
products  become  as  mechanical  and  as 
thoroly  lacking  in  originality  as  so  many 
Ford   . 

The   great    triumphs   of   the   movies   are 

achieved    by    the    craftsmen    who    take    a 

ire    pride    in    their    work.      They    are 

the  men  and  women  who  produce  the  big 

pictures. 


They  Say— 

(Continued  from   page  8) 

screen,  and  less  oi  hokum  and  hunk:  would 
like  more  of  real  womanhood,  and  les 
flapperdoni — (every  community  of  the 
United  States,  including  those  located  in 
the  "sticks,"  has  plenty  of  flappers  of  the 
home-made  variety— in  fact,  is  fed  up  on 
the  nuisances )  ;  would  like  to  see  more 
of  "home-folk"  and  less  of  the  "upper 
ten"  stuff. 

Editors  alone  can  not  bring  this  about, 
nor  can  patrons  alone  do  so ;  nor  yet  pro- 
ducers alone.  But  I  believe  that  if  editors, 
patrons  and  producers  get  together,  they 
can  bring  about  a  vast  improvement  in  the 
movie  industry,  and  do  it  in  a  compara- 
tively brief  span  of  time. 

John-  Bristol, 

P.  O.  Drawer   142. 

Vernal,  Utah. 

Huzzahs  for   the   Handsome   Heroes 
Editor.  Classic: 

I  think  that  Mr.  Edwin  Meyers  started 
something  in  the  May  number  of  Class u 
when  he  put  up  a  plea  for  Milton  Sills, 
Conway  Tearle.  Thomas  Meighan,  et  al., 
as  against  the  young  and  handsome  lovers 
of  the  screen. 

Men  just  cant  understand  why-  women 
admire  young  and  handsome  and  romantic 
men.  They  do  not  know  that  the  hero 
of  every  woman's  dream  is  young,  and 
handsome,  and  romantic.  And  yet,  on  the 
other  hand,  men  themselves  admire  young 
and  lovely  girls ;  and  the  girl  of  their 
dreams,  for  whom  some  of  them  are  even 
(Continued  on  page  84) 


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i  redact  before  the  i 
people  generally  are  the  once  whi  I  with  the 

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oi  breath  and  suffer  man  puffing  t"  an  almost  unbearable  poll  I 
aummei  they  are  always  tired  and  "«H  In"     Yet  they  might  net  rldd 
ail  ii.  by  reducing     Why  not  reduce  before  the  ■ 

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76 


Fame  Came  to  Chaplin  With 
Borrowed  Clothes 


(Continued  from  page  37) 


should  arrive  at  a  decision  to  make  it 
part  of  a  forthcoming  comedy.  It  so  hap- 
pened that  Charlie  Chaplin  was  one  of  the 
players  picked  out  to  "do  his  stuff"  in  the 
shots  which  Sennett  intended  grabbing. 
The  very  nature  of  the  manner  in  which 
scenes  must  be  filmed  made  "rush"  the 
order  of  the  day  and  Chaplin  scurried 
about  the  studio  to  don  a  hasty  make-up 
for  the  Baby  Parade  film.  In  his  haste 
he  found  no  time  to  put  on  the  clothes  he 
had  used  in  his  first  Keystone  pictures. 
Hurriedly  he  annexed  a  derby  hat  and  a 
flexible  cane.  Then  came  the  need  of 
trousers  and  shoes.  There  was  no  time  to 
be  lost.  Looking  around,  he  spied  a  pair 
of  pants  which  belonged  to  a  generously 
proportioned  gentleman  known  as  Fatty 
Arbuckle.  He  proceeded  to  don  the  trou- 
sers, wrapping  them  ineffectually  about  his 
waist  in  order  to  reduce  the  balloonlike 
effect  which  they  achieved  on  his  slender 
legs.  So  much  for  the  trousers.  He  still 
required  a  pair  of  shoes.  At  that  time  a 
fellow  stock-company  member  of  Chap- 
lin's who  answered  to  the  name  of  Ford 
Sterling  happened  to  be  the  possessor  of  a 
pair  of  stage-comedy  shoes  several  sizes 
too  large  to  come  under  the  heading 
of  "natty  footwear."  Chaplin  donned 
Mr.  Sterling's  mirth-provoking  pedal  ex- 
tremities. 

Thus  equipped  with  a  borrowed  ward- 
robe, he  proceeded  to  make  his  way  to  the 
scene  of  the  baby-parade  activities,  where, 
at  odd  moments,  he  ingeniously  placed 
himself  in  front  of  the  Keystone  cameras, 
always  making  sure  that  there  were  plenty 
of  mothers  and  babies  to  serve  as  a  back- 
ground for  his  comic  capers. 

Came  Fame 

Co  the  shots  were  secured  and,  in  due 
course  of  time,  found  their  way  into  a 
single-reel  release  of  the  Keystone  brand 
and  distributed  by  the  then  all-powerful 
Mutual,  a  forerunner  of  the  giant  dis- 
tributing companies  of  today.  The  picture 
scored  immediately  with  the  exhibitors  of 
the  country.  Everywhere  showmen  and 
exchange  managers  asked  the  same  ques- 
tion :  "Who  is  the  little  guy  with  the 
funny  walk  ?" 

In  shoes  several  sizes  too  large  for  him, 
Chaplin  shuffled  thru  the  various  scenes 
in  the  picture,  acquiring  a  walk  which 
was  to  become  the  most  imitated  of  all 
things  of  the  screen.  Children  and  grown- 
ups alike  sought  to  ape  the  Chaplin  walk 
of  the  actor  in  the  borrowed  shoes,  which 
flapped  and  spread  in  ridiculous  fashion 
as    the    comedian    shuffled    about,    cane   in 


hand  and  shabby  derby  jauntily  perched 
on  his  head. 
^  Picture  after  picture  came  from  the 
Keystone  studio  in  which  the  "funny  little 
guy"  continued  to  wear  the  make-up  of 
the  Baby  Parade  offering.  After  each  pic- 
ture would  come  the  flood  of  inquiries  from 
exhibitor,  patron  and  exchange  man,  de- 
manding the  name  of  the  player  who  wore 
the   flappy   pants  and  the  big  shoes. 

Those  were  the  days  when  personal  pub- 
licit}'  was  frowned  upon  by  the  makers  of 
the  various  brands  of  pictures.  Very  few 
were  the  names  of  the  players  known  to 
the  fans.  But  the  storm  of  popular  ap- 
proval which  greeted  each  effort  of  Chaplin 
finally  forced  the  sponsors  of  Keystone 
comedies  to  accede  to  public  demand,  with 
the  result  that  the  comedian  received  his 
first  public  mention  in  the  press  and  also 
on  the  screen. 

The  Borrowed  Costume 

I7ilm  history  does  not  reveal  whether  or 
not  Charlie  Chaplin  proceeded  to  secure 
for  himself  a  replica  of  the  borrowed  cos- 
tume which  he  wore  in  the  Baby  Parade 
epic.  Undoubtedly,  Messrs.  Sterling  and 
Arbuckle,  needing  the  shoes  and  pants  in 
their  business,  reclaimed  their  borrowed 
comic  paraphernalia.  While  the  clothes 
used  by  Chaplin  gave  him  the  first  emphatic 
push  along  the  road  of  success,  it  is  un- 
necessary to  stress  the  fact  that  his  artistic 
talents  were  and  still  are  superior  to  the 
mere  detail  of  comedy  wardrobe.  The 
flood  of  Chaplin  imitators  who  assaulted 
the  screen  following  his  first  success  dem- 
onstrated this  clearly.  Affecting  the  derby, 
cane,  baggy  pants  and  large  shoes,  they 
sadly  lacked  the  pantomimic  abilities  which 
mark  Chaplin  as  the  greatest  of  all  laugh 
producers  in  films,  whether  wearing  the 
costume  he  made  famous  or  arrayed  in 
conventional  attire. 

At  some  future  time,  should  the  great- 
ness of  the  business  of  making  motion 
pictures  demand  a  permanent  monument 
for  its  exposition  and  propagation  as  one 
of  modern  civilization's  most  distinguished 
arts,  I  believe  that  alongside  of  Billy 
Bitzer's  epic  camera  and  Harold  Lloyd's 
historic  glassless  spectacles  should  be 
placed  the  dilapidated  derby  and  its  com- 
panion outfit  of  the  original  Chaplin 
make-up. 

So,  despite  the  enticing  tales  of  success 
with  which  the  Pollyanna  scribblers  regale 
an  aspiring  public,  I  must  stick  to  my 
story  that  here  is  one  man  who  achieved 
limousines  and  a  million-dollar  income  on 
a  totally  different  kind  of  borrowed  capital 
— old  clothes. 


The  Celluloid  Critic 

(Continued  from  page  70) 


it  doesn't  offer  anything  more  than  a 
simple  triangle — which  could  just  as  well 
have  been  placed  against  an  American 
background — say,  Hollywood,  for  instance. 
There  is  nothing  in  common  with  Russian 
life  here — not  even  in  the  atmosphere. 

Laura  La  Plante  is  the  central  figure — 
but  she  belongs  in  light  comedies.  She 
fails  to  touch  the  emotional  chords  as  a 
temptress  who  plays  a  Grand  Duke  against 
the  crass  Croesus  of  St.  Petersburg  while 
she  develops  a  romance  with  an  officer  of 
the    G.    D's    guard.      And    in    establishing 


this  romantic  element  the  director  misses 
the  dramatic  possibilities  entirely.  He 
just  hints  at  the  tragic  note. 

I  can't  remember  a  picture  which  has 
carried  more  of  an  old-fashioned  finale 
than  this  one.  It  resembles  the  early 
Biograph  period  in  its  mad  melodramatics 
or  heroics. 

But  through  it  all  Pat  O'Malley  man- 
ages to  act  with  authority  and  under- 
standing in  his  role  of  the  Grand  Duke — 
and  George  Siegmann  gets  plenty  of  char- 
acter into  the  part  of  the  wealthy  Tartar. 


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Myce  Mills,  .iii'  i  the  bcaul  l  had 

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hi    its    memoi  )    "iil\    and    ■    fi  w    photo 
graphs  ,.i   doubl ml   value,  h    ii   nrobabli . 
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must  learn  to  rebound,  ii>  bounce  merrily 
back,  after  each  time   Fate  hurls  him  01 
her  up  against  the  granite  wall  of 
tered  hopt  s. 

Miss  Mills  is  a  blonde,  It  is  inevitable, 
perhaps,  that  she  would  be,  as  .1  foil  for 
tin-  darker  charms  oi  her  male  colli 

gentlemen  seven  stars  nt  brunette  t >  1  >■.- , 
it  is  said,  always  prefer  blondes  or  those 
nearly  blonde.  It  is  the  law  ui  opposites. 
It  seems,  too,  t"  have  been  a  season  for 
blondes,  when  one  considers   the  spotlight 

of    interest    that    lias    lieen    east    upon    such 

golden-haired  personalities  as  Vilma  Banky, 
Norma  Shearer,  ■•/  (//. 

Playing   Opposite   Dix 
kLYCi    \!nis  is  ideally  suited,  we  think, 

tn  the  rule  she  is  playing  in  "Say  It 
'again,"  for  the  picture,  as  it  happens,  is 
.1  sort  of  serio-comic  treatment  of  the 
Princess-Mythical  kingdom-  American  hero 
hodgepodge  that  nourished  during  the 
early  part  of  the  Twentieth  Century  and 
has  only  been  heard  of  since  in  places 
like  libraries.  Miss  Mills  is  the  heroine 
ui  the  opus,  while  Richard  Dix  is  the 
heart-smashing  hero,  and  a  lovely  heroine 
she  is  to  his  masculine  charms. 

ll  had  been  three  years  at  least  since 
we'd  seen  Miss  Mills,  and  water,  we  knew, 
had  a  way  of  rolling  in  great  quantities 
under  bridges  as  time  passed. 

"You're  not  married?"  we  asked,  rather 
thinking  that   she  was. 

She  shook  her  head  with  a  luminous 
smile.      "No,"    she   told   Us.      And    then,   lest 

we  misunderstand,  she  added  brightly,  "but 

I've  had  lots  of  chances."  Watching  her, 
we  found  this  easy  to  believe. 

"You  were  wise,"  we  told  her.  "to  stick 
tn  your  career.  Marriage  should  he  sec- 
ondary.'' 

But  she  shook  her  head  doubtfully. 

"I'd  like  to  think  so."  she  said,  "hut 
T*m  afraid  I'm  too  much  of  just  plain  girl 
to  feel  that  way.  Somehow,  marriage  has 
always  seemed  to  me  to  he  the  most  im- 
portant business  in  life— the  star  to  every 
wandering  moth!  I'm  a  predestined  wife. 
I  guess.  And  tho  I've  been  busy  with  a 
career  for  the  past  four  years,  it  has  always 
•  •(I  to  me  as  tho  marriage  was  the 
real  goal  toward  which  I  was  pointed  in- 
stead of  screen    fame. 

"I  got  that  rare  thing  called  a  chance." 
she  said.  "I  was  cluing  extra  work,  here, 
there,  wherever  there  was  extra  work  to 
lie  done,  when  someone  who  had  seen  me 
recommended  me  to  Elmer  Clifton,  who  was 
about  to  start  making  'Daughters  of  the 
Night'  for  Fox.  Mr.  Clifton  sent  for  me. 
and  my  engagement  followed.  After  the 
Fox  picture  came  m\  real  chance  with 
B.  P.  Schulberg,  for  this  was  a  contract 
to  appear  in  five  pictures,  including  'Faint 
Perfume,'  'My  Lady's  Lips'  and  'The 
Keeper  of  the  Bees.'  Then  came  Famous 
with  an  offer  to  appear  in  'Say  It  Attain' 
with  Mr.  Dix.  and  you  can  imagine  how- 
pleased  I  was. 

"Curiously,"  she  added,  "my  chance  with 
B.  P.  Schulberg  followed  an  Elmer  Clifton 
picture  as  Clara   Bow's  did." 


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77 


The  SIREN  LURE 


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She's  from  Alabam' 

{Continued  from  page  35) 


decorated    and    furnished    it    herself    and 

began  painting  parchment   lamp-shades. 

"It  was  the  best-looking  place,"  smiled 
Dorothy,  from  the  depths  of  the  over- 
stuffed chair  in  her  newly  acquired  Holly- 
wood home,  "I  got  old  rugs — on  the  order 
of  this  one — and  had  them  dyed  black.  Then 
I  did  the  place  in  robins'  egg  blue  with 
touches  of  orange.  ...  I  bought  this 
house  furnished  and  I  think  it's  terrible. 
But  come  back  again  in  three  weeks  and 
you'll  be  surprised !  .  .  .  . 

"I  couldn't  take  care  of  all  the  orders 
I  had  at  the  studio,  but  all  the  time  in  the 
back  of  my  mind  was  the  idea  of  being 
an  actress.  I  used  to  spend  my  lunch 
money  on  pictures — it  was  always  pictures 
more  than  the  stage  that  interested  me." 

In  that  strange  way  most  of  us  have  of 
reaching  for  the  thing  we  want  by  pre- 
tending to  be  reaching  for  something  else, 
Dorothy  got  to  New  York.  Ostensibly 
she  went  to  take  an  art  course,  but  when 
she  arrived,  she  hurried  at  once  to  an 
agent's  office  to  try  for  the  stage. 

Studied  Acrobatic  Dancing 

"You'd  better  learn  acrobatic  dancing. 
You  must  have  some  qualification 
nowadays,"  one  kindly  soul  told  her. 

Dorothy  counted  over  her  dwindling 
funds.  A  course  in  acrobatic  dancing 
lasted  a  year  at  the  least.  Well,  there  was 
enough  to  try  a  month  at  it ! 

"It  was  excruciating !"  said  Dorothy. 
"They'd  put  me  against  a  well  and  force 
one  leg  up  over  my  shoulder  until  the 
tears  rolled  down  my  cheeks.  Then  they 
stretched  me  and  pulled  me  about  while 
I  suffered  agonies.  I  thought :  'It's 
frightful — but  if  this  is  what  you  have  to 
do  to  get  on  the  stage,  I'll  bear  it.'  And 
then  one  morning  I  woke  up  and  found 
I  couldn't  get  out  of  bed !" 

While  she  was  struggling  with  rebel- 
lious muscles,  a  notice  to  the  effect  that 
Ned  Wayburn  was  selecting  girls  for  a 
fashion  show  came  to  her  attention,  and 
as  soon  as  she  could  force  herself  to  dress 
she  made  her  way  to  his  office,  under  the 
mistaken  impression  that  he  was  seeing 
them  there. 

It  was  drawl  that  did  it,  for  Dorothy 
was  so  weary  and  discouraged,  so  sick 
with  the  dancing  outrage  that  she  didn't 
look   particularly   well. 

"What's  your  name?"  asked  Ned  Way- 
burn,  and  when  she  had  told  him  he  di- 
rected her  to  the  hall. 

Arrived  there,  she  stood  among  all  the 
hundreds  of  gathered  beauties  and  de- 
spaired. Not  for  long,  however.  Ned 
Wayburn  appeared,  silence  descended  and 
his  first  words  were : 

"Will  Dorothy  Sebastian  come  to  the 
desk?" 

"It  seemed  miles  across  the  long  room," 
confessed  Dorothy.  "I  thought  he  was 
probably  going  to  tell  me  to  go  home  and 
I  was  scared.  But  he  told  the  clerk  to  O.-K. 
my  name  and  I  walked  on  air." 

The  fashion  show  lasted  a  week.  In 
the  dressing-rooms  Dorothy  listened  avidly 
to  the  talk  of  the  proposed  George  White's 
"Scandals,"  the  big  event  of  1924.  Erte 
had  designed  sets  and  costumes.  It  was 
to  overshadow  everything  that  had  ever 
happened.     Etc. 

The  girls  were  all  selected — that  was  the 
trouble.  But  Dorothy  marched  over  to  the 
theater  where  rehearsals  were  to  begin  and 
entered  the   stage  door   with   the  rest. 

Landed  in  the  "Scandals" 

A   slim  man  in  spats,  straw  hat  over  one 
■^  ear  and  cane  over  one   arm,   strolled 


across  the  broad  expanse  of  stage  on  which 
groups  were  rehearsing  and  stopped  before 
Dorothy. 

"What  are  you  doing  here?"  he  inquired. 

"I  want  to  see  Mr.  White." 

"I'm  Mr.  White." 

"Oh,  dont  kid  me !  I  want  to  see  George 
White." 

"What  do  you  want  to  say  to  him?  Had 
any  experience?" 

"No,  I  haven't,  but  I'm  going  to  tell 
him  I  have.  I'm  going  to  tell  him  I'm  a 
dancer  and  a  singer  and  I  can  do  any- 
thing  "    (That  intriguing  "inny thing"  !) 

"But  suppose  he  asks  you  to  prove  it  ?" 
inquired  the  man  in  spats. 

"I  can  dance  anything  anybody  teaches 
me — and  I  can  sing  in  a  chorus.  I  know 
I  can  do  whatever  he  wants  me  to  do " 

"Where  are  you  from?" 

"Alabam'." 

"Well,  Alabam',  I  am  George  White 
and  I'm  from  Dixie,  too!  Go  over  there 
and   start   rehearsing   with   the  girls !" 

Dolores  and  Helene  Costello  were  in  the 
"Scandals,"  too. 

"That's  just  the  sort  of  girls  we  had," 
exclaimed  Dorothy,  her  hazel  eyes  shin- 
ing, "sweet  and  genuine  and  talented." 

Costellos  Also  in  "Scandals" 

Tt  was  because  Dorothy  herself  was  seri- 
ous about  her  future  that  she  came  to 
Hollywood.  Pictures  seemed  to  her  the 
only  thing  that  really  mattered  and  she 
set  her  brains  to  work  to  find  the  way  in. 

On  the  train  coming  out  she  heard  that 
Robert  Kane  was  to  produce  independently 
and  that  Henry  King  was  to  direct  the 
first  picture,  "Sackcloth  and  Scarlet." 

"I'll  be  in  'Sackcloth  and  Scarlet',"  de- 
cided Dorothy ;  and  upon  her  arrival  in  the 
city  of  stars,  she  donned  her  prettiest 
frock,  wrapped  herself  in  the  painfully 
saved- for  fur  coat  and  strolled  over  to 
United  Studios. 

It  may  have  been  the  fur  coat,  but  I  am 
inclined  to  think  it  was  the  Alabama  drawl 
that  got  her  past  the  gateman  and  into  the 
office  where  the  director  was  engaged  in 
casting. 

The  two  gentlemen  whose  names  begin 
with  K  were  likewise  hypnotized  into  giving 
the  Southern  beauty  a  screen  test. 

"They  had  me  do  everything  Polly 
Freeman  does  in  the  story,"  said  Dorothy, 
"only  I  had  to  imagine  the  top  of  the 
mountain  and  the  handsome  stranger. 

"Next  day  they  telephoned  me  to  come 
over  at  once  and  broke  the  news  to  me  that 
I  was  to  be  Polly. 

"'Oh,  I  couldn't!'  I  cried.  'Of  course 
I'd  do  my  very  best  and  ev'thing  but  I 
dont  know  anything  about  pictures  and 
I  might  spoil  it.' 

"But  they  persuaded  me  to  try  and  I 
did. 

"One  day  they  put  me  up  against  a  wall 
with  a  light  on  one  side  and  dark  on  the 
other  and  told  me  to  suffer.  I  had  nothing 
to  tear,  nothing  to  catch  hold  of,  only 
the  light  and  the  dark.  After  that  scene, 
Mr.  Kane  signed  me  for  five  years. 

"And  now — bless  them  ! — they've  released 
me  to  Metro-Goldwyn-Mayer  and  I'm 
praying  for  a  chance  at  sympathetic  parts. 
You  see,  on  the  screen  I  go  sort  of  sleepy- 
looking  and  blah,  and  they  call  that  'sex 
appeal'  and  give  me  these  terrible  heavies 
to  do.  A  heavy  may  be  all  very  well  once 
in  a  while,  but  forever !" 

And  I  cant  help  thinking  that  when 
Dorothy  takes  her  Alabam'  accent  and  asks 
the  officials  out  at  M-G-M  for  a  sym- 
pathetic part — she'll  get  it ! 


78 


A 


The  Answer  Man 

71  ) 

rcalh    the  beginning  "i    film 
is  |ila>  mi;   m  "  I  he 
I 

N .  ^   1    know 
1  >amcl>  in  "1  h     I 
Well.  1 1  iih  ii  kiit  w   .ill  thai  WDtnen 
think,    thej    would    U-    twent)    times    more 

B      W  h\     \   una    Shearer    has 
lir    and    blue    e\e>.    and    was    burn 
OJ 

'  mit       Well,    dentistry    seems    I" 
women   and   alread)    then 
than    1,800    women    in    the    United 
ing     tin-     profession. 

not    married   and  never 

Valentino's    real    name    i- 
Iph  Guglielmi. 

nks  for  the  pretty  Japa- 
1  am  alwa\  s  glad  t"  hear  from 

IU.nkn    I       Why,   Gertrude  Olmstead  is 

lUty -contest   winner,  ami  -die  won  rieht 

aine  from  high  school  in  La  Salle, 

She  ha>  chestnut -brown  hair  and 

-.    a     lair    complexion.       In 

nne   Griffith's    next    picture.    "In    Her 

dom."  she  plays  the  part  of  a  twelve 

girl.     That's  going  back  some — or 

I    wish  you    luck,  but 

you  -  i  rule  the  l>ook  agent  di 

upt   a   busy    man;   the   man   just   gets 
busy  to  tool  him. 

J.  Warren  Kerri- 
gan and  Give  Brook  are  your  favorites. 
Who  else  but  Tennyson  could  have  said. 
"  Tis  better  to  have  loved  and  lost,  than 
Dtver  to  have  loved  at  all"?  Thomas 
han  surely  is  playing— his  next  pic- 
ture will  be  "Prosperity.''  a  dramatic  story 
of  a  man  who  tried  to  high-hat  New  York. 
James  E. — Your  letter  was  a  gem.  Glad 
to  hear  that  you  are  improving.  Esther 
Kalston  was  born  in  1902  and  Mary  Astor 
in  1906.  Esther  Ralston  and  Clara  Bow. 
Louise  Brooks  and  Fay  Lanphier  and 
the  Ziegfeld  chorus  are  playing  in  the  cast 
of  "Glorifying  the  American  Girl." 

-sie. — Crcighton  Hale  was  born  in 
Cork.  Ireland.  <  Hven  Moore  was  born  in 
the  land  of  Shamrocks,  too.  and  lacks 
two  inches  "i~  being  a  six- footer 
hope  I  get  a  raise.  Well.  I'm  getting  $15.00 
per  week ;  that  keeps  me  going  pretty 
good.  It  takes  all  my  money  for  butter- 
milk. 

Gerry. — Well,  the  best  part  of  beauty  is 
that  which  no  picture  can  express.  Ronald 
Colman  was  burn  in  1SV1.  Norma  Tal- 
madge  was  born  in  1895  and  Mary  Pick- 
ford  in  1893. 

Richie. — I  >hould  say  I  was  glad  to  hear 
from  you.  Write  to  me  any  time.  If  you 
dont  write  me.  I'll  lose  my  job.  Larry 
Semon  joined  Yitagraph  in  1913.  and  be- 
came a  star  in  1915. 

Francis. —  Lawrence  Gray,  Richard  Dix 
and  Adolphe  Menjou  are  with  Famous 
Players  at  Astoria.  Long  Island,  and  Ron- 
ald Colman  and  Lewis  Stone,  First  Na- 
tional Productions,  5341  Melrose  Avenue. 
Angeles. 
Tessie  B. — Tom  Mix  has  two  children. 
Ruth,  by  a  former  marriage,  is  sixteen  and 
is  in  western  pictures.  Helen  Holmes  is 
Mrs.   J.   P.    MeC.owan. 

Marion  E.  D. — Lloyd  Hughes  was  born 
in  1899  and  is  married  to  Gloria  Hope. 
Richard  Dix  and  Richard  Barthelmess  not 
married,  at  least  the  latter  was  once.  That 
Walter  Pidgeon  in  "Mannequin."  See 
you  next  month!  Station  A.  M.  signing 
off.  It  is  now  eleven-thirty  daylight 
ing  time.     Good -night. 

(Continued  on  Pagt  SI) 


> 

Who  wouldn't? 

for  that  perfect  "balance"  of  fine  Turkish 
and  American  tobaccos,  thai  extra  delicacy  of 
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MO  VIES 

with  the  Bell  &  Howell 


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Name .  .  . 
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CHARLES  G. 

WILLQUGHBY 

New  York 


INC. 

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that  breaks  or  loses  out  of 
fct^tne  setting. 
C^-OIL  FIEID  GEMS  are  set  In 
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est  sterling  silver,  flemem- 
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GEM  COMPANY 

SOUR  LAKE  TEXAS 


Full  Awards  in  Your  Opinion  Contest 


(Continued  from  page  41) 


Mrs.  Natalie  Wisbeck,  95  Stuyvesant 
Avenue,  Lyndhurst,  New  Jersey;  Miss 
Marion  H.  Hopkins,  2031  Bedford  Ave- 
nue, Brooklyn,  New  York;  Mrs.  M.  C. 
Ledbetter,  1041  Goodlet  Avenue,  Indian- 
apolis, Indiana ;  Orner  Breitbart,  Box  235, 
Saddle  River,  New  Jersey;  Elizabeth  W. 
Robinson,  1832  Biltmore  Street,  N.  W., 
Washington,  D.  C. ;  Carolyn  Barr,  5484 
Everett  Avenue,  Chicago,  Illinois ;  Helen 
M.  Perkins,  2738  Webster  Street,  Berke- 
ley, California;  Ellen  W.  Hill.  3129  Hazel 
Street,  Erie,  Pennsylvania ;  Douglas  F. 
Mussinon,  806  Kirbert  Avenue,  Cincin- 
nati, Ohio ;  Madeline  Glass,  2975  Leeward 
Avenue,  Los  Angeles,  California;  Robert 
McNeal  Parsons,  315  West  Monroe 
Street,  Sandusky,  Ohio ;  Ernest  R.  Wild, 
1211  J/2  S.  Kingsley  Drive,  Los  Angeles, 
California;  Miss  D.  H.  Chapman,  1582 
Sanchez  Street,  San  Francisco,  Cali- 
fornia; Betty  E.  Janover,  55  E.  100th 
Street;  New  York  City;  Miss  Florence 
Cisch,  1757— 78th  Street,  Brooklyn,  New 
York ;  Elaine  Dennis  Young,  55  West 
Main  Street,  Norwalk,  Ohio;  C.  M. 
Faunce,  915  Mills  Building,  San  Francisco, 
California;  F.  Jurden  Doxtater,  737  South 
Burlington  Avenue,  Los  Angeles,  Cali- 
fornia; Helen  Buchalter,  1130  North 
Capitol  Street,  Washington,  D.  C. ;  Mrs. 
David  M.  Evans,  1528  Morningside  Court, 
Hollywood,  California;  Mrs.  J.  Lawrence 
Widmer,  9  Maryland  Avenue,  Annapolis, 
Maryland;  Mrs.  Sara  Worcester,  1411 
Chapel  Street,  New  Haven,  Connecticut ; 
Evelyn  Fritinger,  11  Race  Street,  Wilkes- 
Barre,  Pennsylvania;  A.  G.  Wilt,  162  W. 
Hortter  Street,  Germantown,  Pennsyl- 
vania; Henry  L.  Belmont,  1323  S.  48th 
Street,  Cicero,  Illinois ;  Helen  Miller, 
3335— 18th  Street,  N.  W.,  Washington, 
D.  C. ;  Miss  Grace  Greenwood,  535  Hotel 
Roosevelt,  Washington,  D.  C. ;  Lucille 
LeClair,  206  Maple  Street,  Dayton,  Ohio ; 
Mrs.  Helen  M.  Thorpe,  14-5  S.  Carolina 
Avenue,  S.  E.,  Washington,  D.  C. ;  Roger 
Searle,  P.  O.  Box  403,  Washington,  D.  C. ; 
Ottilie  Jerchower,  1486  Fifth  Avenue, 
New  York  City ;  Alex  Brook-Jackson,  4 
Tooking  Bee  Gardens,  Streatham,  London, 
S.   W.    C,   England;    Mrs.    Vivian   Elliott 


Wood,  1526  N.  20th  Street,  Birmingham, 
Alabama ;  Miss  Marchette  Chute,  c/o  W. 
Y.  Chute,  738  McKnight  Building,  Minne- 
apolis, Minnesota;  Miss  B.  M.  MacDon- 
ald,  834  N.  Ninth  Avenue,  Phoenix,  Ari- 
zona; Richard  Renton,  1821  N.  Alex- 
andria Avenue,  Hollywood,  California; 
R.  L.  Hensel,  758  Lincoln  Avenue,  St. 
Paul,  Minnesota ;  Gerd  Aage  Gillhoff,  37 
W  88th  Street,  New  York  City;  Mr. 
Abelle  Reyes,  219  Grant  Building,  Atlanta, 
Georgia;  Leontine  Brennan,  2731  N. 
Prieur  Street,  New  Orleans,  Louisiana; 
Miriam  Allen  de  Ford,  Box  573,  San 
Francisco,  California;  Ida  Ruth  Derrick, 
Green  Bay,  Wisconsin ;  Pat  Morrissette, 
947   Franklin   Boulevard,   Eugene,  Oregon. 

Fifty  $5.00  Prises — Mrs.  Mabel  Clark, 
1421  N.  Poplar  Street,  Wichita,  Kansas; 
Lewis  D.  Flackler,  827  Maiden  Lane, 
Roanoke,  Virginia ;  Mrs.  Howard  Sevier, 
Box  53,  Tallulah,  Louisiana ;  Sara  Low- 
enburg,  1307  W.  Girard  Avenue,  Phila- 
delphia, Pennsylvania ;  Lucy  Sanborn  Ly- 
man, 705  N.  1st  Street,  W.,  Salt  Lake 
City,  Utah;  J.  N.  Fujishima,  c/o  Yonei 
Shoten,  Nichome  Ginza,  Tokio,  Japan; 
Mae  H.  Ashworth,  118  West  Ninth  Street, 
Mount  Vernon,  Indiana ;  Miss  Veronica 
M.  Dolan,  400  Brown's  Avenue,  Portland. 
Oregon ;  Miss  Peggie  Ferguson,  9  Upper 
Avenue,  Eastbourne,  Sussex,  England ; 
Agnes  M.  Wolf,  5215  Beaumont  Avenue, 
Philadelphia,  Pennsylvania ;  E.  Van  Tyne, 
Covington,  Virginia;  Mrs.  E.  P.  Daven- 
port, 2804  Magnolia  Street,  Texarkana, 
Texas;  Mrs.  L.  P.  Martin,  5281  Fourth 
Avenue,  Rosemount,  Montreal,  P.  Q., 
Canada ;  Miss  Isabel  Knight  Hatfield,  3 
West  8th  Street,  New  York  City;  Miss 
Maude  Barragan,  701  Greene  Street, 
Augusta,  Georgia ;  Miss  Man-  Maxon 
Davis,  420  Peebles  Street,  Pittsburgh, 
Pennsylvania;  Rosemary  Clifford.  Flat  1, 
246  Gloucester  Terrace,  Hyde  Park,  Lon- 
don W.  2,  England ;  M iss  Dorothy  Grace 
Shore,  11  Dravton  Gardens,  London  S. 
W.  10,  England;  Kate  Holmden,  408 
Slater  Street,  Ottawa,  Canada ;  Leigh 
Loveday,  93  Alma  Road,  East  St.  Kilda, 
Victoria,  Australia;  C.  D.  Curren,  R.  D.  1, 


Final  Standing  of  Your  Opinion  Contest 

PICTURES 

Passion    16,819 

Forbidden   Paradise 7,139 

Monsieur   Beaucaire 4,576 

The  Birth   of  a   Nation 3,190 

The  Covered  Wagon 3,168 

Robin   Hood 2,640 

The  Ten  Commandments 2,200 

Scaramouche    2,167 

So  Big 1,133 

The  Thief  of  Bagdad 979 

Manhandled    903 

The  White  Sister 825 

Peter    Pan 792 

The  Sea  Hawk 748 

Broken  Blossoms 740 

The  Hunchback  of  Notre  Dame 725 

He  Who  Gets  Slapped 517 

The  Red  Lily   506 

The  Merry  Widow    462 

The  Four  Horsemen   374 


80 


Fliiin.i.     New      York;     Jiulv     Stacy,     \->> 
HilKiili      Wciuu       i '    diiicnit,     i  uliloi in. i , 
K      OX.  ill.     Nil     Ktiil     Street. 
I'l'iiiivs  hani.i ,    Helen    Marie 
Jelliffee,     55lJ     I'niun     Sim!,     (jalesburg, 
Mar>    liryan,   11J   I      U..I,    Si 
Spi  in^s,     {  uKii  .ul"  .     I  lull     I 
219    North     Bakci     Street,    Cornell     I 
itj  .    I  that  a,    New    Yoi  k  .    I  'raw  •      Rid 
'ill   Street.    \.u    York   I 
Harrj      reitelltauin,     114     Hcillord     Street, 

uliu-MtN;      1  Iri  lull      (.• 
18  Strain!   Street,   Krederiksted,   Si    Croix, 
\'     I  .    Mis     Ko.swell    Howell    Cobb,    Box 
.   Birmingham,   . Mali. una  ;    I  I     \\       \>li 
ii  IhI      Vvemie,     Philadelphia, 
sylvania ;    K!     M.    liriue,   11    Sunshine 
I,    Upiai     l>.ul>\.    Del    Co.,    Pennsyl 
i;      \      I       Cohei       V-         4d     SJH,    San 

gtin.    California ;     Donna     M       I  yean, 
enidji,    Minnesota;    Mrs.    W     1'    Stanley, 
n  i.    Bi  ookl)  ii.    New    York  ; 
Miss    Kathryn    Slieekey,    -'-'    1\<>^-.     \\iiuie, 
Nyack,  New    York;   Mi-*-.   Marie  Sandhaus, 
1005      North      Jiul      Street,      Springfield, 
Illinois;  Millieent   M.  Spicer,  14ln  Avenue 
K.  Brooklyn,  New  York;  Dorothy   Evelyn 
S      Palatine      Road.      Northenden, 
Manchester,    England;   ("    ti    Stergios,  M 
Marj    Street,    Cardiff,    South    Wales, 
:    Britain;     Marie    Doud,    1818    East 
3rd  Street,   Long   Beach,   California;   Ber- 
nadine    Wright,    4_'l    VV.    Monroe    Street, 
gfield,    Illinois;    Helen    Daniel,    Bahn- 
ville  Road,  Newburgh,  New    York;   Laura 
L).i>.    Odin,    Illinois;    Josephine    Bancroft, 
TlO.i   Lexington    Avenue,  Cleveland,  0 
Mrs     Alfred    Gundlack,    547    Abbottsford 
Road,    Germantown,    Philadelphia,    Penn- 
Martin    II     Herlic,    P.    O.    Box 
630,     San     Bernardino.     California;     Miss 
May   M    Neville,  P.  O.   Box   145'),  Tulsa, 
Oklahoma;    Miss    Lena    Znamirowski,  c/o 
Mrs.    Mattes,   201    Hoyt    Street.    Brooklyn, 
New  York;  Walter  A    Ripley.  St    Francis, 
Wisconsin. 


The  Answer  Man 

ntinued  from  page  79) 

Aileen  Pringle  Fan.— It  was  Oscar 
Wilde  who  said,  "I  believe  that  at  thi 
ginning  God  made  a  world  for  each  sepa- 
rate man.  and  in  that  world  which  is 
within  us  we  should  seek  to  live."  Thanks- 
giving Day  occurs  on  the  last  Thursday 
in  November.  Aileen  Pringle  isn't  mar- 
ried now  and  hasn't  any  children.  John 
Gilbert   and   Ronald   Colman  are    five    feet 

U\!  in  Bebe's  Mann  Admirers.  That 
Carl  Miller  in  "We  Moderns"  and 
George  O'Brien  in  "The  Iron  Horse."  So 
you  want  to  know  the  size  of  Gillie-  Dove's 
shoe.  A  bit  out  of  my  line,  that.  Many 
thanks  for  the  posie. 

Flapper  Peggy. — Ronald  Colman  has  a 
wife  in  England.  Born  in  1891  and  you 
think  he  is  handsome.  So  do  I.  James 
Kirkwood  in  "The  Wise  Guy"  and  Gloria 
Swanson   in   "Personality." 


r 


Be  Sure  to  Read  the 

MOTION  PICTURE  CLASSIC— 

the  Most  Striking  Magazine  of  the 
i.  It  Teems  with  Romance  and 
Adventure.  Its  pages  are  alert  with  in- 
teresting news  and  events  pertaining  to 
the  Celluloid  World.  It  is  the  foremost 
magazine  of  the  screen  in  the  honesty 
of  its  reviews  and  the  authority  with 
which  its  articles  are  written.  Be  sure 
to  read  The  Classic— it  offers  a  real 
contact  with  the  people  who  make  and 
play  in  pictures.  Order  the  August 
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4I1ITR  HOSE  ADJUSTER 

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81 


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may  now  4\     ^k 

HAVE      m& 
LASTING 
CURLS 

fs^r   <fc  1    r\r\  — curls  that  stay  curled  to  the  very 
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sity of  "touching  it  up'1  every  day. 

the  curl  that  sheds  water 

the  newest  beauty  aid,  and  the  simplest  to  employ,  in- 
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Do  away  with  frowzy  ends  forever 

A  perfect  marcel  or  a  permanent  wave  is  most  un- 
sightly if  the  ends  of  the  hair  are  "frowzed"  or 
straightened  out.  One  touch  of  Durawax  to  the  hot 
iron  and  applied  to  the  hair  will  make  the  curl  stay 
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Beauty  specialists  are  enthusiastic  over  Durawax. 
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To  Our  Subscribers 

A  NUMBER  of  subscriptions 
expire  this  month ;  maybe 
yours  is  one  of  them.  Better  re- 
new it  before  you  forget.  Mo- 
tion Picture  Classic  is  get- 
ting more  interesting,  bigger  and 
better  as  the  months  roll  on. 
Send  us  your  remittance  for 
$2.50  and  we  will  renew  or  ex- 
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other year. 

Brewster  Publications,  Inc. 

175  Duffield  Street  Brooklyn,  N.  Y. 


Something  DIFFERENT 

for  Bobbed  Hair 

There  is  a  tremendous  difference  in  bobs.  Some 
are  wonderfully  attractive  and  becoming,  while 
others,  well  — which  kind  isvours? 

I  wish  you  could  picture  the  becoming  kind  I 
have  in  mind —  the  sort  that  makes  men  turn  to 
admire.  I  can't  tell  you  what  the  color  is,  but 
it's  full  of  those  tiny  dancing  lights  that  somehow 
suggest  auburn,  yet  which  are  really  no  more  ac- 
tual color  than  sunlight.  It's  only  when  the  head 
is  moved  that  you  catch  the  auburn  suggestion — 
the  fleeting  glint  of  gold. 

You  have  no  idea  how  much  your  bob  can  be 
improved  with  the  "tiny  tint"  Golden  G  li  nt 
Shampoo  will  give  it.  If  you  want  a  bob  like  that 
I  have  in  mind,  buy  a  package  and  see  for  your- 
self. At  all  drug  stores,  or  send  25^  direct  to 
J.W.  KobiCo.,    656  Rainier  Ave.,  Seattle,  Wn. 

Golden  Glint 

SHAMPOO 


The  Centaur  of  the 
Cinema 

(Continued  from  page .64) 

Mix  knows  what  it  is  all  about — within 
his  own  world.  He  makes  no  effort 
to  reach  beyond  it.  There  was  in  his 
lazy  dignity  an  unmistakable  something 
with  which  I  was  familiar — a  something 
which  once  known  is  never  to  be  mistaken. 

"In  the  servfee?"  I  suggested. 

"Yes." 

^Where  ?" 

"Well,    I've  always   followed  the  wars." 

"Well — just  what  wars?" 

"Spanish-American " 

"What !" 

"Sure.     I'm   forty-seven  years  old." 

His  straight  black  hair  shows  scarcely  a 
thread  of  gray  and  the  lean,  toughened 
body  reveals  no  secrets. 

"I've  always  kept  myself  fit.  Work  out 
every  day   in  the  gym   I   got  here." 

It  adjoined  the  dressing-room.  A  build- 
ing labeled  unnecessarily  "Tom  Mix  Train- 
ing Quarters,"  in  great  white  letters.  An- 
other petty  vanity  of  the  cowboy  grown 
affluent. 

"Then  I  was  in  the  border  wars  a  lot. 
I  was  with  Madero " 

"Officer?" 

"Oh,  yes.'    I  was  a  colonel  with  Madero. 

But "  the  eyes  gleamed.     "I  was  a  first 

sergeant  in  the  U.   S.  Light  Artillery." 

There  I  had  it.  The  something  I  had 
recognized.  Something  in  the  manner  that 
is  recognizable  in  any  man  who  has  served 
in  one  of  the  mounted  outfits  of  the 
regulars. 

An  Adventurous  Youth 

IWJix  was  born  in  El  Paso  County,  Texas. 
He  was  a  deputy  sheriff  in  Oklahoma, 
Colorado,  and  the  Indian  Territory.  A 
revenooer  in  Tennessee  for  a  space.  A 
soldier  of  fortune  in  the  border  wars. 
After  he  had  attracted  some  local  atten- 
tion by  winning  riding  contests  and  taking 
prizes  for  bulldogging  steers  and  other 
cowboy  pastimes,  he  got  a  job  working  in 
a  picture  for  Seelig.  It  was  not  a  regular 
picture  with  a  plot — merely  an  advertising 
film  fostered  by  the  beef  packers,  desig- 
nated to  show  the  career  of  a  steer  from 
the  time  it  is  turned  out  on  the  range 
until  it  comes  to  your  table  in  the  guise 
of  a  sirloin  steak. 

Mix  played  opposite  the  steer  in  the 
early  scenes  of  the  picture — while  the  ani- 
mal was  still  lively — before  it  became  a 
sirloin.  From  this  humble  beginning  he 
was  taken  into  one-reel  Westerns,  playing 
usually  a  sheriff,  a  role  with  which  he  was 
most  familiar  by  that  time.  The  astute 
William  Fox  signed  him  for  features  and 
suddenly  the  cowboy  saw  more  money  than 
he  ever  knew  there  was. 

Mix  has  never  worked  for  any  movie 
firms  except  Seelig  (which  is  defunct)  and 
Fox.  He  has  a  feeling  of  loyalty  for  the 
man  who  gave  him  a  career  and  producers 
know  it  is  useless  to  try  to  tempt  him  away 
from  the  Fox  outfit.  Yes,  it  is  laughable 
to  us — this  idea  of  loyalty  to  a  movie  cor- 
poration which  has  no  more  conscience  than 
a  snake  has  hips,  and  which  would  toss 
Mix  over  tomorrow  if  by  some  miracle 
he  was  shorn  of  his  box-office  appeal. 

This  loyalty  is  just  another  of  the  primi- 
tive virtues  which  soldiers,  cowboys  and 
early  Americans  held  in  common.  Mix 
is  in  daily  association  with — his  dressing 
bungalow  adjoins  the  bungalow  office  of — 
Sol  Wurtzel,  chief  executive  of  the  Fox 
West  Coast  Studios.  But  the  cowboy  re- 
mains as  free  from  the  contamination  of 
movieitis    as    if    he    were    still    riding    the 


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82 


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know 

Ncvci      U-.es.    a     Double 

I         ed  Mix  w  li\   lu   di  ublc 

in  the  I >< »t »•  '  Hints  thai 

tunil  in  his  pi  i  -  'in  Mix  and  i 

i  iibson  arc  about  the  onl)   i  ii 

who  donl  proteci  theii   own  bonei  in  tin  ■ 
u.i\ .     Iii.  significant  that  t »» .t 1 1  n 

tin  \     were    m 
whit h  most  "i  the  i  'Ii'  i  -  were  not 

1   asked  about   the  double  and  1 1< -  said 

"You  know,  the  firm  has  been  at  me 
again  and  again  to  do  that." 

"Well,  wh)  donl  you?  In  thi  long  shots, 
whei  e  it  couldn't  be  dct<  i  ted 

Mix  looked  embai  raj 

"I  just  cant  bring  mysell  t<>  it.     It  ain't 

well,  you  were  in  the  arm}  you  know 
what   1  mean.     It  ain't  shootin'  fair." 

lie  groped  among  words,  then  came  out 
unexpectedly  w  ith  : 

"About   all   you   can   photograph   is   the 
mental   attitude,  anj  waj .     1 1   you    fij 
fight.    If  you  ride    ride.    And  mean  it.    H 
■  ant   do  the  things  naturally,  there's 
no  iim'  doin'  them  at  all. 

"I  use  every  physical  precaution.  I  work 
hard  and  keep  myself  tit  because  then 
lots  oi  lights  in  pictures  and  you  ha> 
be  so  you  can  take  a  punch.  And  I  use 
every  mechanical  precaution  when  I  do  a 
.stunt.  1  feel  in  the  kind  of  a  picture  I 
make  that  I'm  carryin'  a  physical  message 
to  the  audience  especially  to  tin-  hoys  in 
the  audience  and  I'm  damned  if  I  could 
double-cross  'em !  I  take  every  precaution 
there  is  and  I  trust  the  rust  to  <iod!" 

Mix's  Chop  Suey  Film 

JWTix    had    been    working    that    afternoon 

mi  "Dead  Man's  Gold,"  a  desert 
cure — but  the  day's  work  had  been  on  a 
set  at  the  studio.  His  preceding  picture, 
"Tony  Runs  Wild."  featured  the  famous 
trick  horse,  the  same  on  which  the  Ameri- 
can cowboy  rode  about  the  decks  of  the 
Aquitania  and  up  the  steps  of  the  London 
city  hall. 

In  making  this  picture  Mix  had  one  of 
his  numerous  accidents.  He  has  had  so 
many  accidents,  all  recorded  by  the  cam- 
eras, that  he  has  assembled  six  reels  of 
this  stuff,  which  he  calls  his  Chop  Suey — 
probably  the  most  unique  movie  in  Chris- 
tendom. 

The  accident  in  "Tony  Runs  Wild"  oc- 
curred when  Mix.  falsely  accused  of  bump- 
ing off  a  stage-driver  and  pursued  by  a 
posse,  was  to  have  escaped  by  letting  him- 
self down  from  a  high  cliff  with  the  aid 
of  his  trusty  lariat. 

"[  threw  the  rope  around  a  rock,"  he 
related,  "a  big  rock,  weighing  about  five 
hundred  pounds.  The  ravine  was  about 
four  hundred  feet  deep.  When  1  was  half- 
way down,  the  rock  crumbled.  I  fell 
twenty-five  feet  and  hit  a  ledge.  But  the 
rock  was  comin'  down  on  top  of  me  so 
I  had  to  jump.  I  had  to  roll  and  turn  and 
landed  in  the  bottom  of  the  ravine.  Tore 
some  ligaments  in  my  leg." 

I  had  seen  him  on  crutches  a  few  weeks 
before:  He  was  laid  up  for  a  fortnight. 
And  a  double  would  have  suffered  the 
rending  of  his  ligaments  for  the  trifling 
sum  of  twenty-five  bucks.  The  studio 
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the  temperamental  idiosyncrasies  of  their 
star. 

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hardy  barbarian  who  caused  amusement — 
and  some  alarm — in  the  effete  capitals  of 
the  older   world? 

Dont    you    begin    to    sense    him    as    the 


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tly  con/idrntial 


83 


This  is  just  one  of  the  incidents   which 

SVfordaunt    Hall 

tells  in  his  graphic  and  understanding 
character  study  of  Charlie  Chaplin.  The 
world  comprehends  the  figure  which 
Chaplin  presents  upon  the  screen.  But 
few  have  ever  troubled  to  understand 
the  man  himself. 


Further   Adventures 
of   Cella   Lloyd 

By  John   Held 

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Entertainment   of    People     Who    Think 

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vanishing  American?  The  American  who 
once  was,  but  who  now  lives  only  in  the 
celluloid  records  of  our  nation's  brave 
youth? 

An  American  cowboy — clinking  his  spurs 
with  proper  arrogance  along  the  ancient 
corridors  of  London's  Guildhall — scorning 
to  change  his  American  dollars  into  French 
francs — flaunting  his  outlandish  native  cos- 
tume before  the  Bulging  eyes  of  the  in- 
habitants of  Berlin.  Taking  a  childish 
delight  in  doing  tricks  with  his  horse  on 
the  lawns  of  children's  hospitals.  Pre- 
serving untarnished  above  the  mud  of  the 
trampled  studio  lot  such  quaint,  old- 
fashioned  soldier  virtues  as  loyalty,  sports- 
manship and  a  belief  in  God. 

An  American  cowboy.  A  centaur. 
Brother  of  the  riders  of  the  race — the 
Amazons,  the  Valkyries,  the  Tartars  on 
their  shaggy  mounts,  the  Indians  on  pinto 
ponies;  sweeping  in  dim  procession  down 
from  the  past.  Rushing  along  the  rim 
of  time  with  a  flight  of  hoofs  such  as 
come  from  the  Roan  Stallion  of  Robinson 
Jeffers :  "Riding  the  savage  and  exultant 
strength  of  the  world." 

The  Vanishing  American.  The  Ameri- 
can we  all  might  have  been,  except  for  our 
accursed  progress.  The  American  which 
the  ignorant  and  trustful  proletariat  of 
Europe  still  fondly  believes  in,  just  as  we 
used  to  believe,  when  we  were  children,  in 
Santa  Claus. 

May  Tom  Mix  keep  them  long  in  igno- 
rance !  This  the  prayer  of  one  whose  head 
hatches  the  futile  maunderings  of  modern 
America,  and  whose  lax  frame  is  concealed 
beneath  the  hideous  abortion  of  a  Holly- 
wood tailor. 


They  Say— 

{Continued  from  page  75) 

said  occasionally  to  leave  home,  is  cer- 
tainly never   plain   nor  middle-aged. 

A  woman  may  be  a  good  and  faithful 
wife,  and  she  may  even  be  quite  honestly 
in  love  with  her  husband.  But  that  doesn't 
hinder  her  from  admiring  a  handsome 
man  when  she  sees  him,  any  more  than 
it  means  that  her  husband  does  not  admire 
a  beautiful  girl  when  he  sees  her.  So 
when  the  aforesaid  wife  goes  to  a  picture 
show  and  sees  handsome  Jack  Gilbert,  or 
lovable  Ronald  Colman,  or  even  the  ex- 
otic and  much-maligned  Rudy,  on  the 
screen,  she  settles  down  contentedly  in 
her  seat,  and  sighs  blissfully,  and  forgets 
all  about  the  dinner  dishes  which  are  piled 
in  the  kitchen  sink  awaiting  her  return. 
Here  at  last  is  the  handsome  hero  of  her 
dreams,  she  says  to  herself;  and  in  a  rosy 
dream  she  sees  him  wade  through  inter- 
minable and  heartbreaking  difficulties,  and 
finally  get  the  girl  in  the  end.  For  women 
are  incurably  romantic.  That's  the  trouble 
with  them,   Mr.  Meyers. 

And  men  are  incurably  jealous.  That's 
the  trouble  with  them,  too.  If  they 
weren't  jealous  they  wouldn't  care  a  bean 
how  many  handsome  Romeos  there  were 
on  the  screen,  nor  how  much  their  wives 
and  sweethearts  admired  them.  They  want 
their  wives  and  sweethearts  to  see  and 
admire  only  safe  and  sane  men,  because 
then  they  would  have  no  cause  to  be  jeal- 
ous of  them.  They  forget  that  we  can 
see  all  the  safe  and  sane  men  we  want 
to  at  home,  and  that  sometimes  we  become 
just  a  little  weary  of  them,  and  go  to  the 
movies  to  see  the  other  kind.  Women 
dont  want  men  to  be  safe  and  sane.  They 
feel  that  it  isn't  exactly  complimentary 
to  themselves. 

We  do  not  go  to  the  movies  to  see  the 
same  sort  of  thing  we  can  see  at  home, 
(Continued  on  page  87) 


84 


What  My  Experiences 
Have  Taught  Me 

ntinucd  from  pagt  19 1 

hum:  hack  is  unavailable,     Somctii 

ttu-  best  ua\    to  counteract  erroneous  im 

iions    is    to    >aj     nothing    about    them, 

ver)    often    a    denial    mean's    that    the 

le  business  is  stirred  up  .ill  over  attain 

s    mie    bitter    but     valuable    lesson     1 

led    sonic    time    atto       Hut    tin-    wisest 

to  keep   iu>    private   sell    within 

the   foui   walls  oi   ni)    home  or  the  homes 

\    friends,  to  t»ivc  im   professional  sell 

itrainetll>    to  my    public,  .mil  above  all 

iul  not  to  s.iv  an>  thing  that 

be     misconstrued.        That's     terribly 

!:lt.    almost    impossible,    lor    .is    1    said 

ilont  think  there  is  a  person  alive 

who    is    completely    ami    altogether    above 

ich. 

Of    course,    there's     another    problem — 

knowing  just  bow  much  of  me  is  m>   pro 

self,  bow    much   of   me    I    should 

to  my    public       In    Paris,    I    ran   into 

ience   that   humiliated   me   at    first 

iiise  the   friends    1    was  with  couldn't 

quite   understand    it     and    set    me    thinking 

usl)     afterward    about    how    much    of 

me  my  audiences  owned.     We  were  danc- 

lt    one    of    the    hotels    when    a    young 

rican    who    recognized    me    rushed    up 

to  me,  grabbed  me  by  the  arm,  and  calling 

me    by    my    first    name    asked    me    for    a 

My  first  impulse  was  the  impulse  that 
any  woman  would  have  on  being  accosted 
imiliarly  by  a  stranger.  I  gave  him 
a  freezing  glance  and  turned  away.  My 
friends  were  shocked  and  it  angered  me 
that  I  should  have  been  made  the  object 
of  this  unpleasantness,  but  now  I  feel  no 
resentment,  except  with  myself,  in  a  way. 
for  taking  down  a  young  man  who  prob- 
ably thought  of  me  as  one  of  the  girls 
from  back  home.  Movie  stars  enter  into 
the  home  life  of  America  ;i-  intimately 
nid  pictures  and  funny  sheets  do. 
Charlie  Chaplin  is  recognized  and  loved 
by  boys  and  uirls  as  much  as  Tom  Sauyer 
or  Rebecca  of  Sunnybrook  Farm,  and  Lois 
Wilson  as  much  as  Shaw's  (  andida  or 
the  cartoonical  Gumps.  I  should  have 
been  grateful  for  that  feeling  in  my  public 
and  there  1  was.  actually  getting  "hot  up" 
over  it.  It's  really  very  complex  knowing 
where  the  dividing   line  is. 

Accused  of  Being  "Up-stage" 

I  have  been  accused  of  being   "up-stage" 

because  I  looked  neither  to  right  nor 
left  of  me  when  I  appeared  in  public. 
Hasn't  it  ever  occurred  to  any  one  that 
I'm  human,  too,  that  I  feel  embarrassed 
when  people  stare  at  me,  as  if  I  were  a 
shadow  come  to  life  or  a  strange  speci- 
men of  humanity?  It  makes  me  so  self- 
conscious  to  know  that  the  way  I  dress  or 
talk  or  walk  is  being  watched,  that  I  go 
out  only  when  I  have  to.  Experience  has 
taught  me  that  it  is  advisable  to  leave  the 
theater  a  few  minutes  before  the  rest  of 
the  audience  does  and  to  arrive  a  few- 
minutes  later  if  I  want  to  avoid  being 
stared  at.  I  dont  think  I've  seen  the  end 
of  any  play  on  Broadway  this  season. 

At  the  Vale-Harvard  football  game.  I 
let  myself  in  for  what  I  considered  unjust 
criticism  by  one  of  the  newspapers  simply 
because  I  left  a  little  earlier.  Thruout 
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rush  up  after  the  game  for  a  close  look 
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the  third  quarter.  Already  a  group  of 
twenty  or  thirty  was  at  the  portal  thru 
which  we  had  to  pass.  When  we  reached 
there,  the  guard  was  telling  the  crowd  to 
disperse  and  we  went  with  the  rest  of 
them.  Imagine  how  chagrined  I  was  to 
read  in  the  paper  the  next  day  that  I  had 
left  earlier  to  attract  attention,  .  that  I 
posed  at  the  portal  with  my  husband, 
ostensibly  to  get  a  last  look  at  the  game 
but  actually  (so  the  report  said)  to  let 
the  game  get  a  last  look  at  me,  that  the 
guard  had  cautioned  me  to  move  on,  that 
I  had  looked  at  him  disdainfully  and  that 
he  had  asked  me  again  to  move  on ! 

The  only  contact  I  can  have  with  my 
public  is  thru  my  pictures  and  thru 
my  fan  mail.  From  the  300  to  500  letters 
I  get  every  day  from  people  all  over  the 
world,  I  le  irn  the  sort  of  pictures  they 
want  to  see  me  in.  It  is  a  sort  of  conver- 
sation—  they  speak  in  their  letters,  I 
answer  in  my  pictures.  An  actress  on  the 
legitimate  stage  sees  her  audiences  before 
her  and  hears  their  murmurs,  their  ap- 
plause. Film  actresses  must  get  their 
contacts  by  mail. 

The  Influence  of  Others 

I  began  my  career  nine  years  ago,  in  the 
popular  Mack  Sennett  comedies,  and 
later  I  became  a  featured  player  in  the 
old  Triangle  pictures,  where  Cecil  B.  De 
Mille  noticed  my  work  and  offered  me  a 
position  as  leading  woman.  For  two  years 
I  appeared  in  his  pictures  as  a  cross  be- 
tween a  vampire  and  a  leading  lady,  a  new 
breed  for  those  days,  when  a  vamp  was 
all  bad  and  a  leading  lady  was  as  vir- 
tuous as  a  new-born  babe.  Tho  I  had  all 
the  trappings  of  a  vamp,  mysterious  coif- 
feurs, loads  of  jewelry  and  long,  slinky 
gowns  as  exotic  as  any  the  screen  had 
seen,  my  parts  were  essentially  sympath- 
etic. I  gave  myself  the  appellation  that 
has  somehow  clung  to  me  all  these  years, 
"Clotheshorse."  The  clothes  I  designed 
myself  to  suit  the  needs  of  the  pictures, 
and  I  want  to  correct  the  impression  that 
Elinor  Glyn  had  anything  to  do  with  the 
way  I  dressed.  I  know  that  Mrs.  Glyn 
is  said  to  have  taught  me  how  to  dress 
correctly,  but  the  truth  of  the  matter  is 
that  Miss  Jeanie  Macpherson,  the  scenar- 
ist, collaborated  with  me  in  designing  my 
screen  wardrobe  for  the  De  Mille  pictures. 
Those  picturesque,  trailing  gowns  were 
worn  only  in  the  studio ;  they  were  not 
part  of  my  private  life. 

People  have  asked  me  whether  I  re- 
gretted playing  leads  for  Mr.  De  Mille, 
for  the  stigma  of  being  a  vamp  has  per- 
sisted even  down  to  the  present,  altho  the 
parts  I  play  now — hoydenish  schoolgirls, 
gauche  waitresses,  Zazas  and  Sans-Gencs — 
are  as  different  from  my  earlier  roles  as 
characterizations  can  be.  No.  I  am  as 
glad  today  of  my  experience  with  him  as 
I  was  the  first  time  he  offered  me  a  con- 
tract to  appear  in  his  pictures — and  that 
was  one  of  the  real  thrills  of  my  life.  I 
consider  Cecil  De  Mille  one  of  the  master 
minds  of  the  screen.  He  has  probably 
developed  more  talent  than  any  man  in 
pictures.  He  is  among  the  foremost  tech- 
nicians in  the  entire  picture  industry  and 
he  knows  the  screen  value  of  every  look 
and  gesture,  the  effectiveness  of  every 
color  and  angle.  I  learned  more  about  the 
technique  of  acting  from  him  than  from 
any  other  individual.  Only  recently  has  it 
been  discovered  that  I  could  "act  as  well 
as  wear  clothes."  But  Mr.  De  Mille 
found  that  out  several  years  ago,  and  told 
me  about  it.  While  others  were  accepting 
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Name 

Address 

Start  with issue . 


86 


Ho  \uth  guidii 

mi  dr.    .  bui  valuable 

|j      |||S(    ||>|  I    ,|\    II  • 

ni   ol   doins    the   tlmif  •   she   disliked 
i    matin    "t    d 
pi,,,,.,    hul     ver>     nftrn    slu-    applied    it    In 
iior«iiu*nlial    tilings     Nhe   hated    I"   write 
lid    she    lurced    herself    to    v 
.1  daj 
I    nevei    conscionsl)    tried    to    shirk 
lihilities,  or  avoid  uli.it   I  knew    1  had 
il    ever)    once    in    a    while,    the 
it   ,.t    them   was   a    little   more   than    I 
i     etnotionalK      stand         \n\      mother 
ii-    task    it     is    to    rais,-    children 
with    attention    to    then    psyeho 
well    -is    their    physical    wants 
n,   too,    I    have   m\     iatliil)    to   take 

that    must    l>e    looked    alter, 

utrse,  m)    screen  work.     Yet   the) 

the  ver\    i  ■■  toi  s  that  have  guided  me 

The)    have   given   me   the 

ipetus  to  go  ahead. 

Miss  Swanson's  Marriages 

It  was  the  weight  of  all  these  responsibil- 

ties    that     prompted    mj     eai '■■ 

s,  I  think      Un  fortunate!)    I  was  mis- 

in  my  choice.     Still,   I   cant   call   m> 

imoniai   experiences   mistakes       Noth- 

x     a    mistake    that    givi 

preciation     of     genteel     qualities. 

years  ago  I   wouldn't  have  been  able 

i/e.    much    less    appreciate,    such 

•  as  kindness  and  sincerity  and  loyalty 
and  truthfulness  and  dependability  as  I 
have  found  in  Henry,  my  husband,  but  the 
background  of  my  earlier  experience  has 
thrown  his  qualities  into  sharp  relief,  like 
light   against    shadow.      It    is    a    sourci 

•  mt  wonder  and  delight  to  me  to  see 
these  characteristics,  never  changing,  solid 
and  inborn,  not  assumed  like  a  pretty  mask 
to  he  cist  aside  later. 

Henrj  and  1  have  a  mutual  love  of 
children,  and  Baby  Gloria  and  Joseph,  nn 
two  youngsters,  adore  him.  It  takes  a 
certain  simplicity  of  soul  and  goodness  of 
heart  to  win  the  devotion  of  children : 
their  instinct  for  judging  character  is  un- 
canny in  its  correctness.  And  it  is  that 
combination  of  goodness  and  simplicity 
and  genuineness  that  I  prize  most  highly 
in  the  world.  That  appreciation  is  the 
real  essence  of  what  I  have  derived  from 
my  experience. 


They  Say— 

■'.tinned  from  page  84) 

as  Mr.  Meyers  suggests  we  should.  Far 
from  it !  We  go  to  the  movies  to  get 
awav  from  our  humdrum  surroundings, 
and  see  something  that  takes  us  a  million 
miles  away  from  ourselves,  and  gives  us 
something  pleasant  to  think  about  next 
morning  when  we  are  washing  those  left- 
over dinner  dishes.  We  love  to  spend  an 
hour  or  two  with  the  handsome  hero  with 
the  marcelled  hair  and  the  burning  eyes, 
in  the  Never-Never-Land  of  which  all 
women  dream,  but  which,  alas,  they  never 
find!  Of  course,  we  know  it's  too  good 
to  be  true,  and  when  the  show  is  over 
we  put  on  our  hats  and  go  resignedly 
back  to  our  every-day  lives  and  our  every- 
day husbands.  But  we  should  worry ! 
There'll    be   another   show   next   week! 

Milton  Sills,  Conway  Tearle,  Thomas 
Meighan,  ct  a/.,  are  no  doubt  very  nice 
men.  I  have  nothing  personally  against 
them.  I  think  they  would  be  admirable 
in  their  own  place,  playing  nice,  plain, 
pleasant,  middle-aged  roles.  But  I  do 
not  think  they  should  be  cast  as  heroes 
and  lovers,  playing  opposite  and  making 
(Continued  on  page  89) 


The  Girl  They  Call 
Tia  Juana  Red 

Probablj  no  one  knows  hci  real  name.    The)  call  hei  ria  Juana 
And  onlj  one  or  two  knovt  Ihi  storj .    I  In  '  rowda  applaud  and  «  hen  i 
nigl  i  when  she  sings  gay  songs  in  thai  little  Mexican  dance  hall.    And  ii  is 
likely  that  t  hi-  proprietor  him  self  knows  nothing  of  the  traged)  thai  co  urred 
when  I  i.i  Juana  Red  took  a  few  months  off  and  wenl  up  to  Hollywood. 

Bert  Ennis 

knew  her  when  she  was  in  Hollywood.    Ami  the  storj  In  till   of  her  i-  the 
stuff  of  whit  Ii  teai  -  are  made. 


It  Is  More  Than  the  Funny  Walk,  Derby  and  Cane 

.  .  .  that  make  Charlie  Chaplin  great,    ft  is  more  than  the  romantic  profile 

that  makes  John  Gilbert  the  lover.  And  more  than  green  eyes  and  a  pen- 
chant for  wearing  gowns  thai  brings  Gloria  Swanson  her  high  place. 

Elizabeth  Petersen 

goes  back  into  the  lives  of  these  and  other  personalities  and  brings  forth 
what  we  believe  explains  the  indefinable  something  that  sets  these  few  apart 
as  great. 

A  Hollywood  Idyl 

If  Mary's  and  Doug's  life  together  could  be  written,  it  would  make  the 
most  beautiful  love  stor}  .  .  .  the  most  perfect  romance  .  .  .  ever  told. 
Here  are  Two  with  fame  and  wealth  at  their  command.  Yet  it  is  to  each 
other  that  they  look  for  their  contentment  and  happiness.  They  have 
caught  something  that  words  cannot  sel  down  .  .  .  something  that  no 
amount  of  philosophizing  or  theorizing  can  ever  explain. 

Adele  Whitely  Fletcher 

writes  of  their  life  together.  She  tells  how,  hand  in  hand,  they  face  the  bitter 
in  life  with  the  sweet  and  find  something  in  both  which  makes  them  better 
able  to  cope  with  their  tomorrows.     Wither  of  them  is  afraid  of  life. 

We  especially  recommend  this  story  to  those  who  have  grown  cynical 
about  perfect  love  .  .  .  and  marriage  .  .  .  and  human  beings.  If  you 
have  such  a  friend,  place  this  story  in  his  hands. 

Would  You  Like  to  Live  in  Hollywood  and  Move 
in  Motion  Picture  Circles  .... 

Foolish  question  9,999,999?  Perhaps  .  .  .  But  you  can  read  Eugene 
V.  Brewster's  pages  every  month.  And  that  is  the  next  best  thing.  Mr. 
Brewster's  bungalow  in  Hollywood  has  become  a  salon  where  the  movie 
people  gather. 

He  goes  to  all  the  parties,  too.  He  week-ends  with  the  Talmadges  at 
Coronado.  He  lunches  in  the  dressing-room  with  Valentino.  He  goes  to 
the  tennis  matches  with  John  Gilbert  or  Colleen  Moore  .  .  .  And  he  writes 
of  these  good  times  in  a  casual,  gossipy  way  which  is  delightful  and  enter- 
taining. 

There  are  other  features,  different  and  equally  attractive,  which  space 
forbids  enumerating. 

Reserve  Your  Copy  of  the  August  Motion  Picture 
Magazine  at  Your  Neighborhood  News-stand  Now! 


87 


Every- day  magic 


Chairs  that  flop  into  beds  .  .  .  bags  that  suck 
up  dirt  .  .  .  tiny  ticking  things  that  count  all 
day  long  for  you.  Daylight  any  night  just  by 
pushing  a  button.  A  stream  that  never  stops 
till  you  turn  off  a  faucet.  Any  voice  you  want, 
talking  to  you  from  a  cage  on  your  desk  or 
wall.  Actions  of  yesterday,  of  people  miles 
away,  going  on  on  a  curtain  before  you. 
Stilled  throats  singing  to  you  from  discs; 
distant  throats  singing  to  you  from  nothing! 

Uncanny,  daily  magic — this,  due  to 
national  advertising.  Advertisements  have 
given  you  flashlights,  telephones,  typewriters, 
automobiles,  cold  creams,  motion  pictures. 
They  have  given  you  new  eyes,  new  ears,  new 
hands,  new  feet,  new  faces,  new  emotions. 
They  have  urged  such  wide  use,  so  lowered 
prices,  that  almost  wishes  are  autos,  almost 
beggars  can  ride.  Thru  advertisements 
you've  laid  down  the  shovel  and  the  hoe. 
You  can  buy  a  whole  harvest  ready-to-eat  in 
cans.  You've  hung  up  the  fiddle  and  the  bow, 
for  a  radio.  There's  little  old-time  work  left 
in  this  age  of  amazing  short-cuts. 


H 


Read  the  advertisements  in  MOTION  PICTURE 

CLASSIC — they     keep     you     to     the    fore     of 

modern  life 


Prop  Boy  to  Star 

{Continued  from  page  55) 

In  the  little  coal-mining  village,  he  learned 
to  speak  three  or  four  languages.  He  at- 
tended the  immigrants'  holiday  feasts, 
helped  celebrate  their  weddings,  was  in  and 
out  of  their  homes,  as  they  were  in  and  out 
of  his.  The  world  beyond  the  foothills 
from  whence  they  came  intrigued  him.  and 
when  he  was  barely  high-school  age  he  set 
forth  to   see  it. 

Silhouetted  against  a  great  studio  win- 
dow in  the  Cafe  Lafayette,  the  subdued 
music  of  the  orchestra  playing  for  the 
Fashion  Show  mannequins  drifting  across 
the  room,  he  recalled  the  days  when  he 
was  a  peanut  vender  with  Ringling  Broth- 
ers' circus. 

Sold  Circus  Peanuts 

"The  clowns  that  were  with  us  in  those 
days  worked  in  'The  Devil's  Circus' 
last  winter.  I  didn't  recognize  them  at 
first — it's  so  hard  to  tell  one  clown  in 
make-up  from  another — and  I  had  no  idea 
they  would  remember  a  kid  who  yelled 
'Peanuts,  popcorn  'n  chewjn'-gum !  Here 
y'are  for  yer  peanuts — frish  roasted  pea- 
nuts !'  But  one  day  they  came  on  the  set 
in  white  duck  coats  with  'Ringling  Broth- 
ers' written  on  white  rolled  hats — exactly 
the  way  I  used  to  dress — and  walked  up 
and  down,  pretending  to  sell  peanuts.  It 
certainly   handed   me   a  big   laugh. 

"I  couldn't  help  thinking  of  the  circus 
when  we  made  that  picture,  on  account  of 
the  cats — circus  name  for  lions.  The  boys 
around  the  circus  were  scared  of  the  cats. 
You'd  never  know  what  they'd  do.  Couldn't 
trust  'em.  And  at  night,  their  eyes  shining 
in  the  dark  and  their  roars ! 

"After  the  circus,  I  did  buck-and-wing 
dancing  in  vaudeville. 

"When  Mr.  Griffith  was  making  'Amer- 
ica,' a  soldier  had  his  arm  blown  off.  Neil 
Hamilton  and  I  went  to  neighboring  towns 
and  raised  a  fund  for  him — I  doing  a  song 
and  dance  and  Neil  collecting  the  coin.  .  .  . 
Parts  of  my  past  are  always  coming  up. 

On  Location  in  Virginia 

"Qne  of  the  nicest  things  that  ever  hap- 
pened  to  me  in  pictures  was  the  four 
weeks  we  spent  on  location  in  Richmond, 
Virginia,  while  we  were  making  'America.' 
If  ever  I  retire,  I'm  going  to  buy  a  small 
plantation  on  the  banks  of  the  James  River 
and  spend  my  declining  days  in  the  leisurely 
city  where  money  doesn't  matter  but  good 
manners  do,  where  darky  mammies  tyran- 
nize over  the  best  families,  and  'Marse 
Robert'  is  as  real  today  as  he  was  in  the 
Civil  War. 

"When  we  were  in  Richmond,  the  play, 
'Robert  E.  Lee,'  opened.  I'll  never  forget 
it.  The  man  who  played  Lee  held  the 
stage  for  five  whole  minutes  while  the 
people  cheered  and  wept  and  clapped.  Neil 
and  I — Northerners — sat  with  our  hearts 
almost  hopping  out  of  our  throats — yes, 
throats;  I  felt  mine  fluttering  around  right 
here  in  my  neck ! — not  daring  to  look  at 
each  other  for  fear  we'd  see  tears.  I 
swear  I  never  saw  anything  so  moving  as 
that  living  love  those  people  have  for  Lee. 

"At  dawn  one  morning  Neil  and  I  came 
upon  his  statue,  looking  out  over  the  city 
from  his  green  hill.  Both  horse  and  man 
seemed  alive  as  the  sun  touched  them,  and 
I  saluted.  Any  man  who  could  leave  a 
memory  like  his !" 

A  particularly  lovely  mannequin  was  dis- 
playing a  gorgeous  gown,  or  so  the  ap- 
plause in  the  dining-room  suggested,  but 
the  Irishman's  tribute  to  "the  knightliest 
of  a  knightly   race"   made  seeing  difficult. 


88 


His  Off  Screen   Romance 

Thadow  romances  on  tin  screen 
(ulli'l  i"  I  hai  les   compared  to  hi 
U>rx        I  he    l.idx    hi   the 
,,,,1,  in   Italx       She  had  heen  in  South 
America   foi    loin    years  an.!  had  i "'in    to 
ironeck  on  a  ximc 

-\\  In    dont    wo   no  ovei    to    I 

jrini'l  suggested  to  i  harles  one  evening, 
\  gnl     a  strangei     was  on   rom's  porch 
at  tn  st   sight   claimed  anothei    victim, 
harles  knew   rikjht  axxax   that  here  \\  i 
.  -<\  tor  whom  he  had  lu-cn  looking 

en  old   enough   to  coax    the   first 

,1  invisible  hair  on  his  upper  lip.     I  ivi 

delay    due    to    her    brother's 

•  ion  to  hasty   marriages     the  txxo  said 

I  "1  xxill"  in  the  proper  places. 

It  wjs  S'eil  Hamilton  who  insisted  that 

les    come    to    I  lollx  xxood,    and    that    he 

welcomed  is  attested  l>\    the   (act   that 

the  Macks  have  bought  a  home  somewhere 

between  the  mountains  and  tin-  sea,  and  are 

ilx     inquiring    about     schools     lot     the 

ninths  old  son  ot   the  house  ! 
irles  doesn't  go  about  telling  how   he 
from  prop  box    to  leading  man.  but    I 
it    the    reason    people    gave    him 
their  pet  poodles  or  let  him  use  the  familj 
heirloom-    when    he    was    the    first,    is    the 
son    directors    now     give    him    a 
of  this  season's  best   parts  : 
tuse  they   know    he  will  take  .are  of 
them ! 


They  Say— 

ntinued  from  page 

love  to  pretty  young  girls.     For  no  woi 
frorr  ■  -  sixty    could  even   for  oni 

moment    imagine   any   one  of   them   in   the 
if  an  actual  lover. 

And  sec  how  inconsistent  Mr.  Meyers 
lie  says  he  wants  the  screen  women 
to  be  "exotic,  different,  strange,  and  tins 
terious."  lie  thinks  it  is  all  right  and 
natural  for  him  to  admire  lovely  heroines, 
hut  cannot  see  that  it  is  also  right  and  nat- 
ural for  his  wife  or  sweetheart  to  admire 
handsome  heroes.  It  is  a  poor  rule  that 
work  both  ways,  Mr.  Meyers. 
How  would  you  enjoy  seeing  the  plain 
middle-aged  character  women  taking  the 
place  of  the  young  and  lovely  heroines? 

I  think  the  truth  of  the  matter  really 
is  that  it  is  neither  plausible  nor  true  to 
life  to  think  that  the  lovely  young  heroines 
could  actually  fall  in  love  with  men  like 
Milton  Sills,  Conway  Tearle,  Thomas 
Meighan,  .•/  <//.  In  real  life  a  love  affair 
or  a  marriage  where  there  is  a  great  dis- 
parity oi  ages  is  generally  looked  upon  as 
something  unpleasant,  if  not  actually  re- 
pulsive, and  we  arc  always  sorry  for  the 
girl.  1  think  that  is  why  wc  instinctively 
dislike  to  see  it  on  the  screen.  It  is  con- 
trary to  nature.  Youth  calls  to  youth, 
not  only  in  real  life,  but  on  the  screen  as 
well.  We  have  nothing  against  Milton 
Sills,  Conway  Tearle,  Thomas  Meighan, 
el  al..  when  appropriately  cast.  But  we  do 
not  want  to  sec  them  cast  as  the  heroes 
of  the  play,  nor  as  lovers  of  young  girls. 
For  they  certainly  are  not  herolike,  and 
young  girls   simply  cant   endure  them. 

I  think  men  should  never  set  themselves 
up  as  judges  of  what  women  should  or 
should  not  admire  in  other  men.  because 
they  cannot  do  so  fairly,  any  more  than 
a  woman  can  do  so  in  the  opposite  case. 
Men  cannot  see  other  men  thru  a  woman's 
exes,  and  no  man  who  ever  lived  knew 
anything  about  a  woman's  heart.  And 
then,  too.  the  personal  (lenient  is  bound 
to  creep  in,  more  or  less. 

Cecelia  Galloway, 

Portland,  Oregon. 


Hew  Much  Do 
Ar lists  Earn? 

WOULD  you  like  to  earn  ?100  a  week  as  a  commercial  artist?     If  you  like 
to  draw,  you  should  develop  your  talent,  for  well-trained  artists  earn  $75, 
?100,  ?150  a   week   and  sometimes  even   more.     Beginners  who  can  do 
practical  work  soon  command  $S0  a  week. 

The  Federal  home-study  course  develops  your  talent  on  a  sure  foundation 
by  the  quickest  possible  method,  and  makes  the  work  truly  a  pleasure.  It  is  the 
original,  practical  course  in  commercial  art,  created  by  men  with  more  than  2^ 
years'  experience  in  the  field,  and  after  12  years  of  unequalled  success  today 
stands  supreme  as  America's  Foremost  Course  in  Commercial  Designing.  It  con- 
tains exclusive  lessons  from  leading  American  artists,  gives  you  individual  per- 
sonal criticisms  on  all  lessons,  and  teaches  you  the  methods  that  make  your  draw- 
ings worth  real  money. 

FEDERAL  STUDENTS  MAKE  GOOD  INCOMES 


These  are  typical  letters  from  many  hundreds 
in  our  files: 

Byron  C.  Robertson,  a  Federal  School  grad- 
uate, says: 

"The  reason  why  I  enrolled  with  the  Federal 
School  was  that  they  had  many  students  to 
point  to  who  had  made  good.  Today  I  am  on 
the  art  staff  of  one  of  the  largest  illustrating 
ins  111  America,  receiving  a  salary  of 
(3,000.00  a  year.  It  was  indeed  a  lucky  day 
when  I  enrolled.  The  lessons  by  such  great 
Contributors  as  Coles  Phillips.  Edwin  V.  Brewer. 
(has.  !•".  Chambers,  and  others  equally  well 
known,  are  an  inspiration  and  a  decided  help." 

D.  L.  Rogers  says: 

"I  found  only  one  school  that  had  real,  sound 
backing  for  all  its  statements  and  that  was  the 
Federal  School. 

"From  my  experience  I  am  satisfied  the  Fed- 
eral School  has  t ho  quality  of  education  to  offer 
that  pares  the  road  lo  success.  I  xx-ish  to  recom- 
mend this  course  very  highly  and  my  advice  to 
who  are  earnest  and  'game'  enough  to 
work  for  bigger  things  in  the  commercial  art 
field  is,  'Take  the  Federal  Course.' " 

Florinda  E.  Kiester  writes  us: 

"Besides  the  good  training  I  have  received 
from  the  course  when  I  took  it .  you  people  have 
always  given  me  such  wonderful  help  in  my 
work  that  1  shall  be  proud  lo  be  able  to  say  I 
am  a  graduate  of  the  Federal  School." 

A  letter  from  Mr.  Lloyd  Shirley: 

"I  feel  as  though  my  old  days  of  drudgery 
were  a  bad  dream.  Now  I  am  earning  S3R00  a 
■id  I  have  just  started.  This  commercial 
drawing  is  work  I  love  lo  do.  If  it  had  not  been 
for  the  opportunity  of  studying  art  in  my  spare 
lime   and   the   kindly   interest    of    the    Federal 


faculty.  I  would  never  have  gotten  out  of  the 
rut  I  was  in.  The  practical,  thorough,  short 
course  1  took  with  the  Federal  School  made 
my  success  possible." 

Send  Today  for 
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Students.  Fill  out  and  mail 
the  coupon  NOW,  kindly 
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School 

rof  Commercial  Designing 

1034  FEDERAL  SCHOOLS  BLDG. 
Minneapolis,  Minn. 
Please    send    me    "YOUR    FUTURE,"  for 

which  I  enclose  6c  in  stamps. 


Name. 


Present 

Occupation. . 

(Write  your  address  plainly 


in  the  martin) 


(America's  Fbiemost  School  qf  Commercial  cMt 


89 


Youth  and  Romance  and  Adventure 


YOU'LL  find 
all    three   in 
MOVIE 
MONTHLY. 

The  Magazine 
with  the  Punch ! 

It  comes  to  you 
each  month  with 
sparkling  pages — 
pages  devoted  to 
bringing  out  the 
new  stars  in  the 
film  firmament — 
and  dedicated  to 
the  idea  of  enter- 
taining you  with 
live  topics  and 
personalities. 

There  is  nourish- 
ment in  MOVIE 
MONTHLY. 

Every  article — 
every  picture 
serves  its  purpose 
— a  purpose  on  the 
part  of  its  publish- 
ers to  please  you 
with  the  brightest, 
most  alert  reading 
and  pictorial  matter  obtainable. 

The  Old  West  lives  again  and  the 
New  West  is  brought  forth  in  all  of 
its  indomitable  spirit. 

The  July  issue  of  MOVIE 
MONTHLY  will  feature  a  most  ab- 
sorbing fiction  story,  "How  Holly- 
wood Came  to  Lodetown,"  in  ad- 
dition to  three  live  novelizations 


of  screen   dramas. 

The  July  num- 
ber will  continue 
its  Bandits  of  the 
Border  series  with 
Billy  the  Kid — one 
of  the  most  color- 
ful outlaws  that 
ever  pulled  a  gun. 

There  will  be 
virile  articles  of 
adventure  relating 
how  Comedians 
Tumble  for 
Laughs  and  how 
stars  escape  injury 
or  death  in  Thrills 
of  a  Lifetime. 

The  July  issue 
will  also  feature  its 
popular  Special 
Player  Section — 
with  four  pages  de- 
voted to  Harold 
Lloyd.  Just  the 
thing  for  your 
scrap-book. 

The    Cowboy 
Songs  will  continue. 
And— 

There  will  be  several  breezy  inter- 
views with  Carmelita  Geraghty, 
George  O'Brien,  Louise  Brooks  and 
Edna  Marian. 

The  July  issue  will  also  feature  a 
pictorial  array  of  Bathing  Girls — in 
addition  to  pages  devoted  to  summer 
pastimes. 


V>>^ 


-    -v 


You  Can't  Afford 
To  Be  Without 


MOVIE  MONTHLY 


Order  Your  July  Issue 
NOW! 


g5Z5ESZ5Z5Z5Z5Z5E5Z5H5E5E5E5E5Z515E5Z5Z5Z5H5E5H5Z5Z5Z5H5Z5?5E5^^ 


90 


EDWARD  LANGER  PRINTING  CO.,  INC., 
JAMAICA,  NEW  TORE  CUT. 


•■M\  di  \k  rms  (a  mi  Only 

M  \Kl'-l   r    I  ok     BOl  ii     Hi  ONDES 
\\i>   H k i  NETTBS  -  -  - 

\  range  now,  but  put  it 

cud  you'll  set-  it  change  to  Uutl 


and  iust  the  shade  to  blend  with  your 
i  what  nukes  Tangee 

nuch  better  than  aiu    other  nuke-up 
I've  e\ ii  tried  .  .  ." 


How  Tangee  will  give  you  a  more  lovely  color 

than  you  ever  had  before ! 


CLEVER  women,  fashionable  women, 
beautiful     women     everywhere     are 
now  using  Tangee. 

They  are  finding  it  a  vast  improve- 
ment over  the  old  style  of  make-up. 
For  it  changes  color  as  they  put  it  on  to 
blend  with  each  complexion.  It  gives 
to  both  blondes  and  brunettes  the  blush- 
rose  glow  of  youth  that  is  natural  to 
each  of  them. 

A  Magic  Lipstick 
You  will  marvel  at  Tangee  Lipstick  .  .  . 
at  how  it  changes  color  from  orange  to 
youthful  blush-rose  on  your  lips  .  .  .just 
the  shade  to  blend  with  you! 


Mons.    Doriot 


And  its  firm  cold  cream  base  keeps 
your  lips  from  chapping  or  parching,  and 
makes  Tangee  last  about  five  times  as 
long  as  other  lipsticks.  And  it's  water- 
proof —  rub  proof  —  permanent  —  and 
absolutely  harmless. 

"The  Most  Precious  Make-Up 
in  the  World" 

Tangee  Creme  Rouge  has  been  called 
"the  most  precious  make-up  in  the 
world."  Once  you  try  it  you  will  never 
be  satisfied  with  any  other.  For  it  has 
all  the  amazing  qualities  of  the  lipstick — 
and    is    greaseless — spreads    so    easily — 


blends  so  perfectly — gives  such  lovely 
color — and  stays  on  all  day  without 
fading  or  rubbing  off. 

Color  Magic  in  a  Compact 

Tangee  Rouge  Compact,  the  same  color 
magic  in  caked  powder  form,  with  puff 
and  mirror,  for  your  purse — to  take  with 
you  and  use  when  you  go  from  daylight 
to  artificial  light.  For  then,  you  know, 
you  always  need  more  color. 

These  "Tangee  Friends  of  Beauty"  are 
dedicated  to  those  women  who  want  to 
be  naturally  beautiful.  You  owe  it  to 
vourself  to  try  them  today! 


Caution:  Oo  not  lei  anyone  ujfer  yuu 
'somelhiiisjusl  as  toi'il  "  All  <ub\tilule- 
tire  inferior  Look  lor  TANGEE  in 
limn*?  letter*  on  tach  lonlainer.  Tanee* 
Creme  Koktr.  Si  Tanfee  Lifltift.il 
Tttmgfi   Homr  i'.impQct.  T%e 


(De  DeautLjul  avith 


Special  Introductory  0//er 

If  your  dealer  cannot  supply  you  send  us  one  dollar  fur 
Hi  a  full  sue  Tangee  Lipstick,  and  we  « ill  send  you  in 
addition  (a)  a  generous  free  sample  of  Tangee  Crtme 
Rouge,  and  [)"  I  he  Art  of  Make  up 'written  by  a  famous 
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DEFT  Ol.  THE  GEORGE  \»    LUFT  CO 

41-    FIFTH    AVENUZ,    NIW    VO»K 


W/ren  Fourth 

of  July  bands  are  playing — and 

the  cannon  are  roaring  out  their 

celebration  of  another  day  of 

Independence  and  Freedom 

— have  a  Camel! 


Camels  represent  the  utmost  in  cigarette  quality.  The  choicest  of 
Turkish  and  Domestic  tobaccos  are  blended  into  Camels  by  master 
blenders  and  the  finest  of  French  cigarette  paper  is  made  especially 
for  them.  No  other  cigarette  is  like  Camels.  They  are  the 
overwhelming  choice  of  experienced  smokers. 


WHEN  the  noisy  shouts  and 
songs  of  freedom  hurst 
forth  on  Independence  Day. 
And  hands  and  parades  and 
booming  cannon  join  in  the 
joyous  celebration.  When 
you  think  again  that  our 
country  and  the  men  in  it 
must  be  free — have  a  Camel! 

For  no  other  cigarette 
ever  brought  such  liberation 
to  so  many  millions  of 
smokers.  On  the  day  of  its 
birth,  Camel  decreed  the 
end  of  tired  taste,  of  ciga- 
retty  after-taste.  Mild  and 
mellow  flavor,  full  enjoy- 
ment have  made  Camel  the 
most  celebrated  name  in  the 
history  of  smoking. 

So  this  Independence 
Day,  as  you  watch  our  coun- 
try's defenders  march  by  in 
inspiring  parade  —  know 
then  the  deepest  goodness 
that  ever  came  from  a  ciga- 
rette. Have  the  utmost  in 
smoking  enjoyment. 

Have  a  Camel! 


1926 


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joy Camel  quality,  is 
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ACTION  PlUUWt 

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IE  HAU 


e  Aoods 


Qainsborough 
Offers  her  TS&ueft  puff-creation 

—  in  smartest  of  summer  colors,  nature's  own; 


Man  in  his  most  creative  moments 
cannot  do  more  than  strive  to  match 
the  lovely  colors  nature  chooses  as 
her  own.  Blues  from  the  sky,  reds 
from  the  sunset,  greens  from  the  sea 
—one  finds  them  in  their  rarest  com- 
binations in  some  bit  of  foliage  or 
the  plumage  of  a  tropical  bird. 

Most  exquisite  of  colors  is  "Love- 
bird" green.  The  smartest  shops  are 
featuring  it  for  summer  in  lovely 
hats,  ensemble  suits— and  now  in 
powder  puffs!  For  now  translated 
into  your  own  dainriest  of  puffs  is 
Gainsborough's  newest  ofk-ring  — 
'Lovebird."  A  cooling  touch  to  blend 
with  smartest  costume,  Gainsborough 
quality  in  all  its  luxuriant  softness  plus 


the  added  smartness  of  this— smart- 
est of  summer  colors  gives  to  this, 
newest  of  powder  puffs,  an  added 
charm.  And  these,  as  all  other  Gains- 
borough puffs,  are  made  from  deep- 
piled,  specially  loomed  materials. 

Never  before  has  fashion  offered 
so  many  subtle  touches  to  enhance 
feminine  loveliness.  Now  the  exact 
costume  may  be  achieved  to  suit  the 
occasion— and  one  may  choose  her 
colors  to  a  nicety. 

Gainsbotough  contributes  seven 
lovely  pufts  of  pastel  shades-  Canary, 
Azure,  Persian  Pink,  Orchid.  Peach 
Glow,  Corail  and  Lovebird.  Ins 
for  every  need  for  vanity,  dressing 
table  and  bath 


,~r 


Gainsborough 
POWDER  PUFF 


Gainsborough  powder  puff 
may  be  had  in  sett »  smart  pain . 
shades.  Prices  15,  20and  2>coth 
tr  puffy  in  u  vol  or  i flour,  prici\  10 
I',  75i  .  On  your  dealer's  counter. 

irresistible: 


■9  * 


Weater  iMovie  Season 
brings  a  Jeast  of 
Entertainment  in  Warner  Productions 


1  •    ^ 


/IN  commemoration  of  Greater  Movie  Season,  Warner  Bros,  offer  for  the  /  J  \ 
/delight  of  the  American  public  an  array  of  entertainment  certain  to 
delight  the  fancy  of  every  picture  patron.  Romance,  adventure,  drama  and 
comedy — you'll  find  your  favorite  stars  in  roles  that  will  carry  you  to  the 
very  heights  of  enjoyment.  Truly  you  will  not  be  seeing  all  that  is  fine  in 
motion  picture  entertainment  unless  you  see  these  WARNER  BROS,  produc- 
Ask  the  manager  of  your  favorite  theatre  when  he  will  play  them. 


\ 


tions. 


An  ERNST  LUB1TSCH 

Production 

SO  THIS  IS  PARIS 

All  chat  the  name  implies.  A  sample  of  Parisian 
life  for  those  who  have  been  there  and  those  who 
haven't.  The  splendid  cast  includes  MONTE 
BLUE,  PATSY  RUTH  MILLER  and  other 
favorites. 

Footloose  Widows 

tiith  LOUISE  FAZENDA 
and  JACQUELINE  LOQAN 

Life  and  laughter;  New  York  to  Palm  Beach  and 
back  again.  A  rapid-fire  comedy-drama  that  takes 
its  place  as  one  of  the  season's  most  delightfully 
entertaining  pictures. 


AHEROo/V/ieBlGSNOWS 
ivith  RIN-TIN-TIN 

A  story  of  the  far  north  with  the  wonder  dog  of 
the  screen  in  a  role  that  is  a  revelation  even  to 
those  who  have  seen  this  marvelous  animal  in 
other  great  pictures.  Every  lover  of  dogs  will 
thrill  to  this. 


JOHN 

BARRYMORE 

in  the  great  adventure-romance 
that  is  thrilling  the  nation 

The  SEA  BEAST 

with  Dolores  Costello 

Directed  by  Millard  Webb 


BROKEN  HEARTS  of 
HOLLYWOOD 

with  PATSY  RUTH  MILLER 

Hollywood  — that  magic  word.  What  it  conjures 
up  in  the  mind  of  every  aspirant  to  screen  tame. 
With  one  of  the  season's  greatest  cast  of  stars  in- 
cluding Louise  Dresser,  Douglas  Fairbanks,  Jr., 
Stuart  Holmes  and  others. 


The 


•y» 


Honeymoon  Express 

with  IRENE  RICH 

From  the  play  that  swept  the  whole  country.  Now 
in  pictures  with  a  great  cast  of  favorites,  including 
Willard  Louis,  Helene  Costello,  John  Patrick, 
Jane  Winton,  Virginia  Lee  Corbin,  Harold  Good- 
win and  others. 

The 

PASSIONATE  QUEST 

with  LOUISE  FAZENDA 
May  M  Avoy  and  Willard  Louis 

London  and  Paris  — the  world's  centers  of  fashion 
and  revelry.  Here  is  a  story  of  surprising  love  in 
the  midst  of  it  all.  From  the  popular  novel  by 
E.  Phillips  Oppenheim. 


WARNER      BROS.      PRODUCTIONS 


She  Said  She  Was  a  Princess 

The  True  Story  of  the  Little  Stenographer  Who   Posed  as 

a    Spanish    Princess    and  Was   Feted    by    the 

Elect  of  Hollywood. 

This  story  is  the  stuff  of  which  romance  and  adventure  is  made. 
Perhaps  you  have  read  how  this  little  girl  fooled  society,  diplomatic 
circles  and  filmdom.  If  so,  you  will  be  more  than  ever  interested  in 
her  true  story.  It  took  courage  to  do  the  amazing  thing  she  did  .  .  . 
and  now  .  .  .  what  of  her? 

Read  the  truth  about  her  in  the  September  Motion  Picture 
Magazine. 

THE  STARS  ARE  NOT  WHAT  THEY  SEEM 


What  is  John  Gilbert  really  like 
.  .  .  and  Adolphe  Menjou  .  .  .  and 
Mary  Pickford?  .  .  .  They  are  not 
what  they  appear  on  the  screen. 

Gladys  Hall 

knows  all  of  the  stars  about  whom 
she  writes  intimately.    And  you  will 


be  fascinated  and  amused  by  the 
frank  pictures  she  presents  of  all  of 
them. 

There  is  nothing  in  the  world  more 
interesting  than  human  beings. 

If  you  dont  agree  with  that  state- 
ment now  you  will  when  you  read 
this  feature  story. 


HAVE  YOU  AN  IDEA  FOR  A  MOVIE? 


Of  course!  Having  the  idea  is 
one  thing  .  .  .  most  important.  But 
the  next  thing  you  need  to  know  is 
how  best  to  present  it  so  that  it  will 
reach  the  scenario  editor  and  win  his 
attention.  Agnes  Christine  John- 
ston, the  brilliant  young  scenario 
writer,  knows  the  ropes,  as  they  say. 
And  she  tells  you  just  how  to  go 
about  submitting  that  idea  you  have 
had  for  ages    .    .    .    and  never  sub- 


mitted   because   you    did    not   quite 
know  how  to  go  about  it. 

A  Map  of  Hollywood 

There  is  such  a  vogue  for  the  old- 
fashioned  semi-pictorial  map  today. 
What  could  be  more  fitting  and 
proper  than  Hollywood  and  its  en- 
virons depicted  in  this  manner? 

Chamberlain 

presents  such  a  map  .  .  . 


Reserve  Your  Qopy  of  the 

September  Motion  Picture  Magazine 


AT  YOUR  NEWSDEALER'S  NOW  I 


^A>/7CW  -/'/i.'/r/v-/ 


tL^- 


D<D 


Vol.  XXIII 


AUGUST,   1926 


N< 


Mordauni  H.,ll     \r, 


Notable  Features  in    This  Issue: 

tWE  CHANGEABLE  CHAPLIN 

ITS  THE  PERSONALITY  THAT  COUNTS  Tmmmi  l..,,„-     18 

How  iii<-  moat  popular  |   ,i  ability  and  noi 

THREE   WOMEN   WRITERS  CONSIDER   THE   FILMS  //.mm    Albert  Phillips     20 

i  ill  .mil  May  SlnclaJi 
CAME  ONE  SPRING  DAY;  AND    lllKN  H.  W   Hanamann     22 

1  inemann  i  i  lething"  1 1 k .  I  i,v  Eldon  K 

MASTERS  OF  THE   MOTION   PICTURE  Matthew  J,,  24 

The  second  if  a  critical  discussion  >l 

THE  HAUNTED  HOME  OF  MOVIE  GHOSTS  Robert  Donaldson     32 

ii  the  players  past  and  present  who  worked  on  the  Laaky  !>'i.     Drawings  by  Eldon  Kelley 
IT   IS  TO  LAUGH  Fred  Gilbert  Blakeslee     40 

In  which  the  author  points  out  production  errors  ili.tt  have  been  made      Drawings  by  C.  J.  MulhoUand 


The  Classic  Gallery  11-15 

ly  O'Neil,  Huiitly  Gordon,  \lm.i  Rubens,  Vnn  i Q.                                line  Day 
I    Wonder   What   Became  of  Him Bert  Ennis     26 

Extras  who  have  made  good  -and  some  others  who  haven't 
Things  That   Will   Never  Happen  K    R    Chamberlain      28 

Only  tour  miracles  can  bring  these  things  ab 
The   Disillusioned   Director  Madeline  Matzen     30 

The  artistic  and  Idealistic  Hugo  H.illin  has  become  discouraged  in  his  effort  to  make  beautiful  pictures 

Rod  La  Rocque  (Portrait  31 

"Bring  Yer  Ice  Aroun'  to  the  Back  Door"    .  34 

New  studi  n  Monro  iii  "Ella  Cinders" 

Pauline  Frederick  (Portrait) ....      35 

Cella  Lloyd  Makes  a  Personal  Appearance John  Held,  Jr.     36 

The  further  adventures  of  Mr.  Held's  bathing-girl  heroine 
The  Man   Who  Envies  Bill   Hart ...  Hal  K.  Wells     38 

Huntly  Cordon  tells  how  he  lias  always  cherished  .1  secret  longing  to  rough  it  in  the  open  like  the  cowl' 

Edna  Marian  (Portrait)  .      42 

What  It   Costs  to  Be  a  Well-Dressed  Auto  .  Warren  Dow     43 

The  equipment  of  Reginald  Denny's  white  sport  roadster 
Impressions  of  Hollywood .  Eugene  V.  Brewster     44 

The  editor-in-chief  tells  his  further  experiences  in  the  capital  of  filmdom 

Gardner  James  (Portrait) 49 

Ready     On  Your  Mark     Set!     Go!!. 52 

The  Hollywood  girls'  track  team 

The  O'Brien  Boy  Gets  a  Kick  Out  of  Life Scott  Pierce     56 

An  interview  wit  I  Hrien 

The  Roost  Where  Roy  Rests 57 

Roy  D'Arcy  at  home 
H.  R.  H.  the  Grand  Duchess .  62 

New  pictures  of  Corinne  Griffith  as  she  will  be  seen  in  her  next  picture.  "Into  Her  Kingdom" 
The  Celluloid  Cruise  of  the  Continents 64 

Players  featured  in  Universal's  'round-the-world  pictures 


The  CLASSIC'S  Famous  Departments 

Our  Own  News  Camera 

The  incidents  of  the  film  world  told  in  pictures 
The  Celluloid  Critic 

The  new  screen  plays  in  review 
Flash  Backs 

Comments  upon  screen  people  and  events 
The  Screen  Observer  Has  His  Say 

Amusing  gossip  of  celluloidia 
The  Answer  Man 63 


46 

.  Laurence  Reid  50 

L.  R.  54 

Don  Ryan  58 


Cover  Portrait  of  Dolores  Costello  by  Geo.  Blackstock,  from  a  Photograph  by  John  Ellis 


LAURENCE  REID,  Editor 
Adele  Whitely  Fletcher,  Supervising  Editor  Colin  Cruikshank,  Art  Director 

Classic  comes  out  on  the  12th  of  every  month,  Motion    Picture  Magazine  the  1st 


Subscription    $2.50    per    year,    ia   advance,    including    postage,    in    the    United    > 

Countries  $3.50   per  year.     Single  copies  25   cents   postage   prepaid.      United 

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ing  both  old   and   new  address. 


Published  Monthly  by  Brewster  Publications.  Inc..  at  18410  Jamaica  Ave..  Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica.  N.   Y..  as  second-class  matter,   under  the  act  of  March  3rd,   1S79.      Printed  in   U.  S.  A. 

Eugene    V.    Brewster,    President    and   Editor-in-Chief ;    Duncan    A.    Dobis,    Jr..    \  nc  President   and   Business   Manager; 

L.    G.   Conlun.     Treasurer;    I'..    M.    Heincmann.    Secretary. 

EXECUTIVE   and    EDITORIAL    OFFICES.    175    DUFI  IELD    ST.,    BROOKLYN,   N.   Y. 
Hollywood   Office.   6064    Selma    fcvenue.     Phone   Gladstone   3564 

Copyright.  192b,  by  Brewster  Publications,  Inc..  in  the  I'nited  Stales  and  Great  Britain. 


CLASSIC'S  Late  News  PAGE 


\TLTESLEY  BARRY,  having  reached  eighteen 
YY  years  of  age,  has  gone  in  for  matrimony. 
The  youth  who  won  his  right  to  stardom  a 
few  years  ago  because  of  his  funny  face  adorned 
with  countless  freckles,  married  Julia  Wood  of 
Montclair  recently.  The  bride  is  five  years  older 
than  her  husband.  The  young  couple  will  spend 
their  honeymoon  in  Hollywood. 

Constance  Talmadge  has  arrived  in  New  York 
with  her  husband,  Captain  Alastair  Mcintosh. 
They  will  sail  to  England  to  spend  a  belated 
honeymoon. 

George  Jessel,  Broadway  actor,  has  arrived  in 
Hollywood  to  begin  work  in  the  Warner  picture, 
"Private  Izzy  Murphy."  Vera  Gordon  will  be 
cast  in  a  character  role  in  the  same  film. 

Rumors  are  busy  that  perhaps  D.  W.  Griffith 
will  go  back  to  United  Artists.  He  has  one  more 
picture  to  make  for  Famous  Players.  D.  W.  was 
one  of  the  founders  of  United  Artists  along  with 
Mary  Pickford,  Douglas  Fairbanks  and  Charlie 
Chaplin. 

Norma  Talmadge  has  returned  to  Hollywood 
from  New  York  whither  she  had  gone  to  hunt 
for  new  screen  material.  The  star  is  about  to 
make  her  last  film  for  release  thru  First  National, 
"The  Sun  of  Montmartre."  After  this  is  com- 
pleted Miss  Talmadge  will  join  United  Artists, 
making  as  her  first  offering,  "The  Dove,"  from 
the   stage-play    of   the   same   name. 

Florence  Vidor 
has  been  engaged 
to  co  -  star  with 
Adolphe  Menjou 
in  the  Paramount 
picture  called 
"The  Ace  of 
Cads,"  written  by 
that  fellow  who 
was  a  nine  days' 
wonder  for  a  while 
— Michael      Arlen. 

Metro  -  Goldwyn 
has  started  Rim- 
ing "Tell  It  to  the 
Marines,"  with 
Lon  Chaney  as  the 
star  and  George 
Hill  as  the  direc- 
tor. 

Matt  Moore  has 
been  signed  by 
Marshall  Neilan 
for  an  important 
part  in  "Diplo- 
macy." 

The  only  "Red" 
Grange  is  busy  in 
Hollywood  in 
making  his  first 
motion  picture, 
"The  Half  Back," 
written  by  Byron 
Morgan  —  the  au- 
thor of  Wally 
Reid's  auto  stories. 
"Red"  will  play  a 
football     hero — 


LAST  MINUTE  REVIEW 

"Good  and  Naughty" 

THEY'RE  still  experimenting  with  Pola  Negri.  The  latest 
to  try  his  hand  in  directing  her  is  Mai  St.  Clair.  From  the 
results  obtained  here,  he,  at  least,  seems  to  be  the  first  of  the 
Americans  to  understand  her  moods.  Anyway  she  succeeds  in 
investing  her  role  with  sympathy  and  understanding.  Perhaps 
it  is  because  St.  Clair  directs  in  the  Lubitsch  manner.  He  has 
something  of  the  German's  Continental  manner.  He  approaches 
his  players  as  if  they  are  sophisticated  and  able  to  understand 
his  demands. 

To  get  back  to  Pola — well,  she  hasn't  been  blessed  with  the 
best  stories  in  the  world.  Having  tackled  emotional  roles  and 
not  done  so  well  by  them,  she  takes  a  fling  at  comedy.  I'll  say 
she  emerges  as  a  first-rate  comedienne. 

Her  new  entry,  "Good  and  Naughty,"  is  an  adaptation  of  the 
French  farce  comedy,  "Naughty  Cinderella."  It  is  not  so  sense- 
less as  the  original  and  not  so  funny — but  all  things  considered 
it  manages  to  be  bright  and  amusing. 

You  needn't  expect  to  find  any  new  idea  back  of  it.  The 
central  figure  is  one  of  those  dowdy  individuals  suffering  from 
suppressed  desires.  She  is  eager  to  spare  the  most  likely  mem- 
ber of  the  firm  from  any  scandal.  Which  means  that  she  is 
secretly  in  love  with  him.  So  she  undergoes  a  transformation 
in  dress  and  character.  Some  may  wonder  where  she  got  her 
Paris  finery — and  who  tipped  her  off  to  improve  her  appearance. 
Aside  from  these  errors  the  piece  contains  its  share  of  spice 
and  speed — with  St.  Clair  at  his  best  in  projecting  some  truly 
marvelous  close-ups.     He  employs  his  players  for  pantomime. 

The  idea  develops  into  a  marital  mix-up — with  everyone 
having  a  gay  time  in  a  prankish,  sophisticated  way.  There 
seems  to  be  some  nonsense  in  the  situations,  but  at  that  they 
are  recognizably  real. 

The  acting  honors  do  not  go  to  Pola — they  go  to  Ford 
Sterling.  He  is  a  constant  delight  in  his  efforts  to  get  in  and 
out  of  trouble.  He  has  his  facial  expressions  under  complete 
control — a  lesson  he  learned  in  the  Sennett  college.  The  titles 
are  pointed  and  provocative  of  laughter.  L.  R. 


and  the  plot  will  be  similar  to  Grange's  own  spec- 
tacular career.  Mary  McAllister  will  be  the 
leading  woman. 

Walter  Pidgeon  has  been  engaged  to  play  op- 
posite Norma  Talmadge  in  her  next  picture. 

Helene  Chadwick  has  completed  her  starring 
role  for  Hal  Roach.  This  picture  was  accepted 
by  the  star  after  a  perusal  of  the  story  convinced 
her  that  it  would  return  her  to  the  light  comedy 
at  which  she  proved  herself  adept  in  "Dangerous 
Curves  Ahead." 

Renee  Adoree  has  announced  her  engagement 
to  Rudolf  Friml,  well-known  composer  of  oper- 
ettas. This  will  be  Renee's  third  matrimonial 
adventure  and  Rudolf  will  make  his  fourth 
march  to  the  altar. 

Leatrice  Joy  has  just  received  her  final  decree 
of  divorce  from  Jack  Gilbert. 

Allan  Dwan,  the  director,  has  signed  with  Fox 
— and  will  make  "Summer  Bachelors"  as  his 
first  production.  The  story  is  written  by  Warner 
Fabian,  the  author  who  gave  "Flaming  Youth" 
to  the  world. 

Irene  Bordoni,  the  stage  star,  had  decided  to 
enter  pictures,  She  is  in  Hollywood  at  present 
undergoing  tests  for  some  future  production. 

Lois  Wilson  has  sacrificed  her  long  chestnut 
hair  so  that  she  can  play  the  bobbed  heroine  in 
"The  Great  Gatsby,"  which  is  scheduled  to  go 
into  production  shortly.     Lois  was  one  of  the  few 

in  pictures  who 
obeyed  the  old- 
fashioned  conven- 
tions. 

F.  W.  Murnau, 
the  director  of 
"The  Last  Laugh" 
has  arrived  in 
America.  He  will 
proceed  to  Holly- 
wood to  direct 
George  O'Brien 
and  Margaret  Liv- 
ingston in  "Trip  to 
Tilsit." 

Phyllis  Haver, 
former  Sennett 
beauty,  is  cast  in  a 
featured  role  in 
"What  Price 
Glory."  And  Les- 
lie Fenton  will  also 
have  a  part  in  the 
same  picture.  He 
will  fight  the 
world  war  for  a 
second  time  —  his 
previous  experi- 
ence having  been 
in  "Havoc." 

Lowell  Sherman, 
and  his  wife, 
Pauline  Garon  — 
both  prominent  in 
pictures,  have 
sailed  for  Europe. 
They  expect  to  be 
away  two  months. 


6 


_J 


slntonio  Moreno 
ysiti 


iA  ^Jetrq^b/<^y/7-Picture 

"More  Stars  than  there'  are  in  Heaven" 


THEY  SAY 


FIRST   PRIZE 
A  Plea  for  "Prunella" 
Editor,  Classic: 

Will  you  pardon  a  little  reminiscence  in 
order  that  a  tribute  may  be  paid? 

Long  ago,  as  screen  years  are  counted, 
it  was  apparent  to  those  with  seeing  eyes 
that  the  screen  offers  a  field  for  fantasy 
such  as  fantr.sy  had  not  known.  Absurd 
sequences,  savage  satire  and  grotesque  ex- 
aggeration are  recorded  by  the  camera 
with  equal  serenity  and  the  imagination  is 
given  a  freer  rein  than  was  possible  before. 
In  "The  Cabinet  of  Dr.  Caligari,"  "The 
Thief  of  Bagdad,"  "Peter  Pan,"  "A  Kiss 
for  Cinderella"  and  "Beggar  on  Horse- 
back" are  seen  something  of  a  fulfilment 
of  the  promise  of  the  wider  fields  for 
Pegasus  that  the  screen  offers — but  I  won- 
der how  many  film  lovers  remember  a 
"screen  fantasy  that  stands  out  in  my  mind 
as  being  a  pioneer. 

I  have  in  mind  "Prunella."  When  has 
such  gossamer  fancy  been  transferred  to 
the  screen? — the  key  which  was  neither 
"a  door-key,  nor  a  watch-key,  but  the 
key  to  the  garden  gate" — Pierrot,  dead- 
white,  before  a  dead-white  table  on  which 
lay  a  rose — the  quay,  in  the  manner  of 
Maxfield  Parrish,  with  its  single,  floating 
pennon  of  chiffon  all  down  across  its 
horizon — the  arched  bridge  over  which  the 
players  passed,  flung  high  against  the  sky 
and  resting  on  the  mists  which  arose  from 
the  river — the  "grotesquerie"  of  the  stroll- 
ing players — and  Marguerite  Clark — not 
playing  Prunella — but  Prunella  brought 
down  to  earth  from  the  poet's  imagina- 
tion, bewitching  the  camera  with  un- 
dreamed-of  loveliness ! 

Memory  is  faulty,  but  I  believe  that 
Tourneur  directed  "Prunella" — and  then, 
in  answer  to  an  unmistakable  box-office, 
turned  quickly  to  making  Drury  Lane 
melodramas !  I  suppose  Tourneur  was 
French,  both  from  his  name  and  because 
it  would  seem  that  only  a  Gaul  could 
handle  wit  and  fancy  with  such  unerring 
delicacy. 

That  fantasy  is  a  subtle  and  difficult  art 
is  obvious.  There  are  those 
who  say  that  Christopher 
Morley,  master  of  fancy  that 
he  is,  waded  out  beyond  his 
depth  in  his  latest  excursion. 
Last  season  Basil  Dean,  sea- 
soned with  many  theatrical 
years,  found,  when  he  at- 
tempted to  stage  Flecker's 
gorgeous  Oriental  dream, 
"Hassan,"  that  it  simply  would 
not  behave  and  was  continu- 
ally getting  out  of  his  grasp. 
I  am  one  of  those  who  found 
the  latter  part  of  "The  Thief 
of  Bagdad"  tedious,  lacking 
that  airy  lightness  which  fan- 
tasy must  have  if  it  is  to  en- 
chant; and  yet  I  know  that 
Mr.  Fairbanks  exercised  the 
greatest  care  to  preserve  its 
glamour.  Ofttimes,  fantasy 
lies  just  this  side  absurdity, 
and  if  the  maker  of  the  fan- 
tasy would  create  wistful  love- 
liness, he  dare  not  step   over 


the  dividing  line,  which  is  but  dimly  limned 
and  apparent  only  to  those  of  rare  aware- 
ness. The  maker  of  "Prunella"  knew  the 
danger  and  was  not  guilty  of  trespassing. 
Considering  this,  is  not  "Prunella"  the 
greater,  both  because  of  the  subtlety  and 
complexity  of  the  art  of  fantasy  and  be- 
cause of  the  difficulties  that  must  have 
lain  in  the  way  in  those  pioneering  days? 
Merely  to  recall  its  beauty  and  delicacy  is 
to  realize  the  possibilities  of  the  screen  in 
the  field  of  poetic  fantasy. 
S.  Van  Cree, 

1009  Pennsylvania  Avenue, 

Tyrone,  Pennsylvania. 

SECOND  PRIZE 

A  Voice  for  Sheer  Romance 

Editor,  Classic: 

Even  way  out  here  in  the  untamed  West 
(which  in  reality  is  very,  very  tame  in  the 
small  towns)  we  have  ideas  concerning 
motion  pictures  and  the  actors  and  ac- 
tresses thereof.  I  should  like  to  voice 
mine   in  your  columns. 

A  queer  little  town,  this  is.  I  have  not 
lived  here  always.  Perhaps  that  is  the 
reason  I  can  see  the  queerness  of  it.  It 
is  built  in  the  forest — shut  in  from  the 
rest  of  the  world  by  the  mountains  on 
three  sides  and  by  the  great  Pacific  on  the 
other.  Nearly  all  the  inhabitants  are  Swiss 
dairymen,  who  gather  in  little  groups  on 
the  street  corners  and  converse  in  loud 
tones  in  their  foreign  lingos. 

When  we  speak  of  the  towns  and  cities 
beyond  our  mountains,  we  use  the  expres- 
sion "Outside."  We  say  we  are  going  out- 
side to  spend  the  week-end.  It  seemed 
queer  to  me  at  first,  but  now  I  say  it  just 
as  the  "Switzers"  do. 

We  have  one  motion  picture  house  in 
our  town.  It  is  by  far  the  best-looking 
building  here.  The  inside  is  really  quite 
artistic,  and  it  is  considered  one  of  the 
finest  theaters  in  the  state.  It  is  under 
splendid  management,  and  we  are  usually 
able  to  see  the  newer  pictures  as  soon  as 
they  are  seen  in  Portland. 

Here    is    my   opinion — which    is    not    in 


The  MOTION  PICTURE  CLASSIC  is  devot- 
ing a  page  each  month  to  the  best  letters  from 
its  readers.  The  prize-winning  letters  for  the 
August  number  are  reproduced  on  this  page. 

Fifteen  dollars  will  be  paid  each  month  for 
the  best  letter,  ten  dollars  for  the  second  and 
five  dollars  for  the  third.  If  two  or  more  let- 
ters are  found  of  equal  merit,  the  full  prize 
will  go  to  each  writer. 

Letters  must  be  constructive  and  interest- 
ing. They  must  deal  with  pictures  or  screen 
personalities.  And — please  note — they  should 
be  typewritten. 


common  with  Mary  Smith's  opinion,  as 
stated  in  the  June  Classic — that  when  the 
average  person  goes  to  the  movies  he  likes 
to  see  life  depicted  in  a  natural  human 
existence.  That  is  not  the  case  here.  We 
can  look  out  of  our  windows  and  see  the 
forests ;  we  can  go  a  few  miles  out  of 
town  and  watch  a  logging  camp  in  opera- 
tion ;  we  can  see  the  ocean,  ships  and  the 
lighthouse;  we  can  see  cows — hundreds  of 
them  ;  and,  we  can  see  common  every-day 
courtships  (if  you  will  pardon  that  homely 
expression)  carried  on  between  the  Swiss 
dairymaids  and  their  unromantic  barn- 
yardish  lovers ;  we  see  people  grow  up  to 
become  professional  cheesemakers  or  real- 
estate  agents. 

But,  we  do  not  get  to  see  any  Peter 
Pans  nor  any  lovers  who  act  like  Rudolph 
Valentino,  John  Gilbert  or  Ronald  Colman. 
We  want  more  of  those  pictures. 

When  "Peter  Pan"  was  shown  here,  the 
children  had  a  half-holiday  from  school 
and  were  permitted  to  see  the  show  free, 
thru  the  graciousness  of  the  theater  man- 
agers. My  little  sister  can  still  tell  me 
every  detail  of  that  show,  whereas  she 
probably  couldn't  tell  me  anything  about 
the  Thomas  Meighan  show  which  she  saw 
only  last  week. 

Then,  too,  all  the  inhabitants  of  our 
town  always  go  to  a  Doug  Fairbanks  play. 
Perhaps  they  lack  the  what-ever-itis  that 
makes  people  appreciate  a  work  of  art, 
but  they  like  those  unreal  plays  for  the 
very  reason  that  they  are  different  from 
the  sordidness  of  real  life.  And  I  believe 
there  are  many  duplicates  of  our  little 
town. 

Marge  Baertlein, 
Tillamook,  Oregon. 

THIRD    PRIZE 
More  Relief  from  Reality 

Editor,  Classic  : 

I  cannot  resist  taking  issue  with  a  con- 
tributor to  your  "They  Say — "  page  in 
the  June  Classic,  to  wit,  one  Mary  Smith. 
She  undertakes  ^  to  explain  why  different 
film  actors  and  actresses  are  box-office  suc- 
cesses, and  in  addition  tells  us 
what  the  trouble  is  with  some 
of  the  stars. 

The  first  statement  of  hers 
I  wish  to  take  up  is  the  fol- 
lowing, "When  the  average 
person  goes  to  the  movies,  he 
likes  to  see  life  depicted  in  a 
natural,  human  existence." 
Whatever  that  might  mean. 
If  she  intends  to  say  that  the 
average  person  likes  to  see  a 
true  representation  of  what 
life  actually  is  in  the  living 
thereof,  I  disagree  with  her 
most  decidedly.  What  the 
average  theatergoer  wants  is 
not  reality,  but  a  relief  from 
reality.  They  have  too  much 
of  it  in  their  daily  lives,  and 
find  a  deal  of  it  that  is  not  to 
their  liking. 

People    receive    vicarious 
gratification   of    their    desires, 
repressed  and  otherwise,  thru 
(Continued  on  page  91) 


S 


Discovered ! 

The  Secret  of  Caruso's 
Amazing  Vocal  Power 


THIS  IS  AN  AGE  OF  MARVELS.    Wonderful  scientific  discov- 
eries have  changed  our  mode  of  living  and  our  mode  of  thinking. 

One  discovery  of  tremendous  benefit  to  all  humanity  is  the  discovery 
of  the  principle  of  voice  control  by  Eugene  Feuchtinger,  A.  M. 

His  resulting  system  of  voice  development  revolutionized  old  methods,  and 
changes  voice  development  from  a  little  understood  art  to  an  exact  science. 

More  than  that,  it  brings  a  Perfect  Voice  within  the  reach  of  every  man  and  every 
woman  who  desires  a  stronger,  richer  voice  for  either  singing  or  speaking. 

Prof.  Feuchtinger's  method  is  founded  on  the  discovery  that  the  Hyo-Glossus 
muscle  controls  the  voice;  that  a  strong,  beautiful  voice,  with  great  range,  is  due 
to  a  well  developed  Hyo-Glossus — while  a  weak  or  a  rasping  voice  is  due  to  under- 
development of  this  vital  vocal  muscle.  A  post-mortem  examination  of  Caruso's 
throat  showed  a  superb  development  of  his  Hyo-Glossi  muscles.  But  it  required 
years  of  training  under  the  old  method  to  produce  this  development. 

You  can  develop  your  Hyo-Glossus  in  a  much  shorter  time  by  Prof.  Feuchtinger's 
wonderful  scientific  method.  You  can  take  this  training  under  the  direction  of  the 
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tional development  of  his  Hyo-Glossus  muscle. 


Eugene  Feuchtinger,  musician-scientist,  who 
discovered  the  function  of  Hyo-Glossus  in  voice 
production,  and  whose  famous  "Perfect  Voice" 
system    has    developed    thousands   of  voices. 


The  Hyo-Glossus^ 
(Singing)  Muscle 


Diagram  of  the  Normal  Throat  showing  the 
Complete  Vocal  Mechanism.  Your  throat  looks 
like  this.  So  did  the  throat  of  the  great  Caruso. 
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Under  his  direction,  your  voice  will  be 
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You  will  have  a  voice  that  is  rolling 
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You  Do  Not  Know 
Your  Real  Voice 

Until  you  have  tried  the  Feuchtinger  sys- 
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ture PRODUCES  as  well  as  DEVEL- 
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derful fact  that  any  normal  person  can 
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Thousands  of  delighted  graduates 


testify  to  this  —  many  of  them  great 
vocal  successes  who,  before  coming  to 
Professor  Feuchtinger,  sang  very  poor- 
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Perfect  Voice  Institute 

1922  Sunnysidc  Ave,    Studio  C- 1  -7,  Chicago 

MlMUIIlliniiniiiiinin iiiiiiuyiiiiiiini iininiiiiiiiiiii .i.hiimmiim 

I   Perfect  Voice  Institute 

1922  Sunnysidc  Ave.,  Studio  C- 12 7, Chicago.  I1L 

Dear  Prof.  Feuchtinger:  Will  you  please  send  me  a 
=  copy  of  your  new  free  book  '  Physical  Voice  Cul- 
|      ture".  I  understand  that  this  book  is  free  and  there 

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D  Sistiof    O  Speaking      C  Stiancriif     Q  Wuk  Vsic* 


=       Name. 


Ann,  eat  your  breakfast 

Here's  cream  taken  from  a  bottle,  and  breakfast 
food  got  out  of  a  box.  I  haven't  tasted  them  yet, 
but  I'm  not  afraid  to  ask  you  to  eat.  And  in  the 
bathroom  is  new  tooth-paste  to  use  on  your  teeth. 
Here's  medicine  to  take  before  you  start  off  to 
school.  .  .  .  Don't  forget  to  wash  your  hands — 
that's  a  fresh  bar  of  soap — and  maybe  dust  your 
face  with  powder.  No,  it  won't  hurt  the  skin.  This 
list  of  things  I've  seen  advertised — stop  and  give 
it  to  your  father.  He'll  bring  them  home  tonight. 
Some  of  them  old,  some  of  them  new  .  .  .  but  what 
a  civilized  thing!  To  buy  on  faith  and  use  on 
faith  and  never  be  betrayed! 

Read  the  advertisements.  Their  honesty  is  as 
clear  as  a  mirror.  You  can  believe  in  them  as 
surely  as  you  believe  in  yourself.  You  can  follow 
their  directions  with  utmost  faith.  You  can  use 
their  products  with  confidence — you'll  want  to  use 
them  again.  Theirs  are  facts  proved  and  accepted. 
Use  their  news. 


^ 


TVhen  guided  by  advertisements 
you  can  buy  with  faith 


10 


Clarence  S.  Hull 


SALLY    O'NEIL 

Marshall  Neilan  discovered  her  when  searching  for 
a  vender  of  vim  and  vitality  to  play  the  Irish 
Cinderella  role  of  Mike.  She  has  fulfilled  all  ex- 
pectations since  her  debut — and  now  that  she  is 
"over" — there  is  no  question  but  what  the  O'Neil 
person  will  continue  to  assert  her  gypsy  moods  in 
terms  of  vivid  appeal.  Mickey's  meteor  has  more 
than  just  the  luck  of  the  Irish.  She  also  has  a 
way  with  her 


' 


MOTION  PICTURE. 



(^LASSIC 

AUGUST,    1926 


Melbourne  Spurr 


HUNTLY   GORDON 


He's  never  had  the  opportunity  to  tear  loose  in  an  outdoor  picture  for  his  assignments  have  invariably  been 
society  roles.  However,  there  is  nothing  to  keep  Huntly  from  wearing  a  bandanna  handkerchief  instead  of 
a  bat-wing  collar,  a  two-gallon  hat  instead  of  a  silk  topper,  and  fanning  a  six-shooter  thru  the   air  when   he 

wants  to  look  like  a  true  son  of  the  wide  open  spaces 


ALMA    RUBENS 

This  actress  is  being  presented  with  some  fair-sized  acting  plums.  Alma  has  gathered  several  choice  morsels 
while  roaming  over  the  Fox  garden.  First  came  "She  Wolves"  and  then  "East  Lynne."  Later  she  shook  the 
tree,  and  down  tumbled  the  biggest   plum   of  all.     In    "The  Pelican,"  an  adaptation  of  the  play  of  last  season, 

the  star  has  one  of  the  biggest  acting  roles  of  her  career 


^ 

ANNA    Q.   NILSSON 

Hartsi'^h' 


No  matter  what  kind  of  a  picture  she  has,  this  star  always  contributes  a  performance  marked  for  its 
sincerity  and  understanding.  Her  plastic  temperament  gives  her  the  authority  to  adapt  her  moods  for 
any  role  or  situation  which  confronts  her.     In  "Miss  Nobody"  the  blonde  Anna  has  a  picture  which,  in 

the  words   of  the   poet,   is  right   up   her   street 


Clarence  S.  Pull 


MARCELINE    DAY 


When  a  girl  makes  herself  comfortable  in  a  window-seat,  there  is  nothing  one  could  add  to  the  decoration 
to  make  the  picture  more  attractive — especially  when  she  adopts  a  pensive  expression  or  that  "come 
hither"  look.  Marceline  is  not  only  sitting  pretty  in  the  window — she  is  also  sitting  pretty  at  the  top 
of  the  celluloid  ladder,  a  fact  you  can  discover   for  yourself   when   you   see    her   in    "The    Boy    Friend" 


The  Changeable  CHAPLIN 


There    is   no   one  like   Chaplin.      His 

personality,   talent   and   moods   stand 

him  apart  from  his   fellow  beings — a 

man  with  the  soul  of  an  artist 


THE  first  time  I  saw  Charlie  Chaplin  in  the  flesh  was 
about  five  years  ago  in  the  Ritz  Hotel,  in  London. 
Incidentally,  to  give  an  idea  of  what  might  happen, 
the  day   before,   Tom   Geraghty,  the   well-known 
scenarist,  had  called  upon  the  screen  comedian  _ 

and    was    much    amused    when    he    found 
Charlie  in  his  bathtub  absorbed  in  read- 
ing a  chapter  from  the  Bible.    When  I 
called  upon  him,  he  was  fully  clad,  his 
interest  being  centered  on  the  crowds  1 

outside  the  hotel  who  were  waiting  I 

10  get  a  fleeting  glimpse  of  their  film        [M 
favorite  as  he  slipped  thru  the  re- 
volving   doors    and    into    his    Rolls- 
Royce.     His  reception  in  the   Eng-         ■ 
lish  metropolis  caused  _  me  to  reflect  1 

that  with  the  exception  of  kings  and 
potentates  or  home-coming   victorious 
generals    and    admirals,    no    man,    cer- 
tainly no  actor,  had  ever  received  a  wel- 
come comparable  to  that  extended  to 
Chaplin  by  the  people  of  his  native 
country. 

Here  was  a  man,  still  young,  who 
not  so  many  years  before  considered 
himself  very  lucky  in  being  a  more 
or  less  obscure  music-hall  performer. 

Now  he  was  wealthy  and  at  the  top  of  the  tree.  Sir  Philip 
Sassoon,  private  secretary  to  the  Prime  Minister,  invited 
Chaplin  to  spend  a  few  days 
at  his  country  home,  and 
scores  of  other  notables  were 
eager  to  have  the  fun-maker, 
who  was  born  in  squalid 
Kennington,  come  to  their 
West  End  houses. 

When  Chaplin  visited   Sir 
Philip  Sassoon,  he  was  asked 
what   color   scheme   he   pre- 
ferred   in    furnishings,    and 
the  comedian  waved  his  hand 
and      mentioned      an     effect 
which    he    was    surprised    to 
discover  was  to  be  found  in 
the  wealthy  Britisher's  dwell- 
ing. They  wheeled  his  break- 
fast  into   the   apartment   in 
the  morning  and  he  daw-    / 
died     over     his     dressing, 
marveling  in  his  healthy 
enthusiasm   over  the 
change     just     a     few 
years  had  made  in  his  sur- 
roundings. 


Finds   His   Inspiration 

\A7hen  Chaplin  lived  in 
v  Kennington,  he  used  to 
walk  all  the  way  to  Leicester 
Square,  and  in  his  home  dis- 
trict there  was  a  public  house 
(a  saloon)  outside  which  he 

often  observed  an  aged,  rotund,  bent  creature,  with  large 
spavined  feet,  whose  sphere  in  life  was  as  humble  as  any- 
thing one  could  well  imagine,  for  he  earned  his  board  and 
lodging  (such  as  it  was)  by  attaching  the  feed-bags  to  the 
cabbies'  horses,  while  the  Jehus  were  enjoying  their  'arf-       walked  thru  Lambeth  and  Kennington  and  later  he  had 

16 


and-'arf  in  the  "pub."   The  flabby  old  man  walked  with  a 
waddle,  and  as  young  Chaplin  passed  on  his  way  to  look  for 
work,  he  noticed  the  funny  walk  of  this  bibulous  object.  On 
turning  the  corner,  Charlie  was  wont  to  imitate  the 
weird  walk  of  the  gentleman-in-waiting  to  the 
cab  horses.    It  was  this  derelict  who  inspired 
Chaplin's     now     world-famous     waddle. 
Fancy,  if  the  old  man   should  still  be 
living  and   Charlie   should  go  to  him 
with  the  information  that  he  had  com- 
puted that  he  owed  the  bowed  speci- 
men of  bone  and  flesh  about  a  quar- 
ter of   a  million   dollars !     The  old 
man  would  probably  die  from  shock, 
or  think  the  well-dressed,  lithe  young 
fellow  was  mad. 

There  is  a  great  deal  of  sentiment 
about     Chaplin,     and     his     properties 
prove  this.     He  chose  the  attire  of  a 
down-and-out    toff — a   tail    coat    that    had 
seen  better  days,  a  derby  that  looked 
too  small,  a  mustache  that  accentu- 
ated   his    pathetic    expression,    huge, 
haggy     trousers,     with    a     waist-line 
much    too    large,    and    a    natty    little 
stick.       Chaplin's     waddle     and     his 
ridiculous  -clothes  are  now  known  in 
the  isles  of  the  Spanish  Main,  in  far-off  Java,  from  Tahiti 
to    Zanzibar,    from    imperial    India   to   the    storm-ridden 

Hebrides. 

The  grimy  old  man's  wad- 
dle has  been  exploited  to  the 
youth  of  Japan;  it  has  been 
in  turn  copied  by  the  dirty- 
faced  children  in  Leith,  and 
the  dusky  kids  of  Singapore. 
Everywhere  you  go,  Chaplin 
is  known,  and  at  one  time, 
while  he  was  dallying  around 
the  corner  imitating  the  walk 
of  the  feed-bag  expert,  he 
longed  to  become  a  legitimate 
stage  actor.  The  nearest  he 
ever  got  to  this  aspiration  was 
when  he  officiated  as  a  page 
boy  in  a  footlights  produc- 
tion of  "Sherlock  Holmes." 
The  next  time  I  had  the 
pleasure  of  gazing  at  Chaplin 
was  when  he  was  leaving 
Waterloo  station  en  route 
for  Southampton,  to  sail 
back  to  America.  The  de- 
pot was  thronged  with  people 
from  all  walks  of  life,  and 
special  police  were  there  to 
keep  back  the  pressing  crowd 
of  eager  men,  women  and 
children.  It  amused  Chaplin 
again,  and  he  frequently 
smiled  as  he  walked  up  and 
down  the  platform,  eyed  by 
all  those  who  were  leaving  on  the  same  train.  The  king 
of  all  comedians  was  bound  for  his  adopted  home.  He 
had  looked  upon  the  grim  section  of  London  in  which  he 
was  born,  and  alone  with  Thomas  Burke  one  night  he  had 


Chaplin  came  out  of  the 
slums  of  London  to  earn 
world-wide  fame. 

He  is  a  keen  student  of 
the   Bible. 

His  comic  screen  char- 
acter is  modeled  after  a 
humble  old  Cockney. 

He  suffered  bitterly  and 
cruelly  in  his  youth. 

He  lives  by  his  moods 
and  the  world  can  take 
care  of  itself. 

The  comedian  believes 
firmly  in  tenderness  in 
stories — it  helps  to  make 
the  pictures  sincere. 

His  temperamental  qual- 
ities often  cause  him  to 
forget  appointments,  but 
those  who  understand  him 
become  his  stanch  friends. 


Charlie  Chaplin  Is  a  Man  of 
Moods — An  Impulsive  Person 
Who  Changes  His  Mind  Every 
Hour.  He  Is  Temperamental 
and  Has  No  Use  for  the  Stand- 
ardized Rules  of  Convention. 
Here  You  Will  Gather  Some- 
thing of  His  Character — That 
Changeable  Nature  Which 
Has  Made  Him  the  Enigmatic 
Genius  of  the  Screen 

By 

Mordaunt  Hall 


visited  the  curving  streets  of  Limehouse. 
Burke,  who  is  the  author  of  "Limehouse 
Nights,"  detests  most  motion  pictures,  but 
spects  and  admires  Chaplin.  They  are 
two  of  a  kind,  both  having 
suffered  bitterly  and  cruelly 
at  the  outset  of  their  careers. 
Chaplin's  picture,  "The  Cold 
Rush."  has  much  in  it 
synonymous  with  Burke's 
last    book,    "The    Wind    and 


the    Rain,"    which    was    about    the    writer's    early    life. 
A  Man  of  Moods 

^haplix  is  a  man  of  moods,  an  impulsive  person,  who 
changes  his  mind  every  hour.  Work  is  not  always 
agreeable  to  him,  and  they  never  know  in  his  studio  when 
he  is  going  to  call  off  activities  for  the  day  to  go  and 
enjoy  fishing  at  Catalina  Island.  He  is  averse  to  publicity, 
or.  at  least,  to  meeting  magazine  writers  and  newspaper 
correspondents.  There  is  no  other  screen  luminary  like 
him.  Some  time  ago  a  writer  of  repute  went  to  Holly- 
wood with  the  main  idea  of  interviewing  Chaplin  for  a 
magazine  with  a  huge  circulation.  He  waited.  He  kicked 
his  heels.  He  went  to  Chaplin's  studio,  but  never  was 
able  to  see  Chaplin.  The  comedian  was  not  in  the  mood 
to  be  asked  questions  and  eventually  the  writer  had  to  re- 
turn East  without  the  article  he  was  bent  on  putting  into 
print.     He  did  not  know-  that  the  coat  tails  he  once  saw 


Chaplin   impresses  one   as  if  he  rather   enjoyed   his   moods. 

He  wants  to  be  different,  and  when  it  strikes  him  suddenly 

that  he  cant  stand  going  to  a  certain  function,  nobody  could 

make  him  change  his  mind 


leaving  a  door  were  those  of  the  comedian,  but  he  did 
know  that  scores  of  other  newspaper  men  had  experi- 
enced the  same  disappointment. 

It  was  the  afternoon  before  the  presentation  in  New 
York  of  "A  Woman  of  Paris,"  that  I  talked  with  Chap- 
lin again.    The  picture  was  being  screened  and  Chaplin, 
in  the  gloom  of  the  theater,  told  me  that  he  did  not  like 
the  music.     He  is  very  partial  to  a  suitable  orchestral 
score  for  a  picture.     He  made  an  appointment  to  see  me 
again   one  morning  in   the   Ritz   Hotel,   an   appointment 
which  I  kept  despite  the  fact  that  I  had  had  an  operation 
on  my  foot,  which  was  covered  with  bandages.     Suffice 
it  to  say  that  he  did  not  keep  the  appointment  and  nobod\ 
could  have  passed  by  the  inscrutable  Japanese,  who  has 
to  lie  for  Chaplin  in  such  circumstances.     Hence   I  did 
not   see  the  comedian  again  until    I   went  to    Hollywood 
last  summer. 

No  Use  for  Conventions 

Tt  was  July  4th,  when  I  disembarked  from  the  train  at 
Los  Angeles,  and  some  friends  took  me  for  a  long 
automobile  ride.  At  dinner  that  evening  somebody 
dropped  the  remark  that  Chaplin  was  going  to  leave  on 
his  way  to  England  the  next  day.  Imagine  my  anxiety 
at  that  moment,  seeing  that  I  considered  my  long  journey 
{Continued  on  page  67) 


17 


It's  the  Personality 

That  COUNTS 


Dolores  Costello 


I 


DO  NT  know 
who     the 
first    "ex- 
pert" was  that  started  to  lay  down  rules 
in  regard  to  the  qualifications  necessary 
for  success  upon  the  screen,  but  who- 
ever he  was,  he  should  have  been  taken 
out  and  shot  on  the  spot. 

Nothing  has   held  the  motion  picture 
back   more,  or  kept  the   silent   drama  so 
much  in  a  rut,  than  the  absurd  practice  of 
setting  up  rules  and  standards  for  this,  that, 
and     almost     everything     pertaining    to     the 
screen,  when  the  application  of  a  few  grains 
of  intelligence  would  reveal  that  there  really 

are  no  infallible  standards  in 
regard  to  the  silent  drama  or 
its  players.  Oddly  enough, 
those  in  control  of  the  mo- 
tion picture  business  are  the 
worst  offenders  in  this  re- 
spect. 

Nevertheless,  from  the 
earliest  conception  of  the 
motion  picture  there  has 
been  a  preponderance  of 
knowing  individuals  who 
seek,  after  a  very  brief  an- 
alysis of  certain  phenomena, 
to  classify  and  category 
everything  in  regard  to  what 
can  be  successful  or  unsuc- 
cessful on  the  screen.  They 
then  later  attempt  to  judge  dogmatically  all  things  by 
these  same  standards. 

Yet,  when  we  closely  analyze  the  success  of  prac- 
tically  every  great   player,    director,   individual 
or    company — I    mean    the    ones    who    have 
stood    out    more    prominently    than    their 
rivals — we  find  that  their  success  has  not 
been  due  to  the  fact  that  they  followed 
all  the  iron-clad  rules  laid  down  by  the 

"experts" 


Adolphe  Menjou 


Renee  Adorce 


Noah  Beery 


Spurr 


Douglas  Fairbanks 


18 


or  that 
they  came 
within  all 
the  long- 
established 
"standards," 
but  because 
they  have  suc- 
cessfully departed 
from  these  time- 
worn  formulas.  And,  by  so 
doing,  they  have  stood  out 
with  greater  personality. 
They  did  not  subscribe  to 
the  so-called  regulations  to 
make  themselves   successful. 


Not  Machines  but  Humans 

Cad  to  say,  the  tribe  of  "experts"  has  in- 
creased greatly  in  the  past  few  years 
and  now 
Hollywood 
studios 
are  filled 
with  these 
professors 
who  are  still 
laying  do»wn 
rules  in  spite  of 
the  fact  that 
their  regula- 
tions are  repeatedly  being 
broken  by  nearly  every  new 
player  who  wins  his  or  her 
way  into  wide  popularity 
with  the  motion  picture 
public. 

I  can  remember  even  as  far  back  as  1910,  when  movies 
were  just  in  the  one-  and  two-reel  state,  the  self-appointed 
authorities  were  already  beginning  to  establish  all  sorts  of 
regulations,  altho  nobody  had  asked  for  them  and  the 
public  itself  did  not  know  anything  about  them. 

Before  I  begin  to  enumerate  some  of  the  "flaws"  and 
"weaknesses"  of  various  successful  celebrities,  it  should 
be  stated  that  this  is  a  rather 
delicate  task,  and  there  cer- 
tainly is  no  intention  on  the 
part  of  the  writer  to  be  un- 
gallant  in  regard  to  some  of 
our  screen  favorites. 

My  only  motive   for  call- 
ing attention  to  certain 
so-called      defects 
is    not    for    the 
purpose    of 
criticizing 
these    vari- 
ous    play- 
e  r  s,   but 
merely    to 
show     that 
it    is    non 
sense  to  assert  that  it  is  necessary  for 
screen    players    to    fulfill    certain    require- 
ments of  perfection,  if  they  have  other  im- 
portant   attributes    which     can    offset    their 
other  deficiencies. 

One  of  the  first  screen  laws  to  be  estab- 
lished, for  no  reason  whatsoever,  was  to  the 
effect  that  all  film  leading  men  had  to  be  tall.     This  idea 
probably  originated  from  the  fact  that  most  of  the  early 
favorites  were  men  of  above  the  average  stature. 

Then  along  came  Henry  B.  Walthall  and  knocked  this 
false  impression  into  a  cocked  hat.  In  spite  of  beiii£ 
several  inches  under  the  standard  set  for  movie  heroes- 


Buster  Keaton 


Henry  B.  Walthall 


The  Greatest  and  Most  Popular  Players  Upon  the  Screen  Are 
All  Breaking  One  or  More  of  the  Laws  Which  Certain  Studio 
Professors  Seek  to  Use  in  Judging  Talent.  Every  Star  Who 
Has  Got  Along  in  the  Celluloid  World  Has  Succeeded  by 
Sheer  Force  of  Personality  Plus  an  Aptitude  for  Acting — 
and  Not  by  Means  of  Physical  Qualifications 

By  Tamar  Lane 


Lew  Cody 


in  fact,  what  one  might  term  "short" 
Walthall  succeeded   in  quickly  establishing 
himself  as  one  oi  the  popular  leading  men 
-  day. 

When     1 

-  a  v  t  h  a  t 
Walthall 
disproved 
the  theory 
that  screen 
leading  men. 
to  be  popular, 
must  he  aroum 
the  six-foot  mark, 
I  mean  that  he  dis- 
proved it  to  the  satisfaction 
of  those  who  used  their 
heads.  Unfortunately,  there 
are  not  a  great  number  of 
such  individuals  in  the  mo- 
tion picture  industry,  for  in 
every  studio  and  casting  de- 
partment in  the  land  one  still  hears  them  rejecting  young 
players  because  they  are  "too  sh  >rt." 

Yet  today  we  have  Richard  Barthelmess,  Ramon  Xo- 
varro,  Douglas  Fairbanks.  Jack  Pickford,  and  others. 
easily  among  the  most  popular  players  of  the  screen,  and 
all  in  the  "short"  class  according  to  film  experts.     Even 

John     Gilbert     and     Ronald 
^_^_^_________         Colman,  the  two  most  popu- 

I^^a^^a*,  lar  matinee  idols  at  the  pres- 

,a«  ^.  ent  time,  are   far  below  the 

six-foot  standard. 

Of    course,    some    of    the 
above    players    build    them- 
selves up  for  their  ap- 
pearances   on    the 
screen    to    look 
several    inches 
taller   than 
they    really 
are. 

To  Wil- 
1  i  a  m     S. 
Hart   goes 
the    honor    of    breaking    another    early 
established  tradition — the  one  to  the  effect 
that   all    silversheet    heroes    must    have   the 
beauty  of  Adonis.     It  must  be  admitted  that 
Hart,  back  in  those  old  Ince  days,  had  a  rather 
tough  time  of  it  in  convincing  the  film  industry 
and  the  movie  public  that  there  was  a  prominent 
place  for  him  in  the  screen  heavens,  but  by  superior  act- 
ing and  a  powerful  personality,  he  finally  won  out. 

Hart  was  also  largely  responsible  for  exploding  the 
theory  that  it  was  necessary  for  screen  heroes  to  be  prac- 
tically of  the  juvenile  type.  Today,  we  have  Lewis  Stone. 
James  Kirkwood,  Conway  Tearle,  Thomas  Meighan, 
Milton  Sills  and  others,  who  have  all  passed  out  of  the 


Gloria   Swanson 


Apeda 
Marion  Davies 


D  w 

^•the 


Waxman 

Rudolph  Valentino 


Colleen  Moore 


adolescent 

and   Mill   bl 

millions  of  ardent  admin 
As   for  the  qualification  of  beauty,  who 

would     dare     to     accuse      I  on     I 

Wallace   Beery  or   Ernest  Torrence  of 

pulchritude?  Hut  who  would  trade  one 
of  them  for  a  standard  perfection  brand 
of   movie  h< 

Classical    features    are    all    right    in    their 
place,  hut  they  are  not  absolutely  necessary 
on  the  screen.      Look  at    Hull    Montana  and 
Joe  Martin  ! 

D.  W.  Showed  Them  How 
Griffith  is  one  of 

few  men  who  have 
consistently  di srega  rded 
every  rule  and  regulation  of 
the  picture  game.  Yet  he 
has  to  his  credit  the  greatest 
number  of  successful  play- 
ers in  the  business. 

Griffith  developed  Lillian 
and  Dorothy  Gish,  two 
charming  and  talented  ac- 
tresses, who  would  have 
found  it  very  difficult  to 
secure  even  extra  work  in 
almost  any  other  studio. 
Roth  Dorothy  and  Lillian 
lack  the  facial  features  that 
are    deemed     necessary     for 

the  .silent  drama.     In  fact,  Griffith  and  the  two  Gish  girls 
met  with  much  opposition  when  he  first  presented  these 
two  young  players  in  his  productions.     Nevertheless, 
in    spite    of     "expert"    opinions.     Lillian     and 
Dorothy  have  firmly  established   themselves 
upon  the  silversheet,  and  Lillian  is  now  con- 
sidered by  many  as  one  of  the  most  beau- 
tiful actresses  in  pictures. 
Mae    Marsh    was    another    Griffith    dis- 
covery   who    rose    to   great    popularity, 
despite   the 
fact  that  she 
failed     by    a 
wide     margin 
to  measure   up 
to   the    usual 
screen    face    stand- 
ards. 

Believe  it  or  not. 
it  has  long  been  one  of  the 
most  positive  assertions  in 
film  circles  that  light  eyes 
are  a  serious  handicap  to 
any  screen  player.  This 
"rule,"  more  than  any  other, 
(Continued  on  page  65) 


Bill  Hart 


Carsey 


Lewis  Stone 


Doolittlr 


19 


Three  Women  Writers 


Courtesy  George  H.  Doran  Company 

Rebecca  West 


Thomas  F.i'i 


Sheila  Kaye-Smith 


By  Henry  Albert  Phillips 


13EBECCA  WEST  is  one  of  the  most  energetic 
journalists  in  Great  Britain,  among  the 
women,  and  her  pet  theme  is  attacking  the  male 
of  the  species  with  her  pen.  She  was  charm- 
ingly feminine  where  I  had  expected  again  to 
find  another  mannish  woman, 

I  like  the  German  films  best,  '  she  told  me 
with  immediate  frankness.  "I  recall  one  in  par- 
ticular I  saw  recently.  Shadows,'  I  think  was 
the  title.  The  American  films  are  so  rubber- 
stamped.  If  I  see  one  of  them,  I  can  approxi- 
mate what  the  next  dozen  will  be  like.  The 
same  actors  and  actresses  are  always  the  same 
in  every  picture.  They  seem  to  take  pride  in 
forcing  their  own  personalities  thru  the  part 
always — really  smashing  it,  by  the  way.  That 
is  not  the  fine  art  of  acting,  which  consists  in 
effacing  yourself  in  emphasizing  the  character 
m  the  role  you  are  essaying.  You  see,  I  was 
on  the  stage  for  a  while  myself  and  had  a  grand- 
father who  was  director  of  a  theater  in  Edin- 
burgh, so  I  am  interested  in  and  have  some 
knowledge  of  what  the  actor's  art  should  be 
like. 

{Both  contmu 

20 


QHEILA  KAYE-SMITH  is  recognized  as  one 
*^  of  the  most  graceful  novelists  of  England. 
The  day  that  I  called  on  her  happened  to  be 
just  about  the  time  that  a  play  was  being  pro- 
duced, drawn  from  her  book,  "Joanna  Godden. 
She  was  in  a  mild  state  of  excitement  over  this. 

"You  know,  this  novel  lends  itself  much  more 
to  the  films  than  to  being  dramatized,"  she  ex- 
plained to  me.  "As  a  matter  of  fact,  I  should 
say  that  it  was  a  perfect  film.  You  can  follow 
the  story  from  beginning  to  end  with  the  same 
ease  and  interest  that  you  can  a  film. 

"I  like  going  to  the  films  and  there  is  nothing 
that  entertains  me  more  than  a  good  film.  The 
film  conventions  often  make  me  very  angry,  tho. 
There  seems  to  be  no  half-way  ground  in  the 
sort  of  picture  drawn  from  life  itself,  presum- 
ably. While  it  is  true  that  romance  may  take 
us  out  of  the  broad  road  of  every-day  life  into 
delightful  side-paths  occasionally,  life  still  re- 
mains in  the  middle  ground.  In  the  films,  every- 
one who  is  well-off  lives  in  marble  halls ;  the 
majority  of  those  who  have  no  money  to  speak 
of  are  shown  in  penury  and  rags.  We  call  that 
ed  on  j>age  80) 


Consider1  the  Films 


"I  like  the  German  films  best.  The  Amer- 
ican films  are  so  rubber-stamped — but  we 
look  to  America  for  better  things  than  she 
has  been  doing." — Rebecca  West. 


"In  the  films,  everyone  who  is  well-off 
lives  in  marble  halls;  the  majority  of  those 
who  have  no  money  to  speak  of  are  shown 
in  penury  and  rags.  Why  dont  the  film 
people  take  up  the  middle-class  life  more?" 
— Sheila  Kaye-Smith. 


"When  my  novel,  'The  Immortal  Mo- 
ment,' was  done  in  the  films,  they  took  great 
pains  to  get  the  scenes  in  Italy.  But  beyond 
that,  the  performance  positively  made  me 
ill." — May  Sinclair. 


Courtesy  The  MacMillan  Company 

May   Sinclair 


The  Fourth  of  a  Series  of  Talks  About  Motion  Pictures 
With  Famous  English  and  Continental  Writers 


T T  was  only  a  few  years  ago  that  we  used  to 
regard  the  British  woman  novelist  as  a  bold, 
swaggering,  advanced-woman  sort  of  creature 
who  could  outplay  mere  man  at  most  any  sort 
of  game.  I  may  say  that  that,  at  least,  was  my 
conception  of  her.  To  say  that  she  was  "man- 
nish    would  be  putting  it  very  mildly  indeed. 

But  I  have  been  disillusioned  in  respect  to 
these  women  writers.  They  are  simply  women 
after  all,  just  as  strong  and  just  as  weak  as  their 
sex.  I  have  yet  to  meet  one  who  is  as  bold  as 
my  conception  of  her. 

What  I  cannot  always  understand  about  so 
many  writers  is,  how  they  can  possibly  write  in 
such  an  up-to-date  manner  in  their  books  when 
they  are  so  hopelessly  behind  the  time  in  their 
lives !  It  seems  a  shame  to  show  the  feet  of 
clay  of  public  idols  this  way.  But  I  am  not  doing 
it  in  a  spirit  of  iconoclasm  but  in  a  desire  to 
reveal  the  real  flesh-and-blood  persons  behind 
their  printed-word  mask.  I  think  they  benefit 
rather  than  surfer  from  it. 

In  one  particular  I  think  every  reader  will 
agree  with  me.     That  person  who   makes  little 

(Both  continu 


'\/TAY  SINCLAIR   has   written    three    novels 

which     have     stood     out    prominently     as 

among   the    most   fascinating   of   modern    fiction. 

These     are     "Mary     Oliver,"     "The     Rector     of 

Wyck"   and  "Anne   Severn    and   the   Field  ngs. 

I  had  always  thought  oi  May  Sinclair  as  a 
tall,  spare,  bobbed  intellectual,  wearing  a  W.  G. 
Locke-ish  pair  of  eye-glasses.  I  would  probably 
find  her  sitting  in  her  short  skirts,  cross-legged 
on  the  table,  smoking  a  cigaret  and  possibly 
nicking  the  ashes  on  the  floor  (absently,  of 
course). 

Who  told  me  all  this? 

Why  she  herself  did.      In  "The  Divine  Fire, 
for  instance. 

It  was  a  very  foggy,  typically  London,  day 
when  I  went  out  to  see  the  novelist  who  is 
winning  such  literary  laurels.  I  had  great  dif- 
ficulty in  finding  Abbey  Road.  London  is  so 
enormous,  so  complicated  and  so  unreasonable. 
There  are  no  long  straight  streets,  running  ac- 
commodatingly East  and  West,  or  North  and 
South,  with  regular  blocks  and  odd  and  even 
numbers  to  match  and  bearing  numbers  for 
ed  on  j>age  80) 

21 


It  is  customary  with  the  moguls  of  the 
picture  industry  whenever  they  promote 
ideas  to  take  time  out  for  lunch. 

Mr.  Hanemann  was  sauntering  up 
Fifth  Avenue  one  noon  when  he  suddenly 
found  himself  cornered  by  the  producer 
of  Controversial  Pictures.  One  word  led 
to  another  until  he  was  encouraged  to 
create  "something"  like  a  scenario. 

Accordingly  the  next  day  at  lunch  he 
outlined  his  story — which  was  accepted 
with  reservations.  But  the  braised  beef 
tongue  was  good.  The  humorist  expects 
to  write  the  perfect  picture  plot  the  next 
time  he  faces  the  menu  with  the  movie 
magnates. 


IT  all  started  on  Fifth  Avenue,  a  thorofare  which  al- 
ready has  enough  to  account  for.  But  if  this  is  to  be 
a  veracious  account,  I  must  insist  on  the  actual  locale. 
Besides,  you  will  agree  that  anything  can  happen  on  Fifth 
Avenue,  and  does,  from  eight  to  six,  daily. 

It  started  from  a  casual  remark  dropped  by  a  gentle- 
man to  whom  I  had  just  been  introduced.     Our  common 
friend  left  us  to  continue  our  way  together.     Heretofore 
conversation  between  the  gentleman  and  myself  had  been 
in  the  nature  of  cushion  shots,  bounding  off  the  friend,  as 
the  cushion,  to  one  or  to  the  other  of  us.     From  now  on, 
it  was  apparent  that  any  further  conver- 
sation  would  necessarily  be  right  clown 
the  table.     Which  may,  or  may  not  have 
prompted  the   remark. 

"I  suppose,"  said  the  gentleman,  a  Mr. 
Teall,  "that  you  will  soon  be  trekking 
West,  like  the  rest?" 

"I  beg  your  pardon?"  I  replied, 
ing  barely  made  Mr.  Teall's  ac- 
quaintance, I  had  not  the  remotest 
idea  of  his  connections,  commer- 
cial or  otherwise.    Judging  by  that 


Came  One 


By  H.  W.  Hanemann 

crack,  it  sounded  as  if  he  might  be  a  professional  song 
writer,  in  which  case,  I  am  firmly  convinced  that  "I  beg 
your  pardon"  was  a  darn  good  answer. 

"Movies,"  explained  Mr.  Teall — "if  you  dont  mind  my 
talking  about  my  business." 

The  Flattering  Offer 

"r^n!"  I  said,  and  having  that  kind  of  a  mind.  I  was 
immediately  miles  ahead  of  him.  For  several  beau- 
tiful, fleeting  moments,  I  had  an  idea  that  he  was  going  to 
suggest  my  becoming  a  motion  picture  actor,  and  back  up 
his  suggestion  with  a  contract.  Trust  me  to  pick  out  a 
good  job  for  myself,  and  anyhow,  if  I  flout  pick  out  a 
good  job  myself,  who,  I  ask  you,  is  going  to:  Unfortu- 
nately it  developed  soon  enough  that  Mr.  Teall';,  connec- 
tion with  the  motion 
picture  industry  was 
in  the  scenario 
d  epartment, 


and    it    was 
along  that 
line  that  I 
was  being 


22 


Spring  Day;  and  Then — 


Drawings  by   Eldon   Kelly 


sidered.      li    was    very    flattering,    but    I    still    think    I 

would  prefer  acting,  as  writing  scenarios  sounds  too  much 

like  work.    We  wont,  editors  being  what  they  are,  go  into 

discussion  of  my  talent   for  acting  in  thexinema.     To 

me  who  is  interested  and  means  business,  1  am  more 

than  rrady  to  give  adequate  proof. 

However,  Mr.  Teall  dressed  up  the  more  somber  side 
of  my  abilities  my  absolute  fitness  to  write  slap-stick 
comedies — in  such  glowing  colors  that  1  found  myself 
rlv  accepting  his  invitation  to  drop  into  his  office  there 
and  then,  and  meet  the  boys.  The  boys  were  clamorous 
in  their  assurance  that  I  had  been  sent  from  above  to  put 
the  infant  industry  into  its  first  suit  of  long  trousers  and 
one  of  them  even  dispatched  a  stenographer  for  some 
frankincense  and  myrrh.     After  a  while   1   soil   of  got  to 

believe     it     m  y  self. 
When    five    or    six 
people  are  stead- 
ily   insisting 
that   you   are 

a    genius, 

you  cant 


B 


really  hold  out  against  them  for  very  long.      I  he  upsho 
it  was  that  I  finally  consented  to  dash  off  a  synopsis  foi 

their  star  comedian  and    Mr.   Whoosis,  the  owmr  oi    < 

troversial  Pictures,  and  their  hurra  boss,  could  k°  home 
and  k'ct  the  tirst  good  night's  sleep  he  had  had  in  two 
weeks.  Having  won  their  point,  they  extended  a  cordial 
invitation  to  lunch  (on  the  hurra  boss)  the  very  next  day, 

feeling    sure   that    I    would    have   certainly   created    "SOWH 
tiling"    in    the    fifteen    or    sixteen    hours    to    have    elapsed. 

Well,  of  course,  if  the)  wen-  going  to  start  taking  nrv 
lunch.   .   .   . 

Backslapped  by  the  Boys 
BPORE    I    i^o  any    further,    I    want    to   impress    upon    you 

that  up  to  now  I  had  never  written  a  movie  scenario 

or  a   synopsis  nor   had    1    ever  considered  doing   so.      Nor 
had   I  any  idea  of  how  to  go  about   it.     The  closest    I    had 
ever  come  to  writing  a  scenario  was  having  various  friends 
tell  me  that   I  ought  to  write  one.      Hut   then  they  tell  me 
that  I  ought  to  go  on  the  stage,  and  that   1  ought  to  shave 
off    my    mustache    and    that    1    ought    to     but    you    have 
friends,  yourself.     So  far  I  had  been  able  to  laugh  it  all 
off  and  put  it  down  as  the  price  you  pay 
for   friendship,  and  if  you're  not   stuck 
that  way,  you  are  another,  so  what  dif- 
ference does  it   make  ? 

This  time.  to  be  sure,  it  looked  as  if 
I  bad  committed  myself.  And  look  at 
the  interest  they  were  taking  in  me.  In 
the  face  of  all  tradition  that  selling  a 
scenario  was  in  the  "not  that !  not  that" 
(Continued  on  page  77) 


The  young  man  scorned 
his  sister's  garden-party. 
He  turned  a  cold  English 
shoulder  on  the  group 
while  he  gazed  longingly 
(  a  the  photograph  of  a 
beautiful  girl.  Instantly 
his  mind  snapped  back 
into  place.  He  would  have 
her — come   what    may 


23 


Ernst    Lubitsch    is    one    of    the    foremost 

directorial   artists   of   the    screen.     He   has 

imagination  and  feeling  and  knows  all  the 

cinema  tricks 


Mr.  Josephson  is  a  well-known  young  radical  writer, 
who  has  been  taking  a  profound  interest  in  motion  pic- 
tures. He  has  written  interestingly  and  authoritatively  on 
the  screen's  greatest  achievements.  This  is  the  second  of 
the  series  of  Masters  of  the  Motion  Picture,  in  which  he 
gives  a  critical  discussion  of  the  screen's  advance. 

IN  the  modern  period  of  the  movies,  the  films  of  Messrs. 
Lubitsch,  Chaplin,  Stroheim,  Vidor,  Cruze,  have  de- 
veloped a  complete  character  of  their  own  as  an  art, 
instead  of  being  a  mawkish  rendering  of  cheap  theatrical 
successes  in  photos. 

The  eye  is  struck  first  by* the  immense  improvement  in 
the  quality  of  the  camera  work,  the  cleanness  of  line,  the 
absence  of  waste  detail.  All  of  them  manipulate  their 
groups,  their  sets,  as  well  as  the  light  they  spill  over  the 
scene,  to  get  a  balance,  a  form  that  keeps  your  eye  un- 
swervingly on  the  things  that  count  most. 

Not  only  have  they  learned  to  paint  with  the  camera, 
but  also  to  suggest,  by  the  interplay  of  sequences,  by  the 
terrific  power  of  concentration  in  a  close-up,  by  the 
shrewd  angles  they  catch,  almost  a  new  understanding 
of  life.  The  modern  film, 
in  short,  becomes  an  in- 
strument fit  for  artists  to 
express  the  highest  flights 
of  their  imaginations,  their 
most  delicate  and  subtle 
fancies. 

That  Masterpiece  Again 

T'he  one  film  out  of  this 

rich  period  which  you 
have  doubtless  heard 
critics  refer  to  more  than 
any  other  is  "The  Last 
Laugh."  It  is  a  German 
picture,  directed  by  F.  W. 
Murnau,  with  the  great 
Jannings  in  the  central 
role. 

There  is  virtually  no 
plot  at  all,  no  love  inter- 
est, no  sensationalism  of 
any  kind.  What  is  the 
merit  of  this  picture, 
which  failing,  as  it  did,  to 

24 


MASTERS 
of  the  MOTION 
PICTURE 


become  a  popular  success,  appealed  to  insiders,  critics, 
artists,  column  conductors,  everywhere  as  most  nearly 
approaching  the  ideal  of  perfection? 

"The  Last  Laugh"  gave  us  the  unique  feeling  of  look- 
ing into  the  interior  of  a  man's  life  thru  some  wholly 
unaccountable  peer-hole.  We  not  only  watched  this  man's 
expressions  and  movements,  we  watched  the  states  of  his 
soul.  Jannings,  who  is  possessed  with  some  divine  under- 
standing of  his  business,  seemed  to  know  more  about  how 
to  make  his  zvhole  body  expressive  than  most  of  the  other 
film  folks  put  together. 

The  picture  forms  simply  the  inside  history  of  a  crisis 
in  the  life  of  an  old  hotel  porter  who  is  demoted  because 
of  senility  to  a  still  more  servile  occupation,  that  of  lava- 
tory-attendant !  And  because  of  the  simplicity  of  his 
material,  because  he  didn't  have  to  bother  with  the  details 
of  some  silly  plot,  the  director  was  able  to  bear  down  upon 
the  pure  creation  of  his  character  and  his  awful  fix  thru 
cinema  technique  alone.  It  is  one  thing  to  interest  you 
with  pictures  of  pirate  ships,  knights-at-arms,  society  gals. 
It  is  another  to  make  you  feel  with  the  pride,  the  hope, 
the  passions  of  an  old  derelict  like  this.  Within  the  hour 
you  have  a  sustained  motion  picture  which  thru  its  over- 
tone hands  over  to  you  his  whole  code  of  living.  This 
idiotic  old  creature  is  interpreted  with  as  much  eclat,  sym- 
pathy, intimacy,  and  frankness,  as,  let  us  say,  Chaplin  in- 
terprets Chaplin. 


"The  Last  Laugh"  is  considered 

Emil   Jannings   in    the   role   of 

gave  us  the  unique  feeling  of 


a  triumph  of  camera  art,  and 
the  pitiable  old  doorkeeper 
looking  into  his  very  soul 


Perfect  Technique 

"The  background,  the 
group  of  characters,  the 
labor  which  fills  this  life 
are  all  drawn  with  a 
tremendous  effort  at  reali- 
ty. There  are  no  sub- 
titles at  all  to  interrupt  the 
mood  of  understanding 
into  which  you  are  thrown. 
The  pictures  as  Murnau 
composes  them  put  the 
stuffy  and  artificial-look- 
ing studio  sets  of  his  ex- 
pressionistic  colleagues  to 
shame.  He  uses  every 
trick  of  the  modern  cine- 
ma that  will  help  him  trap 
an  idea,  an  effect,  and 
hurls  it  at  you. 

For  instance,  there  is  a 
daring  full-length  flash  of 
a  revolving  hotel-door, 
which  with  its  glassy  glit- 
ter and  whirl  recurs  in  the 
sequence  of  the  film  like  a 


J 


There  Is  a  Handful  of  Directors 
Who  Have  Developed  a  Complete 
Character  of  Their  Own  as  an  Art. 
The  Discerning  Eye  Has  Caught 
the  Quality  of  Their  Work.  They 
Have  Created  for  Us  the  Illusion 
of  Absolute  Understanding  and 
Sympathy  with  the  Moods  Ex- 
pressed   Thru    Their    Celluloid 

Figures 

By  Matthew  Josephson 


Eric  von  Stroheim  is  a  master  of  lights  and 
shadows — as   well   as   atmosphere.      He   de- 
lights   in    painting    realities — to    focus    his 
camera  on  life  as  it  stalks  by 


retrain,  a  dominant  motive  in  music,  setting  off  the  whole 
idea  of  this  proud  and  cruel  hotel.  Or,  there  is  a  wedding 
feast  in  which  the  camera,  itself,  seems  to  go  drunk  with 
wine  and  contentment  and,  wandering  about  the  meager 
North  Berlin  interiors,  drops  into  a  brass  instrument  and 
brazens  out  to  you  the  very  music  of  the  occasion  in  a  few 
inspiring  mechanical  close-ups. 

All  the  "stunts"  and  tricks  of  the  director  followed  his 
material  with  absolute  faithfulness.  They  did  not  stick 
out  like  useless  fandangles,  as  in  "Caligari."  All  the 
■hades  of  joy.  grief,  desperation,  came  to  you  thru  the  in- 
sidious overtones  that  caught  you  in  their  spell. 

After  all.  the  secret  of  any  great  art  is  to  create  in  us  the 
illusion  of  absolute  understanding  and  sympathy  with  the 
experiences  the  artist  expresses;  thus,  to  make  us  forget 
ourselves,  and  think  only  that  we  are  living  thru  these 
experience^  and  that  they  are  just  as  momentous  or  tragic 
as  they  seem  to  be  to  the  artist. 

Otherwise,  the  moving  picture  camera  arena  seems  to  be 
divided  for  the  moment  into  two  camps.  One  is  trying 
to  bring  the  beauties  of  painting,  the  thought  fulness  of 
good  literature  and  drama  and  music  into  the  cinema.  The 
other  camp,  develops  out 
of  the  movies  themselves, 
and  especially  the  slap- 
stick movies.  They  want 
to  get  over  the  effect  of 
motion,  its  humor,  its  ver- 
tigo, its  hypnotic  thrill  and 
drive.  We  shall  come 
back  to  these  later. 

In  the  Lubitsch  Manner 

The  films  of  Ernst  Lu- 
bitsch place  him  practi- 
cally as  a  leader  of  the 
first  group.  Again,  they 
do  not  always  pay,  but 
they  make  him  the  envy 
of  fellow  directors.  Their 
recent  successful  revival 
in  Xew  York  before  a 
serious  film  following  by 
the  International  Film 
Guild  shows  how  much 
good  there  is  in  l.u- 
bitsch's  Collected   Works. 


Deeply    moving    experiences    were    recorded    in    "Greed" — a 

work    unusually    grim    and    realistic.      Stroheim    touched    the 

very  dregs  of  life  with  this  ponderous  and  tragic  picture 


Anyone  with  half  an  eye  can  see  that  he  excels  in  imagi- 
nation, delicacy,  wit.  taste.  He  has  the  spirit  of  the  artist, 
and  he  brings  this  to  his  work  in  the  movies.  He  has  been" 
a  profound  student  of  this  new  art,  and  like  certain  other 
of  our  late  enemies,  he  has,  we  gallantly  admit,  all  the 
cinema  tricks  at  his  finger  tips. 

From  his  early  successes  in  Germany  with  historical 
films  such  as  "Passion,"  which  gave  us  a  plausible  and  be- 
witching Duborry  in  Pola  Negri,  Herr  Lubitsch  was 
driven  to  light  social  comedy  by  the  severe  strictures  of 
the  box-office. 

So  far  as  I  know,  we  had  never  seen  historical  char- 
acters so  appropriately  and  delightfully  gotten  up,  nor 
scenes  of  regal  splendor  and  licentiousness  a  la  Louis 
Quince  so  accurately  and  tastefully  pictured.  The  action 
moves  deliberately  thru  the  sequences,  which  show  us  all 
the  agreeable  wickedness  of  Louis's  court  at  Versailles, 
then  rushes  to  the  miserable  death  of  Mmc.  Dubarry's 
great  patron  and  the  gathering  storm  of  the  French  Revo- 
lution. This  last  affair  turns  out  to  be  a  melodramatic 
hurly-burly,  and  for  convenience's  sake  is  pushed  back — 
some  twenty  years  in  history. 

Amid  this  historical 
business  Lubitsch  found 
the  most  adaptable  ma- 
terial for  his  imagination. 
He  worked  for  grandiose 
pictorial  composition,  and 
for  human  types  that  fitted 
as  plausibly  into  his  set- 
ting as  the  period  furni- 
ture. Against  this,  he 
wou'd  throw  sudden,  hide- 
ous contrasts  of  misery 
and  poverty. 

In  short,  we  have  some- 
thing here  that  we  can 
honestly  feast  our  eyes 
upon.  Glittering  chande- 
liers, mirrors,  decorated 
wall-spaces,  savagely- 
drawn  faces  i  that  s^m 
to  come  out  of  the  paint- 
ings of  Daubignyl.  whose 
interesting  wrinkles  and 
crow's-feet  give  us  much 
[Continued    on    page   <><• 


25 


No  one  seems  to  know  what  became  of  the  chap 
who  played  the  soldier  in  the  hospital  scene  for 
"The  Birth  of  a  Nation."  His  moon-calf  expression 
of  a  love-stricken  youth  won  him  many  praises 
during  his  brief  moment  with  Lillian  Gish 


YOU'VE  often  said  it  and  so  have  I.  Your  eye  and 
attention  have  been  captured  by  a  particularly  effec- 
tive "bit"  on  the  part  of  some  unknown — an  extra. 
The  picture  you  have  seen  often  lingers  in  your  memory, 
not  by  reason  of  the  story  or  the  artistry  of  the  star,  but 
because  some  five-dollar-a-day  extra  has  dominated  the 
scene  in  which  he  or  she  appeared.  In  glancing  at  a  still 
from  the  never-to-be-forgotten  "Birth  of  a  Nation,"  I 
couldn't  help  but  wonder  what  became  of  the  boy  who 
played  that  bit  with  Lillian 
Gish. 

I  remembered  the -player 
and  the  scene.  Which 
naturally  led  me  to  the 
speculation  of  "how  many 
extras  make  good."  How 
many  of  those  who  furnish 
the  "atmosphere"  in  pic- 
tures, and,  thru  the  inspira- 
tion of  the  director,  are 
sometimes  singled  out  to 
put  over  an  especially  effec- 
tive piece  of  acting  in  a  few 
feet  of  film,  pull  themselves 
up  from  the  mob  on  the 
strength  of  this  brief  flash 
of  ability.  The  answer  is  a 
hard  one  to  arrive  at.  Con- 
cerning the  player  in  I). 
YV.  Griffith's  masterpiece, 
he    apparently    sank    back 


Did  you  know  that  Barbara  La  Marr  started 
her  career  as  an  extra? 

Can  you  remember  when  Constance  Tal- 
madge  decorated  the  ranks  of  the  extras? 

When  you  watched  Roy  D'Arcy  in  "The 
Merry  Widow,"  did  you  know  that  he  once 
appeared  in  the  chorus  of  a  musical  comedy? 

Would  you  ever  think  that  Florence  Vidor 
played  atmosphere  in  "A  Tale  of  Two  Cities?" 

Do  you  happen  to  know  that  D.  W.  Griffith 
discovered  more  talent  among  the  extras  than 
any  other  director? 

Have  you  considered  that  Adolphe  Menjou 
reached  his  present  popularity  by  rising  from 
the  background  of  extras? 


I  Wonder 

What 

BECAME 

of  HIM 


into    the    ranks   of    obscurity    after   his    few    brilliant 
moments  with  Miss  Gish. 

The  curse  of  "type"  has  denied  many  a  player  of 
ability  his  chance  to  leave  the  extra  fold.  He  may 
stand  out  for  a  few  scenes  as  a  gangster,  a  detective,  a 
dope  fiend,  a  half  breed,  an  Apache  or  what  not. 
Simply  because  he  looks  the  part,  his  real  worth  as  an 
actor  is  overlooked.  He  is  a  type  who  is  expected  to 
play  nothing  else  but  the  fill-in  character  with  which  the 
director  associated  him  in  his  mind.  This,  then  is  one 
reason  why  the  extra  who  has  impressed  you  with  his 
work  remains  an  extra. 

Some  Make  the  Grade 

A  gainst  the  case  of  Griffith's  soldier  and  those  who  are 
retarded  in  their  upward  climb  due  to  their  faithful- 
ness to  "type"  we  have  many  startling  examples  of 
present-day  stars  who  made  their  way  rapidly  from  the 
background  atmosphere  to  foreground  close-ups  due  to 
the  scintillating  flash  of  merit  displayed  by  them  when 
drawn  out  of  the  background  by  the  "bit"  intrusted  to 
them  by  the  director. 

Barbara  La  Marr,  in  many  respects  one  of  the  most 
distinctive  artists  of  the  present  generation  of  screen  stars, 
started  her  career  as  an  extra.  She  was  given  her  chance 
by  Louis  B.  Mayer  in  a  picture  call  "Harriet  and  the 
Piper,"  which  starred  Anita  Stewart.     At  the  time  the 

girl  who  later  developed 
into  the  films'  most  noted 
siren  was  a  gangly,  thin 
youngster  whose  wistful- 
ness  and  amazingly  beauti- 
ful eyes  attracted  the 
attention  of  the  present 
production  head  of  Metro- 
Goldwyn-Mayer.  A  bit  of 
business  was  built  up  for 
the  late  actress.  She  per- 
formed it  so  creditably  that 
a  small  part  was  soon  forth- 
coming and  fandom  the 
world  over  knows  the  rest. 
Another  stellar  light  of 
the  screen  who  focused  at- 
tention upon  herself  while 
providing  atmosphere  in  a 
\  itagraph  comedy  was 
Constance  Talmadge.  Her 
personality    stood    out, 


26 


There  Are  Many  Extras 
Who  Have  Made  Good,  But 
Most  of  Them  Continue  to 
Furnish  Atmosphere.  Some 
Stay  in  the  Five-Dollar-a- 
Day  World  Because  They 
Are  Types,  Yet  There  Is  a 
Large  Number  Who  Have 
Climbed  the  Heights  to  Star- 
dom Thru  Exercising  Their 
Talent  and  Personality 

By  Bert  Ennis 


The  plaintive-looking  extra  with  the  long  braids  in  the 
second  row  is  none  other  than  Constance  Talmadge.  She 
played  one  of  the  sweet-girl  graduates  in  "The  Chicken 
Inspector,"  an  old  two-reel  Vitagraph  comedy,  starring 
Wally  Van 


hemmed  in  as  it  was  by  the  "sweet-girl  graduates"  who, 
wiih  Norma's  talented  sister  formed  the  necessary  back 
ground  for  the  antics  of  the  diminutive  Wally  Van,  and 
again  we  find  an  extra  who  quickly  eliminated  herself 

from  the  class  covered  by  the  query  "I  wonder  what 
became  of  her." 

You  Never  Can  Tell 

COMETIMES,  tho.  the  extra  player  whom  we  size  up  as 
^  of  promising  caliber  answers  our  question  in  a  start- 
ling manner.  For  example  there  is  Roy  D'Arcy,  the 
youthful  player  who  scored  so  decisively  in  Strohcim's 
"Mem  Widow."  After  hatting  indifferently  in  the  five- 
dollar-per-day  league  for  some  time  he  found  himself 
refused  even  as  an  extra  player  by  the  Metro-*  loldwyn 
forces.  He  turned  to  the  stage  for  a  livelihood,  securing 
a  job  with  "The  Clinging  Vine/'  a  legitimate  attraction 
holding  forth  in  Los  Angeles.  Von  Stroheim  viewed  the 
show  and  with  unerring  judgment  selected  the  unknown 


actor  for  a  prominent  rule  in  "The  Merry  Widow'*  and 
D'Arcy  found  himself  playing  a  leading  part  in  a  studio 
which  had  refused  him  extra  work. 

We  also  might  he  wondering  about  the  little  girl  rapidly 
rising  to  tame  under  the  name  of  Sally  (  )'.\cil  were  it  not 
for  the  fact  that  Mary  Pickford,  exercising  the  preroga- 
tive of  a  star  land  a  woman)  decided  to  change  her  mind. 
Her  change  of  mind  concerned  the  role  she  was  to  play 
in  Micky  Neilan's  "Mike."  Sally,  whose  background 
personality  probably  intrigued  us  more  than  once,  was 
selected  by  Neilan  to  bat  for  the  famous  Mary.  And  she 
knocked  a  home  run.  No  speculation  concerning  what 
fate  holds  in  store  for  the  extra  would  he  complete  without 
mention  of  Florence  Vidor.  The  present  much-admired 
and  extremely  capable  Florence,  who  is,  at  last,  to  enter 
upon  a  starring  contract,  caught  the  fancy  of  movie 
patrons  as  an  extra  in  the  picturization  of  "A  Tale  of 
Two  Cities."  And  she  lias  held  it  ever  since. 
(Continued  on  page  84  ) 


The  dapper-looking  gentleman  at  the  extreme  right  is  the  popular  Adolphe  Menjou.     He  had  gifted  eyebrows 
even    in    those    days — a    talent    recognized    by    Wally    Van,  who  gave  him  a  small  part  in  a   Vitagraph  serial, 

"The  Scarlet  Runner" 


27 


Mack  Sennett  deplores  the  lack  of  Art  in  his 

comedies  and  so  features  Nazimova  in  a  series 

of  comedies 


W 


m 


A 


/     <J 


Lillian  Gish  asked  for  and  got  the  role 

of    the    native    dancer    in    a    South    Sea 

Island  picture  with  W.  C.  Fields  as  the 

shipwrecked  yachtsman 


.  -   \ 


(Zia&v^  C^  ^*-v-w 


/    <  •* 


28 


W] 


THINGS 

That  Will 
NEVER 

HAPPEN 


By 

K.  R.  Chamberlain 


Theodore  Dreiser  find*  that  the 
screen  version  of  his  "American 
Tragedy"  actually  follows  the 
story  as  he  wrote  it — and  the 
■hock  is  almost  fatal 


Having   banished   all   moral   turpitude   from 

■the  films,  Will   Hays,  gleefully,   resigns  his 

$100,000-a-year   job,   and   censorship   boards 

disband,  rejoicing 


\L  J- 


29 


Pach  Bros 


Hugo  Ballin  has  be- 
come discouraged  in  his 
effort  to  make  beautiful 
pictures.  Always  artis- 
tic and  idealistic,  he  has 
discovered  that  such 
qualities  are  not  appre- 
ciated by  the  powers 
who  control  the  him 
world.  He  was  a  recog- 
nized artist  before  he 
became  associated  with 
picture  work.  As  color 
is  his  hobby,  he  intends 
to  make  one  color  film 
before  he  gives  up  the 
screen.  If  he  accom- 
plishes his  ambition,  the 
fickle  producers  will 
doubtless  hail  him  as  a 
genius — and  wonder 
where  he  has  hidden  his 
talent    all    these    years 


T 


HAT'S  Hugo  Ballin! 

You     remember    Hugo 
Ballin,    dont    you?      The 


The 

Disillusioned 
DIRECTOR 


By  Madeline  Matzen 


everybody   is   writing   novels. 

Being  curious — I  went  and 
called  on  him. 

He  lives  in  a  charming  and 
sedate  house  on  a  quiet,  shady 
street  in  Hollywood.  There 
is  a  garden,  beside  the  house, 
full  of  pink  roses,  blue  del- 
pheniums,  joyous  lilies  and 
other  sweet-smelling  things. 
Mabel  Ballin  was  watering 
the  garden.  She  wore  a  gay 
print  dress  and  a  big  scoop 
hat. 

The  hose  sent  a  shower  of 
clear  drops  across  the  flowers 
and  the  sun  made  a  little  rain- 
bow where  the  water  fell, 
there  was  a  little  twinkle  in 
Mrs.  Ballin's  eyes  and  1  was 
glad  that  I  had  come. 


Turns  to 

thei 


Other  Arts 
house    is    cool 


director  who  first  introduced 
natural  lighting  on  the  screen. 
The  man  who  gave  us  real 
settings  in  the  place  of  the  flimsy,  unconvincing  affairs 
that  we  had  been  used  to.  Who  gave  us  the  first  picture 
that  was  ever  made  without  a  subtitle.  Who  made 
"Becky  Sharp"  and  "Jane  Eyre"  and  other  beautiful  and 
simple  pictures  for  us — and  who  introduced  us  to  Mabel 
Ballin,  she  of  the  demure  costumes  and  the  pixie  eyes. 

Yes,  of  course,  you  remember  his  pictures !  And  per- 
haps you  have  been  wondering  what  has  become  of  him  ? 

I  was  curious,  too.  I  had  heard  rumors  about  him — 
that  he  was  painting  murals,  gorgeous  ones — that  he  was 
writing  novels,  pretty   fair  novels,  too,   for  a  day  when 


30 


The  Ballins  are  a  happy,  contented  couple  who  see 
color  in  everything  whether  it  is  painted  by  Mother 
Nature  or  by  themselves.  At  the  top  is  the  dis- 
illusioned director  and  above  is  his  own  favorite 
painting  of  his  wife,  Mabel  Ballin 


Inside,    their    house    is 

and  uncluttered.  It  is  the- 
most  restful  place  I  have  en- 
countered so  far.  But  per- 
haps I  have  grown  too  used 
to  cinema  celebrities  who 
adorn  their  dwelling-places 
with  plush  and  lace  pillows, 
incense  pots  of  near-bronze, 
many  kewpie-dolls  and  other 
startling  "novelties."  At  any 
rate,  the  Ballin  home  is  a  re- 
freshing oasis  in  the  jazz- 
land  of  filmdom. 

A  sea-breeze  blew  the  mus- 
lin curtains  back  and  forth, 
there  were  cigarets  in  a  huge 
silver  box  and  on  the  wall 
facing  me  was  a  great  mural 
painting      of      golden      vistas 

which  Mr.  Ballin  had  just  completed. 

It  was  hard  to  tell  which  thing  enthused  him  the  most 

— the  new  mural  or  the  new  book  which  he  was  busily 

proofreading. 

The  new   book  is   a   sort   of   revelation   and   prophecy 

concerning  life  in  the  motion  picture  colony.     A  curious 

compound  of  colorful  truth  and  theories  I  guessed  as  he 

read  some  passages  from  it  aloud  to  me. 

Four  novels  and  two  delightful  murals  are  the  fruits 

of  Mr.  Ballin's  vacation  from  film  work. 


(Continued  on  page  74) 


_. 


Spurr 


ROD   LA   ROCQUE 

If  there  are  any  screen  personalities  unattached,  it  doesn't  take  D.  W.  Griffith  and  Cecil  B.  De  Mille  long  to 

make  them  sign  on  the  dotted  line.     Take  Rod  La  Rocque,  for  example.   Some  time  ago  De  Mille  discovered 

possibilities  in  him — and  promptly  placed  him  on  his  band-wagon.     Rod  has  fulfilled  all  of  C.  B's  expectations 

and  has  established  himself  as  one  of  the  leading  luminaries  in  the  film  firmament 


31 


The  HAUNTED  HOME 


By  Robert  Donaldson 


The  Old  Lasky 
Studio  in  Holly- 
wood Has  Be- 
comebut  aMem- 
ory.  A  New  Day 
—With  Its  New 
Demands — Has 
Dawned.  Which 
Means  a  Bigger 
and  Better  Stu- 
dio  Is  Being 
Erected  to  Film 
the  Paramount 
Stories 


"/  feel  like  one  zvho  walks  alone 
Some  banquet  hall  deserted, 
Whose  lights  are  fled, 
Whose  garlands  dead. 
And  all  but  he  departed." 

■ — Thomas  Moore. 

THE  pepper-trees  are  the  same  on  Vine  Street  in 
Hollywood,  and  even,  for  the  time  being,  the  grey 
exterior  of  the  wooden  two-story  office-building  that 
stretches  the  length  of  the  block  is  untouched  and  as 
placid  as  ever.  To  the  outward  eye,  the  Famous  Players- 
Lasky  studio,  for  years  a  Hollywood  landmark,  is  un- 
changed. 

Yet  its  heart  is  gone,  and  today  it  is  haunted  by  ghosts, 
musing  ghosts  in  film  finery,  who  hover  about  watching 
the  busy  crews  of  wreckers  as  they  destroy. 

For  the  old  studio  is  no  more.  The  glass  from  the 
enormous  roofs  over  the  stages  is  crashing  and  falling. 
A  structural  steel  crane  is  lifting  the  great  beams  from 

32 


It  is  moving  day  on  the  Lasky  lot.  While  the  workmen 
tear  up  the  floors  that  have  felt  the  tread  of  the  movie 
great,  these  ghosts  of  Yesterday  bow  in  defeat  before  the 
remorselessness  of  Age.  Time  takes  its  toll — but  the  show 
must  go  on 


their  places  and  laying  them  side  by  side  near  the  street. 
The  floors  of  the  stages,  floors  that  have  felt  the  tread  of 
the  panorama  of  movie  great,  and  have  borne  the  weight 
of  the  most  lavish  sets  ever  erected  by  Cecil  B.  De  Mille 
and  Allan  Dwan  and  James  Cruze.  are  being  torn  up. 
From  one  side  of  the  city  block  to  the  other,  the  view  is 
unimpaired,  where  only  yesterday  one  could  not  see  be- 
cause of  the  forest  of  "sets." 

It  Is  Moving  Day 

The  long  row  of  dressing-rooms,  which  housed  extras 
who  became  stars,  and  in  some  cases  housed  stars  who 

became  extras,  has  gone. 

Pola  Negri's  bungalow — it  used  to  be  Mary  Pickford's 

in  the  days  when  Douglas  Fairbanks  met  and  fell  in  love 


- 


of  movie  GHOSTS 


Drawing  by  Eldon  Kelley 


It  is  a  last-thinning  line  which  has  stormed  this  fort  once 
illumined  with  the  flare  of  Kleigs.  Once  upon  a  time  these 
shadows  of  the  past  walked  triumphantly  thru  the  sets. 
Now  they  hover  unseen  in  the  background,  and  the  world 
looks   upon   them   as  memories 


with  her — still  stands,  and  so  does  Gloria  Swanson's,  at 
the  opposite  end  of  the  lot.  But  soon,  they  too,  will  fall 
prey  to  the  wreckers. 

The  paneling  of  Jesse  L.  Lasky's  private  office,  where 
contract  that  have  meant  millions  to  stars  have  been 
signed,  has  been  removed  and  transported  to  the  new 
studio.  Cecil  B.  De  Mille's  churchlike  private  office  was 
converted  some  time  ago  into  a  projection-room.  If  these 
offices  could  only  talk! — what  tales  they  would  tell  of 
fame  and  fortune,  of  tears  and  heartaches,  of  gambler's 
chances  that  won.  and  great  ideas  that  failed  ! 

Famous  Players-Lasky  is  moving  its  studio.  A  new- 
day,  a  new  need.  Their  two  city  blocks  in  the  heart  of 
Hollywood  is  now  too  small  to  handle  the  immense  pro- 
ductions  the  company   is  making,   and   the   old    facilities 


Shadows  of  the 
PastCreep  Forth 
From  the  Old 
Plant's  Crash- 
ing Roof  and 
Walls.  The 
Specters  of  Yes- 
terday Bow  and 
Pay  Homage  to 
Its    Memories 


have  become  inadequate.  So  the  United  Studios  lot.  off 
Melrose  Avenue,  was  purchased.  The  old  Lasky  lot  had 
ten  acres,  the  new  has  sixteen.  The  new  lot  will  have 
eleven  enormous  stages.  The  old  had  but  six.  two  ot 
them  quite  small.  While  the  crash  and  destruction  of  the 
wreckers  is  heard  on  Vine  Street,  the  pleasant  ringin, 
hammers  is  heard  on  Melrose,  where  a  horde  of  carpen- 
ters, masons  and  plasterers  is  preparing  the  new   home. 

The  Parade  of  the  Specters 

f*HOSTS  .  .  .  ghosts  .  .  .  they  p;is>  in  Midnight  Re- 
^*  view,  like  the  return  before  the  eves  of  the  exiled 
Napoleon  at  Elba,  of  his  famous  marshals,  parading'' in 
array  victorious  before  him — for  the  glory  ot  Napoleon, 
and  of  France. 

Ghosts    .     .     .    gliONts    of    film    fame,    return    to    this 

battle-field    once    illumined    with    the    flare    of    sun-arcs 

and   Kleigs,  once  raging   with  the   fierce   competition   of 

celluloid  rivalries.     Ghosts  that  muse  on  the  fickleness  of 

{Continued  on  page  68) 

33 


The  w.  k.  comic 
strip,  "Ella  Cind- 
ers," has  reached 
the  screen  with 
Colleen  Moore  in 
the  title-role  and 
Lloyd  Hughes  as 
Waite  Lifter,  the 
boy  friend.  You 
will  see  Ella 
breaking  into  the 
movies  by  the  in- 
teresting expedi- 
ent of  "crashing 
the  gate" 

34 


"Bring  Yer  Ice 
AROUN'  to  the 
BACK  DOOR" 


Ella  hasn't  gotten  along 
very  well  with  her  rela- 
tives. Armed  with  her 
trusty  mop  and  broom, 
Mr.  Lifter  and  the  count- 
less newspaper  friends 
expect  her  to  make  a 
clean,  sweeping  hit 


Freulich 


Rirhtcr 


PAULINE    FREDERICK 


She's  the  most  misunderstood  woman  on  the  screen — is  Pauline  Frederick.     One  story  after  another  has  been 

given  her  to  interpret,  but  the  characterizations  have   not  measured  up  to  her  stature  as  an  actress.     Thoroly 

gifted  in  her  art,  she  is  able  to  bring  forth  all  of  her  rich   emotional  gifts.     If  you  saw   "Smouldering   Fires." 

you   saw   Miss   Frederick   act   with   fine   shading   and   conviction 


35 


WHAT'S  GONE  ON 
BEFORE : 

Cella  Lloyd,  winner  of  a 
bathing-girl  contest,  has  taken 
Hollywood  by  storm.  Being 
an  observing  young  minx,  she 
thinks  the  time  is  ripe  to  imi- 
tate her  jealous  rivals  and  get 
in  touch  with  her  public.  So 
she  makes  a  Personal  Appear- 
ance—Cella  herself,  in  the 
flesh,  not  a  Motion  Picture. 
Now  read  on! 


j*^~.  «uu  j, 


Scene  I 
Nick  E.  Lodion,  the  impresario  of 
the  Amusement  Palace,  introduces 
Cella  to  the  audience.  With  a  con- 
fidence born  of  rubbing  elbows 
with  the  passing  throng  in  hotel 
lobbies  and  railroad  stations,  and 
assuming  a  haughty  demeanor  for 
the  occasion,  Cella  goes  thru  the 
pantomime  of  shaking  hands  with 
her  public 


Scene  II 
As  a  star's  popularity  is  measured 
by  the  flowery  tokens  she  receives, 
and  to  make  certain  of  impressing 
her  thousands  of  friends,  Cella 
sends  some  floral  offerings  to  her- 
self. Posies  come  high,  but  Cella 
scorns  the  expense.  As  she  gazes 
rapturously  at  the  display,  she  be- 
lieves she  has  made  Mile.  Hebe 
Jebie,  her  bitter  rival,  intensely 
jealous 


36 


CELLA    LLOYD 
Makes  a  Personal 

APPEARANCE 


' 


By 

John  Held,  Jr. 


Scene  III 
However,  Cella's  personal  appear- 
ance was  not  what  she  exactly  an- 
ticipated. Expecting  it  to  be  her 
Night  of  Nights,  she  is  surprised 
and  rendered  speechless  upon  dis- 
covering herself  sharing  honors 
with   Rin-Tin-Tin 


Scene  IV 
However,  Cella  has  her  wits  with  her  as  well 
as  her  figure.  Sizing  up  the  situation  as  one 
that  calls  for  immediate  action,  she  dons 
the  sure-fire  one-piece  bathing  suit  to  keep 
faith  with  her  public.  She  will  stand  or 
fall  on  her  justly  famous  legs,  if  it  takes 
all  summer.  As  for  the  dog,  he  can  run 
around  on  his  leash 


37 


Spurr 


I  ENVY   Bill  Hart!     There's   nothing  in  this   world 
I'd  like  better  to  do  than  to  trade  places  with  Bill  for 
a  picture  or  two,  wear  a  Stetson  instead  of  a  silk 
topper,  wave  a  six-gun  in  place  of  a  Malacca  cane,  and  in 

general  be  a  he-man  of  the 
well-known  open  spaces  in- 
stead of  a  parlor  ornament." 


The  c7WAN 
Who  ENVIES 
BILL  HART 


Huntly  Gordon  made  the  announcement  with  the  utter 
unexpectedness  of  the  traditional  bolt  from  the  blue. 

We  were  parked  at  a  corner  table  in  the  dining-room  of 
the  Hollywood  Athletic  Club,  trying  to  order  luncheon 
dishes  cool  enough  to  offset  the  ninety-in-the-shade  tem- 
perature that  was  frying  the  asphalt  surface  of  Sunset 
Boulevard  just  outside  the  window.  Up  until  the  time 
that  Huntly  dropped  the  Bill  Hart  confession  into  our 
midst  like  a  verbal  bombshell,  our  conversation  had  been 
a  reasonably  sane  one. 

Gordon  smiled  quizzically  at  the  look  of  blank  surprise 
that  I  couldn't  quite  conceal. 


The  Secret  Longing 


Spurr 


mean  it,"  he  insisted.     "Ever  since  I've  been  in 
pictures  I've  longed  to  be  allowed  to  do  real  out- 
door   stuff,    with    flaming    six-shooters,    hard-riding 
cowboys,  and  all  the  violent  and  picturesque  action 
that  such  pictures  demand.     That  is  why  I  say  that 
I  envy  Bill  Hart,  Tom  Mix,  Fred  Thomson,  and  all 
the  rest  of  the  boys  who  are  doing  real  Westerns. 
They  are  doing  just  what  I  have  always  wanted  to  do — and 
what  I  am  going  to  do  some  day  if  I  am  ever  given  a  chance." 
Coming  from  any  one  of  a  half  dozen  other  prominent  masculine 
players  of  the  screen,  this  Bill  Hart  ambition  might  not  have  seemed 
so  startling.     But  from  Huntly  Gordon  ! 

To  the  great  majority  of  screen  fans  who  are  familiar  with  Gor- 
don's  personality   only   as   it   is    shown   in   his    work   before   the 
camera,  the  announcement  will  probably  create  as  much  amaze- 
ment as  tho  the  Sphinx  were  suddenly  to  state  to  the  world  a 
secret  ambition  to  shake  the  dust  of  the  centuries   from  her 
recumbent  form  and  do  an  abandoned  Charleston  over  the 
desert's  burning  sands. 


Because  Huntly  Gordon's 
screen  roles  have  always  been 
so  exactly  the  utter  opposite  of 
outdoor  stuff.  He  has  always 
appeared  as  the  very  epitome 
of  well-groomed  dignity,  im- 
peccably    attired     in    the    gar- 


Gordon's  roles  have  always  been  the 
opposite  of  outdoor  stuff.     He  has  al- 
ways appeared  as  the  very  epitome  of 
well-groomed  dignity,  impeccably  at- 
tired in  the  garments  of  society.     He 
thinks  it's  time  to  make  a  change. 
On  the  left  he  reckons  as  how 
he  feels  like  a  human  being 
when    he    puts    on    his 
hunting  clothes  and 
accompanies    Anna 
Q.    Nilsson    in    the 
pursuit    of    par- 
tridges 


38 


There  Is  a  Perversity  of  Human 
Nature  Which  Causes  Everyone 
to  Long  to  Be  Something  Else 
Than  What  He  Is  Represented. 
No  Matter  How  Successful  a  Man 
May  Be,  He  Suffers  from  Sup- 
pressed Desires.  Huntly  Gordon 
Has  Always  Cherished  a  Secret 
Longing — a  Romantic  Urge  to 
Rough  It  in  the  Open  Like  the 
Cowboys 

By  Hal  K.  Wells 


mints  of  society,  with  a  capital  "S."  superbly 
poised,  calmly  aloof,  and  as  solidly  substantia] 
as  the  Rock  of  Gibraltar. 

When  the  average   man  climbs   reluctantly 
into    a    full-dress    suit,    the    finished    product 
usually  looks  about  as  much  at  ease  as  a  Polar 
hear  in  a  cauldron  of  hot  soup.     Huntly  Gor- 
don,  however,   has   the    rare    faculty   of   being 
ahle  to  don  the  most    formal  of  togs 
and    then     look     as     faultlessly 
comfortable    as    tho    he    had 
Been  literally   poured  into 
them. 

This   natural   ability 
to    wear    formal 
clothes  superbly  well, 
together     with     per- 
fect   poise    and    an 
innate     dignity     of 
manner,      has      re- 
sulted   in    Gordon's 
being  invariably  cast 
in  roles  such  as  suc- 
cessful brokers,  promi- 
nent   professional    men. 
or     staid     judges     of     the 
higher  courts.     The  drawing- 
room  has  been  his  usual  screen 
setting,  and  members  of  the  Four  Hundred 
his  inevitable  associates. 

Consequently,  when  the  immaculate  Huntly  announces 
I  secret  ambition  to  be  a  wild,  rip-snortin',  he-terror  of 
the  open  range,  at  first  thought  it  seems  almost  as  in- 
congruous as  the  Statue  of  Liberty  doing  three  rapid  back 
flips  on  her  lofty  pedestal  and  then  yodeling  "Here  Conies 
Charlie"  in  a  clear  soprano  for  the  edification  of  an  in- 
coming boat-load  of  immigrants. 

On  second  thought,  however,  there  isn't  really  anything 
so  very  incongruous  in  Huntly  Gordon's  desire  to  play 
outdoor  roles  on  the  screen.  For.  oflf  the  screen,  Huntly 
is  one  of  the  most  outstanding  outdoor  men  in  Holly- 
wood. He  is  an  ardent  golfer,  an  expert  tennis  and 
squash  player,  an  enthusiastic  fisherman,  and  an  invet- 
erate hunter. 

In  real  life,  the  breath  of  the  outdoors  is  the  breath 
of  life  to  Gordon.  He  would  rather  be  tramping  joy- 
ously over  some  mountain  trail,  a  hundred  miles  from 
Nowhere,  than  loll  luxuriously  in  any  drawing-room 
ever  built. 


The  breath  of  the  outdoors  is  the  breath  of  life  to 
Gordon.  He  would  rather  be  tramping  joyously  over 
some  mountain  trail,  a  hundred  miles  from  Nowhere, 
than   loll   luxuriously   in    any   drawing-room   ever    built 


Wants  to  Wear  a  Bandanna 

'"That's  the  reason  I  envy  Bill  Hart  and  the  rest  of  the 
Western  players,"  Gordon  explained  to  me.  "They 
play  day'after  day,  picture  after  picture,  in  the  outdoor 
type  of  stories  that  appeal  to  every  natural  inclinati  >n  I 
have.  Xot  that  I  want  to  desert  the  society  roles  entirely. 
But  I  do  want  to  get  just  one  fling  at  a  real  he-role  once, 
with  all  outdoors  for  my  arena  of  action. 

"I  want  t;>  wear  a  bandanna  handkerchief  around  my 
neck  instead  of  a  bat-wing  collar;  riding  boots  instead  of 
patent-leather  pumps;  and  get  in  action  in  an  atmosphere 
that  is  blue  with  powder  smoke  instead  of  the  vapor  from 
perfumed  cigarets.  In  other  words,  1  want  to  trade  the 
aristocratic  tea-cart  for  the  pioneer  covered  wagon,  the 
parlor  for  the  prairie,  and  polite  acting  for  real  action. 

"Then,  too,  I've  got  the  natural  yearning  for  applause 
that  any  normal  person  has.  whether  he  be  actor,  doctor, 
or  plumber.  Did  you  ever  go  to  a  matinee  showing  of  a 
Western  picture  and  hear  the  kids — and  some  of  their 
elders,  for  that  matter — go  half  crazy  when  the  hard- 
riding  hero  rescued  the  heroine  amid  a  rain  of  lead  that 
would  have  made  the  Battle  of  Manila  look  like  an  April 
shower?  Well,  I'm  human  enough  that  I  would  like  to 
hear  those  kids  applaud  me  that  way  just  once. 

"In  society  pictures  the  hero  usually  gets  about  as  much 
(Continued  on  page  SI  | 


39 


it  is  To  LAUGH 


By 

Fred  Gilbert  Blakeslee 


IN  ancient  days  in  China, 
when  an  artist  had  pro- 
duced something  which  he 
deemed  of  exceptional  merit, 
he  took  it  to  a  Board  of  Ex- 
aminers appointed  by  the  emperor  to  pass  judgment  upon 
works  of  art.  If  they  thought  favorably  of  his  creation, 
it  was  placed  upon  public  exhibition  for  three  days.  If, 
at  the  end  of  that  time,  no  fault  could  be  found  with  it. 
it  was  purchased  by  the  board  and  sent  to  the  Imperial 
palace. 

Now,  once  upon  a  time,  there  was  an  artist  of  that 
land,  who  carved  in  ivory  a  bird  sitting  upon  a  stalk  of 
grain  and  sent  it  to  the  board  for  examination.  Being 
favorably  considered  by  them,  it  was  placed  upon  public 
exhibition  and  was  highly  approved  by  those  who  saw  it. 
On  the  third  day,  a  farmer  strayed  into  the  hall  where 
the  exhibition  was  being  held  and  was  heard  to  comment 
unfavorably  upon  the  carving.  Upon  being  questioned 
by  a  member  of  the  board  as  to  his  reason  for  his  dis- 
approval, he  replied,  "The  bird  is  perfect,  and  the  stalk 
is  perfect,  but  whoever  saw  a  bird  sit  upon  a  stalk  of  that 
size  without  bending  it."  The  carving  did  not  go  to  the 
palace. 

Not  According  to  Hoyle 

Motion  pictures  are  like  that  old  piece  of  carving:  ex- 
cellent in  many  ways,  poor  in  others.  The  fault 
seems  to  lie  between  the  author  and  the  director  in  some 
cases,  and  between  the  Research  Department,  the  cos- 
tumier and  the  directors  in  others.  The  author  will  write 
an  impossible  scene,  or  else  the  director  will  add  one  for 

40 


It's  all  in  the  scheme  of  the  movies.     While  the 

sponsors   "think   out"   the   situations,   the  heroes 

perform  their  miraculous  stunts — all  for  the  sake 

of  the  punch 


the  sake  of  the  "punch."  and 
thus  we  see  such  things  in  the 
movies  as  a  man  on  horseback 
chasing  and  overtaking  an  au- 
tomobile, a  Western  hero 
roping  a  gun  out  of  the  hands  of  a  man  aiming  it  at 
him,  a  knight  in  supposedly  full  armor  swimming  a  river, 
and  an  unarmed  swashbuckler  leaping  upon  a  swordsman 
whose  point  is  threatening  his  breast,  and  overpowering 
him. 

Some  years  ago,  I  saw  in  a  serial  picture  an  incident 
which  affords  an  excellent  example  of  an  impossible 
scene.  The  lovely  heroine  is  crouched  behind  a  rock, 
while  towards  her  creeps  the  masked  man  whose  identity 
has  kept  the  audience  guessing  for  many  weeks.  All  is 
over  again !  But  stay,  her  lover  knows  the  Morse  code 
and  is  at  this  moment  in  the  library  of  a  house  which  is 
supposedly  visible  from  her  hiding-place.  Seizing  a  small 
mirror  from  her  bag,  she  flashes  out  a  dot-and-dash  mes- 
sage for  help,  which  her  lover  reads  at  a  glance.  Jump- 
ing into  his  ever-ready  car,  he  dashes  madly  to  the  rescue 
and  once  more  the  fair  heroine  is  saved. 

Now  in  my  younger  days,  I  served  years  in  the  Signal 
Corps  of  the  Connecticut  National  Guard,  and  I  know 
that  it  is  absolutely  impossible  to  send  a  dot-and-dash 
message  by  means  of  a  hand  mirror.  Just  to  show  the 
impossibility  of  it,  I  will  describe  how  an  army  helio- 
graph, or  sun  mirror,  is  worked.  The  apparatus  consists 
of  two  tripods,  a  mirror  with  a  little  hole  in  the  center, 
a  metal  bar,  a  sighting  rod,  and  a  shutter.  The  mirror, 
mounted  at  the  rear  end  of  the  bar,  is  set  up  on  the  tripod 
and  carefully  sighted,  by  means  of  the  hole  in  the  back. 


. 


The  Author  of  This  Article  Has 
a  Bone  to  Pick  With  the  Boys 
Who  Permit  All  Kinds  of  Errors 
to  Enter  Into  the  Production  of 
Pictures.  They  Do  Such  Things 
and  They  Wear  Such  Things 
in  the  Movies 

Drawings  by 

C.    J.    MULHOLLAND 


at  the  Other  station.  The  hole  causes  a  sun-spot  or 
shadow  to  appear  and  when  this  rests  on  the  point  of  the 
ring  rod  at  the  front  of  the  bar,  the  flash  will  be 
visible  at  the  other  station.  So  delicate  is  the  adjustment, 
that  the  mirror  has  to  t>e  moved  slightly  from  time  to  time 
by  means  of  thumb-screws  so  as  to  follow  the  movement 
of  the  sun.  Once  adjustment  has  been  secured,  the 
shutter,  mounted  upon  the  other  tripod,  is  set  up  in  front 
of  the  mirror  and  then  opened  and  shut  so  as  to  show 
short  or  long  flashes. 

Even  bad  the  fair  one  had  all  this  apparatus  with  her. 
she  would  have  been  in  the  grasp  of  the  dreaded  mask  be- 
fore she  could  have  secured  her  adjustment,  and  as  for 
the  marvelous  speed  with  which  the  hero  reads  the  sup- 
posed message  as  it  flashed  upon  the  sword-decked  walls 
of  his  library.  I  can  only  hope  that  the  Signal  Corps  had 
the  benefit  of  his  services  during  the  recent  war. 


The  producers  forget  that  there  was  such  a 
thing  as  a  distinct  style  in  the  early  seventies 
and  eighties.  The  women  wore  bustles  and 
pleated  skirts,  and  the  men  who  strolled  down 
the  avenue  with  them  were  dressed  up  like  a 
Christmas  tree 


Should  Be  Shot  at  Sunrise 

A  no  speaking  of  war,  reminds  me  that  some  motion  pic- 
ture directors  do  many  things  in  battle  scenes  for  which 
they  would  be  court-mar- 
tialed if  they  were  in  the 
army.  They  love  to  plant 
"Old  Glory'*  on  the  breast- 
works so  as  to  help  the 
enemy  get  the  exact  range, 
and  they  have  a  penchant 
for  placing  their  artillery  in 
nice  open  lots  where  in  ac- 
tual warfare  they  would  be 
put  out  of  action  in  ten  min- 
utes. I  have  seen  in  a  pic- 
ture a  company  of  infantry 
marching  to  war  all  armed 
with  rifles  and  not  one  of 
them  had  a  cartridge-belt  or 
even  a  bayonet.  Thank  the 
Lord !  all  directors  are  not 
like  this,  and  a  few  of  them 
have  put  on  most  realistic 
battle  scenes,  but  the  aver- 
age "battle"  in  the  movies  is 
a  confused  jumble  of  which 
neither  the  civilian  nor  the 
soldier  can  make  head  or 
tail. 

So.  much  for  the  author 
and  the  director  Let  us  see 
what  the  Research  Depart- 
ment and  the  costumer  have 
to  offer. 


Says  Mr.  Blakeslee: 

"Some  motion  picture  directors  do  many 
things  in  battle  scenes  for  which  they  would 
be  court-martialed  if  they  were  in  the 
army." 

"It  can  be  safely  said  that  very  few  mo- 
tion pictures  of  the  costume  type  are  cos- 
tumed correctly  in  every  respect." 

"Most  American  producers  fail  to  consult 
technical  experts  along  specialized  lines  as 
is  often  done  abroad." 

"The  costumers  and  the  research  depart- 
ment need  a  wide  range  of  knowledge,  but 
are  prone  to  fake  rather  than  admit  their 
ignorance." 

"Sword  play  and  knife  fighting  as  seen  in 
motion  pictures  is  not  usually  of  a  very  high 
order." 

"The  best  knife  fight  which  I  ever  saw 
on  the  screen  was  in  'Orphans  of  the  Storm' 
— it  was  most  realistic." 

"The  further  back  the  supposed  period  of 
the  picture,  the  greater  seems  to  be  the  per- 
centage of  error." 


Wrong  From  the  Start 

It  can  be  safely  said  that  very   few  motion  pictures  of 
the  costume  type  are  costumed  correctly  in  every  re- 
spect.     This    is    not    altogether    the    fault    of    either    the 
research  people  or  the  costumer,  but  is  due  largely  to  the 

failure  of  most  American 
producers  to  consult  tech- 
nical experts  along  special- 
ized lines,  as  is  often  done 
abroad. 

From  the  very  nature  of 
their  work,  both  member>  of 
a  Research  Department  and 
costumers  need  a  wide 
range  of  knowledge  and 
cannot  be  expected  to  have 
as  exact  available  data  as  a 
person  who  has  made  an  ex- 
tensive study  of  a  specific 
subject.  When  called  upon 
for  information  which  they 
do  not  possess,  both  are. 
however,  prone  to  fake, 
rather  than  admit  their 
ignorance.  The  sj>eaking 
statue  is  no  better  off  in  this 
respect  than  the  motion  pic- 
tures. 

In  Channing  Pollock's 
play,  "The  Fnemy."  recently 
on  Broadway,  one  promi- 
nent character  in  it,  who 
was  supposed  to  be  an 
Austrian  officer,  appeared  in 
a  German  uniform  until  1 
{Continued  on  page  70) 


41 


EDNA  MARIAN 

This  petite  personality,  finding  herself  at  the  top  of  the  comedy  heap  in  a  reasonably  short  space  of  time, 
has  proved  herself  to  be  unique  by  buying  her  contract  and  calmly  seeking  new  and  larger  worlds  to  conquer. 
Edna  made  her  screen  debut  in  New  York  when  but  thirteen  years  of  age.  Then  she  went  to  Hollywood  and 
"crashed  the  gate."  Her  initiative  led  her  straight  to  a  neat  little  part  in  a  Buster  Keaton  film.  She  did  so 
well  that  the  gentlemen  preferred  the  blonde  as  a  comedy  star 


42 


What  It  Costs  to  Be  a  Weil- 
Dressed  Auto 


A      special      combination      rear 
courtesy,  stop,  and  tail  light,  $16 


A     pair     of     heavily     nickeled, 
double-bar,  spring  bumpers,  $60 


A    motor-driven    wind-shield    wiper,    $8 


An  eight-day  clock  on  the  dash, 

with     radium      dial      for     night 

visibility,  $30 


German    silver    cigar-lighter    on 
the  dash,  $15 


"Baby"    spotlights    beneath    the 
big  front  lamps,  $20 


A    pair    of    special    lenses    in    the    main 
headlights,  $15 


Extra    tire    and    tube,    $45 


Special    motometer,     German 

silver,     monogrammed     and 

locked  in  place,  $22 


V 


A    pair    of    aluminum    step- 
plates  on  the  running-boards,       Total     cost,     approximately, 
$5.  $5,000 


By  Warren  Dow 


PHERE  was  a  time  when  Hollywood 
*-  Boulevard  swarmed  with  "jazz"  auto- 
mobiles which,  in  their  weird  trappings 
and  elaborate  superstructures,  looked  like 
a  combination  of  a  Welsh  rarebit  night- 
mare and  an  Osage  Indian's  idea  of 
splendor. 

That  time  has  gone,  apparently  forever. 
Today  the  cars  of  the  Film  Colony  are 
marked  by  an  almost  austere  simplicity. 


The  "well-dressed"  car  of  today  is  like  the 
well-dressed  clubman,  neat  but  not  gaudy. 
However,  it  fs  possible  to  spend  a  very  fair 
bit  of  money  in  merely  giving  a  car  the 
most  orthodox  of  equipment. 

For  example,  the  white  sport  roadster 
of  Reginald  Denny,  pictured  herewith, 
cost,  with  all  accessories  and  insurance, 
just  a  few  dollars  short  of  an  even  $5,000. 
The     various     items     are     listed     abmc. 


i 


Impressions   of  Hollywood 


AS  I  was  leaving  the  Hal  Roach  lot  the  other  day,  I 
discovered  the  "Our  Gang"  children  grouped  to- 
L  gether  on  a  grass  plot  near  the  road  where  several 
visitors  stood  with  small  Kodaks  trying  to  get  a  picture 
of  the  gang  to  take  home  to  St.  Louis  to  show  to  their 
neighbors.  The  visitors  apparently  had  some  pull,  be- 
cause the  studio  manager  and  the  matron  were  there,  giv- 
ing orders  to  the  children  and  trying  to  keep  them  in 
order.  It  was  obvious  that  the  gang  were  taking  the 
matter  seriously,  because  they  were  playfully  crowding 
one  another  for  the  best  positions  in  the  line-up,  and  they 
apparently  esteemed  it  a  great  honor  to  be  photographed. 

Little  black  Farina  was  the  most  obvious.  He  (you 
know  it  is  a  he — not  a  she)  kept  well  in  the  center  fore- 
ground and,  looking  from  one  camera  to  the  other,  said : 
"Say,  which  of  them  cameras  is  goin'  ter  do  the  shootin'  ?" 
Then  he  threw  off  his  sweater  and  laid  it  aside,  remarking 
that  he  would  look  much  better  without  it. 

I  suppose  that  Our  Gang  look  upon  the  regular  movie 
photography  as  real  work,  but  this  was  play — something 
to  be  proud  of — their  photos  were  in  demand  by  visitors 
— were  they  not  now  in  the  same  class  with  President 
Coolidge,  Jack  Dempsey  and  Valentino  ? 

Foul  Work  at  the  Crossroads 

Tust  as  I  was  leaving  the  Hal  Roach  lot,  I  saw  a  large 
bewhiskered  man  carrying  an  apparently  dead  woman 
across  the  road.  Her  head,  arms  and  feet  were  dragging 
limply  in  the  dust,  and  it  looked  like  foul  murder.  I 
hastened  to  the  spot  ready  to  do  a  man's  duty,  but  only  to 
find  that  it  was  a  dummy.  The  poor  thing  had  just  been 
beaten  up  by  her  husband  and  thrown  from  the  tower  of 
the  castle. 

What  Price  Publicity? 

Dola   Negri  was  looking  at 

some  of  the  stills  showing 
Valentino  making  violent  love 
to  Vilma  Banky  in  "The  Son 
of  the  Sheik." 

"Ah !"  exclaimed  Pola,  "He 
make  love  to  Vilma,  but  all 
the  time  he  think  of  me !" 

In  spite  of  reports  to  the 
contrary,  I  think  I  can  safely 
say  that  there  is  not  and  never 
has  been  any  romance  between 
Vilma  Banky  and  Rudolph 
Valentino.  I  have  been  to  the 
Pickf ord-Fairbanks  studio 
dozens  of  times,  when  they 
were  making  "The  Son  of  the 
Sheik"  and  talked  with  both  of 
them  many  times,  and  visited 
their  homes  and  I  ought  to 
know.  At  the  studio  Rudy 
dines  in  a  studio  cottage,  and 
there  are  usually  two  or  three 
men  dining  with  him,  includ- 
ing his  brother  and  his  man- 
ager who  have  the  cottage  all 
to  themselves.  Vilma  dines 
all  alone  in  her  dressing-room. 

Connie  Talmadge  has  Mary 
Pickford's  cottage,  which  is 
just  across  the  lawn  from 
Valentino's,     and     she     came 

44 


Freulich 


Nothing  could  be  more  natural  than  the  selection  of 
Mary  Philbin  to  play  Juliet  in  Shakespeare's  im- 
mortal tragedy,  "Romeo  and  Juliet,"  which  Universal 
will  humanize  for  the  screen.  The  youthful  Romeo 
standing  beneath  Juliet's  balcony  is  Andre  Mattoni, 
the  Continental  actor  who  is  commonly  called  the 
blond  Valentino 


across  the  other  day  and  sat  down  at  Rudy's  table  with  us 
for  a  while,  but  Vilma  never  does  so.  Whether  she  doesn't 
want  to,  or  wont  because  she  fears  to  create  a  wrong  im- 
pression, I  dont  know,  but  I  do  know  that  Rudy  has  in- 
vited her  and  that  she  never  goes. 

The  Battle  Continues 

"There  are  about  20,000  theaters  in  the  U.  S.  and  ninety- 
seven  per  cent,  of  them  show  motion  pictures  all  or  part 
of  the  time.  Only  three  per  cent,  of  all  the  theaters  do  not 
show  any  pictures  at  all.  Twenty-five  years  ago  none  of 
the  theaters  showed  movies.  A  new  movie  theater  is  built 
somewhere  every  working  hour,  while  only  one  a  week 
is  the  average  for  the  other  kind.  And  thus  the  battle  of 
Movies  vs.  Speakies  goes  on,  but  it  is  a  very  one-sided 
affair. 

Let  us  hope  for  the  day  when  there  will  be  more  the- 
aters devoted  entirely  to  movies  with  no  vaudeville.  And 
let  us  hope  they  make  the  movies  so  good  that  they  wont 
even  need  a  prolog  or  prelude.  All  those  in  favor  of 
more  theaters  for  movies  only,  please  say  "I." 

Fox  Registering  Pride 

YXTatch  out  for  "What  Price  Glory."  The  Fox  people 
""  seem  to  feel  that  it  is  going  to  beat  "The  Big  Parade." 
While  this  is  doubtful,  you  may  surely  look  forward  to 
this  picture  as  one  of  the  big  events  of  the  early  fall. 

Victor  McLaglen  will  probably  make  a  big  hit  in  this 
picture — even  bigger  than  that  of  Karl  Dane's.  Dolores  Del 
Rio  is  also  going  strong,  and  so  is  Edmund  Lowe  and  all 
of  them.  And  dont  forget  that  Raoul  Walsh  is  directing, 
and  that  this  same  chap  directed  "The  Thief  of  Bagdad" 

and   "The   Wanderer." 

I  understand  that  "The 
Wanderer"  is  not  a  big-money 
maker,  but  that  is  not  sur- 
prising— it  is  too  great  and  too 
good  for  most  people,  just  as 
"The   Last   Laugh"   was. 

A    Good    Time    Was    Had 
by  All 

The  Fox  Film  Corporation 
gave  a  dinner  and  dance  re- 
cently at  the  Ambassador  Ho- 
tel at  which  I  and  about  499 
others  were  present.  Between 
courses  everybody  danced — or 
tried  to,  but  it  was  really  im- 
possible to  do  much  dancing — 
one  might  just  as  well  expect 
sardines  in  a  box  to  dance. 

All  the  Fox  stars  were 
there,  and  most  conspicuous 
of  all  were  the  midget  come- 
dian, George  Harris,  and  his 
partner,  Barbara  Luddy,  who 
is  equally  diminutive,  altho 
there  were  all  sizes  and  styles 
present,  including  Jack  Demp- 
sey and  Tom  Mix  who  sat  at 
the  same  table  and  who  danced 
just  like  anybody  else.  Jack 
dances  quite  well  and  he  is  not 
at  all  awkward  or  clumsy. 
Tom  Mix  is  almost  graceful 
and    he   has    a   fine    physique. 


The  Whole  World  Is  Interested 
in  What's  Going  on  in  the  Studio 
City — the  Capital  of  the  Movies. 
The  Activities  of  the  Stars  and 
the  Progress  of  Productions — 
These  OfferTremendous  Appeal 
to  the  Picture  Public.  The  Edi- 
tor-in-Chief of  the  B  re  wster  Pub- 
lications Gives  You  First-Hand 
Information  of  Hollywood  and 
Its  Personalities 

By  Eugene  V.  Brewster 


Of  course,  William  Fox  was  very  much  there,  includ- 
ing his  black  mustache,  and  when  he  entered,  everybody 
arose  and  cheered.  Little  Georgie  Harris  was  quite  popu- 
lar and  ladies  twice  his  height  seemed  to  enjoy  dancing 
with  him. 

Greetings  from  Greta 

r^RETA  Xissen  has  at  last  consented  to  join  Universal 
and  play  the  lead  in  a  big  picture  that  Jack  McDermott 
wrote  and  will  direct.  He  has  been  wiring  Greta  daily 
for  weeks  and  finally  got  her  consent.  He  says  she  is  one 
of  the  screen's  most  promising 
artistes,  if  not  the  .  .  .  And 
he's  going  to  have  an  all-star 
cast,  including  Marc  McDer- 
mott, Trixi  Friganza,  Norman 
Kerry,  and  so  on. 

Jack  has  the  funniest  house 
I  ever  saw.  It  is  way  up  on 
top  of  a  mountain,  and  he 
made  it  all  himself  out  of  mo- 
vie scenery  and  odds  and  ends 
from  different  studios.  It  is 
certainly  a  freak  place,  but 
extremely  interesting.  Corliss 
Palmer  and  I  had  bacon  and 
eggs  with  him  there  the  other 
day  and  he  is  a  charming  fel- 
low. But  he  certainly  gave  us 
some  thrills  going  down  that 
steep,  muddy,  crooked,  rocky 
road  in  his  Ford. 

A  Bad  Break 

Virginia  Brown  Faire  is 
another  one  of  those  who 
have  had  "a  bad  break."  She 
got  off  to  a  good  start  in  1919 
when  at  the  age  of  fifteen  she 
won  a  Beauty  Contest  given 
by  Brewster  Publications,  and 
I  remember  well  her  first  ap- 
pearance before  me  as  direc- 
tor. She  was  a  beautiful  little 
brunette     and     photographed 


llently,    I  atei  on  the  got  a  i  ontrai  i  and 

\  C!  \      Well 

Then  came  ■  big  pail  In  "Without  Benertl  of 
i  lergy,"  which  ^l i<-  quite  ran  away  with,  and  it 
looked  u  ii  Virginia  would  be  i  top  notchcr  in 

another  year.     But   from  then  on  she  had  ill  luck. 

Poor  parts  in  poor  picturei  and  the  was  almoet 

lost    ughl    of.       The    latest    is    that    ll  >ren 

signed    by    Sam    Sax    to    play    OppoaitC    William 

Fairbanks  in  "The-Mile-a-Minute   Man  "      This 

may  be  all  ri^ht,  but  Virginia  is  entitled  to  tOTiM 
thing  better. 

Among  Those  Present 

Mokma  Talmadgb  gave  a  little  dinner-party  at 
*  '  her  palatial  home  the  other  night  and  here's 
a  complete  list  of  "among  those  present"  :  herself, 
her  husband,  Joe  Schenck,  her  mother,  "Peg," 
her  sister,  Constance,  her  former  leading  man, 
Eugene  O'Brien,  Buster  Collier,  the  managing 
editor  of  the  Los  Angeles  Examiner  ( Hearst 
paper),  Florence  Lawrence,  dramatic  editor  of 
same,  and  poor  little  me.  We  had  arrived  at 
seven  but  it  was  about  eight  before  the  butler 
entered  the  drawing-room  with  "Dinner's 
served."  It  was  a  fine  dinner,  excellently  served 
and  everybody  was  jolly,  and  had  a  lovely  time. 
After  coffee  we  all  went  into  a  large  and  ele- 
gantly furnished  lounging-room  where  they  show  picture-. 
Buster,  attired  in  a  huge  apron,  ran  the  projection  machine 
and  did  a  good  job.  But  the  picture  was  Corinne  Griffith's 
"Infatuation,"  and  it  did  not  make  much  of  a  hit  with  us. 
During  this,  Dick  Barthelmess  came  in  and  spent  the  rest 
of  the  evening.  At  twelve-thirty  I  left  for  home  and  I 
was  nearly  the  last  of  the  guests.  And  we  were  all  per- 
fectly sober,  and  there  wasn't  even  any  dancing.  We 
simply  talked,  in  small  groups,  and  occasionally  listened  to 
the  phonograph.  Another  one  of  those  famous  wild 
Hollywood    parties    that    you    hear    so    much    about. 

Joseph  Schenck  is  a  very 
rich  man.  but  he  did  not  make 
it  all  in  pictures.  His  interests 
are  varied,  and  he  is  an  ex- 
ceedingly we'1-informed  man, 
and  a  very  likable  man.  He 
converses  freely  on  every  con- 
ceivable subject,  and  his  ideas 
and  opinions  seem  to  be  care- 
fully thought  out. 

The  Correct  Way  to  Say  It 

Cince  "Beau  Geste"  will  be 
^  talked  about  a  great  deal 
after  the  picture  is  released, 
you  may  as  well  learn  how  it 
is  pronounced.  I  have  heard 
so  many  heated  arguments  on 
whether  it  should  be  jest  or 
guest,  that  I  looked  it  up. 

On  page  98  of  the  novel  it 
says  :  "  'Are  you  the  jester  ?' 
'Xo.  Aunt.'  I  replied  with 
feeble  wit,  'only  the  Geste.'  " 
Which  quite  disposes  of  the 
matter.     It  is  Bo  Jest. 

A  Talented  Newcomer 


International  Newsreel 

No  matter  how  busy  a  producer  may  be  on  the 
Coast,  he  firmly  believes  in  relaxation.  Here  is  Hal 
Roach,  who  has  taken  time  off  from  making  comedies 
to  exercise  his  polo  pony.  That  he  is  a  proficient 
polo  player  is  proved  by  his  membership  with  the 
fast  Midwick,  Jr.,  team — the  Pacific  Coast  champions 


("^ardner    James, 
rived     with     a 


who    ar- 

bang     in 

Blackton's  •,Hell-Bent  fer 

Heaven,"  had  me  up  to  dinner 

the  other  night.     lie  lives  in  a 

(Continued  on  page  72) 


45 


Owr 
OWN 

NEWS 

CAMERA 


Gilliams 

The  rarin'  Red  Grange,  ace  of  football 
players,  has  arrived  in  Hollywood  to  make 
a  picture  of  his  favorite  sport.  The  other 
day  he  visited  Marion  Davies,  who  auto- 
graphed   the    famous    half-back's    helmet 


'"•-* 


Do  you  remember 
Pepper,  the  comedy 
cat  that  used  to  cut  up 
didoes  in  Mack  Sennett 
comedies?  Well,  to 
show  you  how  genius 
is  passed  along,  the 
kitten  on  the  right  is 
the  old  cat's  grand- 
daughter. She  has  been 
named  Pepper  II — 
and  gives  promise  of 
knowing  a  thing  or 
two  about  slap-stick 


Geo.  F.  Cannons 


We     dont     know 
just  how  far  Jane 
Winton    can    put 
the    shot, 
stripped     to 
B.    V.    D.'s 
posing    in 
correct    manner, 
she  should  heave 
it    a    goodly    dis- 
tance 


But 
her 
and 
the 


Lya  de  Putti  has  a 
unique  way  of  telling 
how  the  weather  is 
working  when  she  feels 
like  taking  a  nap.  If 
the  wind  starts  them 
rocking,  the  strings  tug 
at  her  wrist  and 
awaken  her.  And  so 
she  closes  the  window 


46 


. 


A  birthday  cake  was  made  and  shared 
in  by  the  executives  and  stars  of  Famous 
Players  last  May,  in  commemoration  of 
the  laying  of  the  corner-stone  of  the  new 
Paramount  Building.  Here  are  Adolphe 
Menjou  and  Lois  Wilson  eagerly  admu 
ing  the  frosted  sky-scraper — an  exact 
duplicate  of  the  imposing  edifice  which 
is  being"  erected  in  the  Times  Square 
section  of  New  York 


\Vm   A    Rees 


Below,  you  will  discover  Babe 
Ruth  up  to  one  of  his  favorite 
pastimes — which  is  autograph- 
ing baseballs.  When  the  big 
bambino  is  not  busy  batting 
balls  out  of  the  park,  he  delights 
in  signing  his  monicker  to 
them — and  giving  them  away. 
Madge  Kennedy  has  just  step- 
ped up  to  take  one  from  the 
home-run   king 


L'mlcrwood  &  L'ndi 


On  the  left  is  Helene 
Chadwick  about  to  start 
for  a  big  blowout.  This 
fan,  which  generates  wind 
for  motion  picture  storm 
scenes,  will  create  enough 
atmospheric  furore  to 
blow  down  a  well-built 
house.  On  the  right,  Karl 
Dane  gives  Joan  Craw- 
ford a  shoulder  ride 
around  the  lot.  As  Karl 
belongs  in  the  tall,  rangy 
class,  Joan  feels  way  up 
in  the  air  when  she 
perches  herself  upon  his 
back 


r      « 


International  Newsreel 


47 


I 


Twenty  ounces 
of  clothes! 
Yes-  sir-ree, 
boys,  that's  all 
the  weight 
the  modern 
young  woman 
will  carry 
around  this 
sum  m  e  r . 
Dorothy  Se- 
bastian is  the 
young  woman 
who  has  gone 
in  for  such 
light  luggage. 
She  got  the 
tip  from  Lon- 
don. Notice 
that  the  scales 
even  include 
the  shoes 


Above,  we  have  three  of  the  world's  most  photographed  men.  Paul 
Wrinkle,  thirteen  years  old,  is  the  champion  autograph  hunter.  He 
has  been  photographed  with  presidents  and  kings.  Was  he  frightened 
of  Rudy  Valentino  and  George  Fitzmaurice?  Not  so  you  could  notice 
it.  He  hung  around  the  stage  door  of  the  studio  and  secured  the 
autographs  of  the  star  and  the  director 


"Throw  away  the  vanity-box 
and  carry  your  make-up  in  your 
hem!"  That  is  Patricia  Avery's 
motto.  She  is  wearing  one  of 
the  new  dresses,  boasting  a  cuff 
around  the  bottom  in  which  she 
carries  lip-stick,  rouge  and 
powder.  These  necessary  knick- 
knacks  are  concealed  by  the  cuff 
when  not  in  use 


If  you  know  what  it  means 
to  your  dear  old  back  when 
you  do  the  daily  dozen,  you 
will  understand  that  May 
McAvoy's  stunt  of  touching 
the  floor  with  the  hands  from 
a  standing  position  is  not 
mere  child's  play.  This  ex- 
ercise enables  May  to  keep 
in  trim  for  strenuous  work 
in  pictures 


48 


GARDNER   JAMES 


Hcnr>  Waxman 


Isn't  it  about  time  to  give  this  young  fellow  a  hand?  Not  in  seventeen  blue  moons  has  anyone  flashed  across 
the  silversheet  with  more  natural  ability  than  Gardner  James.  He  has  youth,  personality  and  a  rich  play  of 
plastic  expressions.  We  dont  know  who  discovered  him,  but  there's  no  doubt  about  his  lifting  several  photoplays 
and  making  them  better  for  his  presence.     He  did  such  finished  acting  in  "Hell-Bent  fer   Heaven"  that  Richard 


Barthelmess  borrowed  him  for  "The  Amateur  Gentleman 


49 


Owen  Moore,  masquerading  as  a  woman,  and  Claire 
Windsor  in  a  scene  from  "Money  Talks" 


HARRY  LANGDON  has  finally 
won  his  spurs  or  laurels  or  col- 
ors or  what  you  care  to  call  the 
honors  of  stardom.     Having  been 
bound  to  the  two-reel  comedy,  he 
has  come  along  so  fast  that  he  is 
entitled    to    a    seat    among    the 
comedians  who  have  graduated 
into  the  feature  class.     Which 
means  that  he  deserves  to  be 
ranked     along     with     Lloyd, 
Keaton,  ct  al. 

Surely  no  one  is  equipped 
with    a    sounder    knowledge 
of    what    makes    and    sus- 
tains the  Big  Laugh  than 
this   same   Langdon.     He 
has    a     ft  r m 


7 


acquaintance 
with      panto- 
mime  and  ex- 
presses 
comedy  and  its 
allied    ingredient,    pathos, 
with     fine     appreciation     of 
their  values.     But  he  waited 
to    make   his    feature    debut 
until     he     found     something 
good.       And    it    arrived    in 
"Tramp,   Tramp, 
Tramp." 

No  comedian 
could  be  more 
adaptable     to     the  y*4.'.-^ 

part    of    the    con- 
testant in  a  hiking 

50 


THE 
CELLULOID 

CRITIC 


tour  than  Langdon.  I  found  him  very  amusing.  He  doesn't 
trespass  on  the  4ines  marked  out  by  other  ranking  fun-makers. 
He  has  an  individuality  all  his  own.  His  best  asset  is  his  wistful 
expression.  On  most  of  his  journey  he  sees  to  it  that  he 
suffers  like  Chaplin,  tho  he  is  no  imitator. 

The  Funny  Langdon 

LJe  experiences  several  difficulties  which  have  been  well  timed 
to  provoke  laughter.  Still  there  are  moments  when  the  piece 
pauses  occasionally — as  if  it  was  out  of  breath  and  wanted  to 
catch  up  with  itself.  So  that  is  why  it  loses  some  of  its 
spontaneity. 

I  shall  dismiss  these  few  errors  and  pin  upon  it  the  blue  badge 
of  excellence.     For  indeed,  Langdon  releases  oodles  of   fun  in 

his  cross-country  tramp.  There  is  a 
worthy  thrill  in  the  scene  wherein 
mm  the  comedian  scales  a  fence  to  avoid 

a  flock  of  sheep.  While  perched  on 
top,  he  lets  himself  down  slowly,  try- 
ing to  find  a  landing  place  for  his 
feet.  But  he  looks  around 
and  discovers  himself  on 
the  edge  of  a  cliff  which 
has  a  sheer  drop  of  a  few 
hundred  yards.  His  coat 
catches  on  a  nail  of  the 
fence  and  soon  the  struc- 
ture gives  way — with 
Langdon  descending  as 
fast  as  Mother  Earth  and 
gravity  can  attract  him. 

This  is  but  one  of  many 
ludicrous  and  original  epi- 
sodes in  the  picture.  The 
piece  is  more  quiet  than 
"The  Gold  Rush,"  and  not 
so  effervescent  as  "The 
Freshman."  But,  never- 
theless, it  has  its  comicali- 
ties. There  is  a  final  mo- 
ment which  contains  a 
rollicking  bit.  It  shows 
by  trick  photography  the 
gag  of  Langdon  placing 
himself  .  in    a    crib  —  and 


Richard  Barthel- 
mess  as  a  lieuten- 
ant in  the  army  has 
a  melodramatic 
moment  in  his 
latest  picture, 
"Ranson's   Folly" 


Laurence 

Reid 

Reviews  the  New 

Photoplays 


made  to  represent  his  own  offspring. 
The  comedian's  cherubic  expression 
comes  ui  hand)  for  this  hilarious  finish. 

Not  Up  to  Expectations 

|  dont    find    many    pic- 
torial     values     in 
"Ranson's     Folly, 
Richard  Barthel- 
ni  ess'    n  e  w 
canvas.        Vs 
fiction  it  had 
its     appeal 
when  Rich- 
ard Hard- 
ing Davis 
wrote  it 
in  a  n  y 
y  ears 
ago,  But 
shaping 
itself   on 
the    screen 
it  doesn't  re- 
semble    any- 
thing   but    an 
old-fashioned    ro- 
mantic    melodrama 
— with    the   obvious   al- 
ways in  the  offing,  so  that 
any  quality  of  suspense  is,  destroyed. 

The  piece  carries  Barthelmess  and  the  spectators  back 
to  the  last  century  at  the  time  the  slippery  Sioux  had 
been  driven  across  the  border.  It  gives  the  star  an  oppor- 
tunity to  portray  one  of  those  dashing  lieutenants  who, 
to  overcome  the  boredom  of  the  post,  stages  a  hold-up 
out  of  pure  mischief. 

The  plot  revolves  around  the  circumstantial  evidence 
piled  up  against  him.  And  he,  in  a  spirit  of  self-sacrifice, 
admits  the  guilt  to  spare  the  father  of  the  girl  who  cap- 
tured his  heart.  This  parent,  in  the  meanwhile,  has  also 
acted  in  the  same  spirit.  But  it  is  easy  to  anticipate  that 
neither  will  be  held  accountable  for  the  crime. 

That's  .how  hackneyed  this  picture  is — what  with  a  plot 
that  never  develops  any  stirring  action.  There  are  some 
first-rate  atmospheric  details — the  old  army  uniforms  and 
the  flouncing  dresses  worn  by  the  officers'  wives  lending 
a  picturesque  note.  And  the  backgrounds  are  praise- 
worthy, too. 

The  trouble  is  the  weakness  of  the  picture — for  it  is 
not  up  to  the  Barthelmess  mark.  He  conducts  himself 
heroically  enough,  but  there  are  no  occasions  for 
him  to  display  any  emotional  fire.  As  for  Dorothy 
Mackaill,  she  wears  her  hair  down  her  back  and  affects 
an  innocent  appeal.  It  is  just  a  part — and  nothing 
else.  So  I  catalog  this  as  just  an  ordinary  melo- 
drama. Barthelmess  doesn't  need  these  old-fashioned 
stories  with  their  old-fashioned  heroics.  He  shines 
best  in  the  unusual  characterizations. 


Above,  Harry  Langdon  joins  the  pick-and-shovel 
gang  in  his  first  feature-length  comedy,  "Tramp, 
Tramp,  Tramp."  At  the  left,  Johnny  Hines,  in 
"The  Brown  Derby,"  gets  the  surprise  of  his  life 
when  he  inherits  the  colorful  head-piece  from  his 
eccentric  uncle 


Taking  Off  the  Mythical  Kingdom 

A  BURLESQUE  of  the  Graustark  pattern  is  on  view- 
in  "Sav  It  Ajrain"  and  it  shapes  up  as  first-rate 


up 

Dix-^ 


Say  It  Again"  and  it  shap 
entertainment,    thanks    to    Richard    Dix's    <ense    of 

humor    and    Gregory    La    Cava's    directorial    whims. 

This  isn't  to  say  that  the  pic- 
ture is  perfect.     Indeed,  it  has  . 
its   flaws.      For  one   thing,   it 

never  seems  to  make   up  j[ 

its  mind  which  way  it         ,^0 
is    going.    It 
starts    off    on 


^w  1 


■'■  . 


X 


a  romantic 
tack,  breezes 
into  bur- 
lesque —  and 

back    to    the    romantic    vein 

again — before  it   finishes 

with  an  orgy  of  absurdities 

The  burlesque  side  of  the 

(Continued  on  page  78) 


Richard  Dix  has  borrowed 
the  parasol  of  the  princess 
to  keep  the  rain  off  his  gay 
uniform — a  scene  from  "Say 
It   Again" 


<V 


51 


ON  YOUR 


Here  is  Jane  Winton 
all  set  to  beat  the 
pistol  and  jump  ahead 
of  the  field.  If  there 
is  anything  in  the  cor- 
rect pose,  Jane  should 
finish  in  ten  seconds 
flat 


Doris  Hill,  above,  also  knows  something 
about  making  a  fast  get-away.  With 
fingers  at  tension — and  with  eyes  straight 
ahead — she  expects  to  spring  ahead  of  the 
bunch  and  break  the  tape  with  yards  to 
spare 


Fay  Wray,  on  the  right,  shows 
a  good  knee  action  which  car- 
ries her  over  the  ground  with 
the  speed  of  an  antelope. 
While  the  collegiates  finish 
their  dashes  with  tense  expres- 
sions on  their  faces,  Fay  be- 
lieves in  smiling  and  taking  it 
easy.  Thus  she  keeps  the 
beauty  doctor  away 


Dorothy  Dwan,  on  the  left,  demon- 
strates how  to  cover  yardage  after 
the  pistol  has  cracked.  Note  that  she 
keeps  her  flying  feet  close  together — 
and  that  her  arms  are  spread  to  aid 
her  legs  in  taking  the  air 


■■MMM 


■1BMWW 


■ 


52 


J 


MARK-SET/  GO// 


The  Hollywood  Girls'  Track  Team 
Is  Out  to  Meet  All  Comers.  Coming 
from  Charlie  Paddock's  Country, 
They've  Picked  Up  a  Few  Pointers 
on  How  to  Make  Their  Legs  Fly 
from  the  Fastest  Human  in  the 
World.  All  Together  Now,  Folks 
Let's   Give  Them  a  Long  Cheer 


53 


THERE  seems  to  be  a  jolly  little  mis- 
understanding in  London  over  "The 
Big  Parade. "  Everyone  on  this 
side  of  the  big  pond  predicted  a  wonder- 
ful reception  for  it  when  it  made  its  Eng- 
lish premiere.  Yet  the  British  critics  be- 
came bally  well  wrought  up  over  it.  They 
declared  the  picture  was  nothing  more  or 
less  than  American  propaganda — con- 
ceived and  executed  on  the  premise  that 
America  won  the  war. 

It  strikes  us  that  these  Britishers  have  missed 
the  point  entirely.  If  King  Vidor  had  started 
out  to  film  episodes  of  the  other  Allies  war  ac- 
tivities, he  wouldn't  have  finished  it  yet.  Like 
a  gigantic  musical  theme,  the  idea  belongs  to  all 
countries  who  participated  in  the  Big  Push. 
True,  the  Americans  made  a  belated  appear- 
ance, but  they  had  their  work  cut  out  for  them  at 
Chateau-Thierry  and  the  Argonne.  And  these 
war  scenes  are  not  to  be  considered  as  any  at- 
tempt by  Vidor  and  his  assistants  to  glorify  the 
American  flag.  The  British  had  their  represen- 
tation in  "Hearts  of  the  World"  and  they 
shouldn't  have  allowed  their  exclusion  in  The 
Big  Parade''  to  spoil  their  sense  of  fair  play.. 

Certainly  the  romance  could  represent  any 
Allied  soldier  who  was  billeted  on  French  soil. 
And  the  humorous  interludes — the  hasty  prepa- 
rations to  reach  the  front  lines,  could  be  applied 
to  any  nation  as  well  as  America. 

For  All  Nations 

[jF  course,  the  picture  was  made  for  Amer- 
^"^  ican  patronage,  but  Vi- 
dor never  intended  it  as 
propaganda.  It  is  as  if  he 
set  up  his  camera  to  record 
the  soldiers'  slant  on  the 
war — and  his  soldiers  hap- 
pened to  wear  the  khaki  of 
the  United  States  army.  The 
subjects  of  other  nations 
should  view  it  in  this  light. 
Why  the  Britons  can  even 
recognize  the  character  of 
Slim  as  a  cousin  of  their  own 

Old  Bill. 

//  Vidor  had  wanted  to 
make  a  Propaganda  picture, 
he  would  have  waved  the 
flag  all  the  way — and  the 
subtitles  would  have  been 
saturated  with  Yankee 
patriotism.  The  London  re- 
viewers have  not  only  mis- 
understood the  idea  behind 
it  but  they  also  have  failed 
to    catch    its    eloquent^   spirit. 

Had  Vidor  attempted  to 
show    other    nations      activi- 


FLASH 


By  L.  R. 


vv 

Mi^z 

^m\    ^kwv>S--' 

P^x\4 

Hf  \ 

mjrn 

IM 

*m 

K*-°*  *• 

TOM  MIX 
An  Impression  by  Curzon 


ties,  his  plot  would  have  got  away  from  him. 
ft  would  have  become  detached  and  the  sure-fire 
dramatic  strokes  would  have  failed.  '  Instead,  he 
employed  the  simplest  measures  of  dramatic 
construction.  He  chose  his  backgrounds  and 
shot  his  action  against  them,  using  the  necessary 
characters  to  build  a  moving  story. 

Hoffman's  War  Picture 

TjERHAPS  you  remember  that  tender  little 
film,  "Which  Shall  It  Be?"  If  you  do,  you  will 
recall  that  it  was  made  by  one  of  the  younger 
directors — a  young  man  with  imagination  and 
feeling  by  the  name  of  Renaud  Hoffman.  Kind 
words  were  written  and  uttered  in  his  favor  and 
the  prediction  was  made  that  he  would  go  far 
with  the  megaphone. 

So  we  anticipated  something  out  of  the  ordi- 
nary in  "The  Unknown  Soldier.''  Well,  he  kept 
faith  with  his  ideals  in  giving  what  is  called  in 
polite  circles — an  unhappy  ending  to  the  picture. 
But  the  New  York  premiere  was  too  premature. 
Instead  of  showing  the  spiritual  ending  (that  of 
the  marriage  of  the  heroine  with  the  spirit  of 
her  departed  soldier),  the 
obvious  finish  was  tacked 
on  to  it.  And  so  New  York- 
ers condemned  it  as  just  an- 
other picture. 

Hoffman  was  consistent 
all  the  way.  He  couldn't  be 
otherwise  and  keep  to  his 
title  and  his  text.  Naturally 
he  insisted  on  the  spiritual 
ending,  tho  the  happy  touch 
was  also  made  for  box-office 
reasons.  Thru  some  un- 
accountable error  the  con- 
ventional finish  was  shipped 
to  New  York — this,  on  top  of 
the  fine  reception  accorded 
the  spiritual  ending  in  Los 
Angeles. 

The  error  has  been  recti- 
fied so  that  other  communi- 
ties are  receiving  the  picture 
thoroly  in  character.  Which 
proves  that  audiences  aren  t 
so  unintelligent  after  all — 
even  if  producers  are  not  in 
the  habit  of  encouragingthem. 


54 


BACKS 


About  Pictures  and  People 


De  Mi  lie's  Ambitions 

r^EClL  B.   DE  MILLE  is   going   to   see   if   he 
■-.an  put   over  a   companion  picture  to  "The 


should  leave   no  stone   unturned  ton 
mohng  it  V''"1""''  and  moving  in  oil  that 

r/iiw.-    WOftie    iniply. 

Cheers  for  Alec  Francis 

pOX     has     displayed     good     wisdom     m 
selecting      Alec      B.      Francis      to      play 
David   Warheld  s    role    in    rlic    screen    ver- 
sion   of    "The    Return    of    Peter    Grimm. 
This  very  able  character  actor  has  some- 
thing   in    common    with    Warfield  s    expressions. 
His   name   is   generally   found   in    the   vicinity   of 
the    adjective    "kindly. "       And    anyone    who    re- 
members    Peter     Grimm     will     recall     that     the 
Ten    Commandments.         having    turned    to    the      cnaracter  was   very   kindly   disposed   toward   the 
Bible  for  inspiration  in  conceiving  that  eloquent  i j 


for  inspiration  in  conceiving  tnat  eloq 
opus,  he  will  open  the  Good  Book  again  and  re- 
cord the  life  of  Christ. 

The    Biblical   subjects    (what    few    have    been 
visualized     on     the     screen)     have     received     a 


world. 

On  the  other  hand,  Fox  is  still  hunting  around 
for  Warfield's  successors  in  "The  Music  Mas- 
ter" and  "The  Auctioneer."  Whoever  is  se- 
lected will   have   to  know  the   art  of   pantomime 


healthy  response  from  the  public.      Which  tndi-      to  tne  tips  0{  nis  fingers  and  his  eye-lashes — to 


cates  something  of  a  spiritual  hunger.  And  the 
ever-active  De  Mille,  whose  effort  to  create 
something  lasting  from  the  very  moving  and 
dramatic  pages  of  the  Bible  inspired  other  Pro- 
ducers to  dip  into  its  pages,  will  make  (what  he 
hopes  it  to  be)  the  triumph  of  his  career. 


say  nothing  of  the  quivering  lower  lip. 

Gilda  s  New   York  Public 

rilLDA  GRAY  broke  all  the  records  for  the 
^"^  Rialto  Theater  during  the  run  of  her  pic- 
ture,  "Aloma   of  the  South  Seas."      This  is   not 


De  Mille  had  first  intended  calling  it  '  The  surprising  in  view  of  her  Popularity  around 
Deluge,"  the  idea  to  be  fashioned  around  Noah  Times  Square.  Long  recognized  as  one  of  the 
and  the  Ark.  But  Warner  Brothers  have  a  most  vivid  Personalities  of  the  "Follies"  and  the 
Prior  claim  on  the  old  man  of  the  sea.  Cecil  was  night  clubs,  the  movie  Patrons  of  the  metropolis 
not  to  be  caught  napping,  however.  He  shifted  were  all  curious  to  see  how  she  fared  in  her 
his  idea  from  the  Old  Testament  to  the  Hew —  screen  debut.  It  must  also  be  mentioned  that 
and  the  Chnst  will  be  humanized  under  the  title  Gilda  made  Personal  appearances  with  the  pic- 
of  The  King  of  Kings. 

De  Mille  will  go  further 
than  any  other  director  has 
ever  gone  with  the  Great 
Teacher.  He  will  actually 
show  Him  in  the  flesh — and 
not  by  means  of  symbols  or 
shadows.  And  His  life  will 
be  drawn  in  a  human  man- 
ner. In  other  words,  the  di- 
rector will  Paint  the  Chnst 
as  a  human  being. 

This  all  raises  the  very  in- 
teresting question — who  will 
play  the  Prince  of  Men?  To 
get  the  complete  humanities 
of  the  man,  the  actor  se- 
lected must  needs  carry  out 
some  of  His  teachings.  We 
suggest  that  De  Mille  go  to 
the  little  village  of  Ober- 
Ammergau  in  Bavaria — 
made  famous  for  the  Pas- 
sion Play,  and  enlist  one  of 
its  highly  religious  actors. 
The  subject  should  create  a 
sensation  —  and     De     Mille 


CHESTER   CONKLIN 
An  Impression  by  Taskey 


tur  e — a  nd  executed  her 
shimmering  South  Sea 
dance — a  dance  in  which 
she  outclasses  the  field. 

If  Gilda  accompanies  the 
picture  to  other  cities,  doubt- 
less other  records  will  be 
broken.  Her  Presence  is 
needed,  for  the  film  is  no 
"great  shakes"  as  entertain- 
ment. Indeed,  she  is  the 
sole  reason  for  its  produc- 
tion— and  for  a  debut  she 
gives  decided  promise  of  ac- 
c  o  m  pl i  s  hi  ng  something 
worth  while  one  of  these 
days. 

A  Real  Surprise 

r  I  'HE  surprising  thing 
about  the  record  smash 
at  the  Rialto  is  the  way 
"Aloma  of  the  South  Seas 
topped  the  latest  Harold 
Lloyd  picture,  "For  Heav- 
en s  Sake.  '  The  comedy 
(Continued  on  page  88) 

65 


The 

O'BRIEN  BOY 

gets  a  Kick 

OUT  of  LIFE 


By  Scott  Pierce 


GEORGE  O'BRIEN 
himself  is  today 
about  the  only  per- 
son in  Hollywood  who  is 
not  yet  aware  of  the  fact 
that  George  O'Brien  has 
"arrived." 

Every   one   else   in   the 
Film  Capital  knew  that  in 
"The     Iron     Horse" 
George    scaled    the    cine- 
matic   ladder    of    fame    in    one 
mighty   bound   and   landed   very 
solidly  at  the  top  of  the  heap  al- 
most overnight. 

The  fact  that  about  every- 
one in  Hollywood  knew  and 
liked  the  big,  genial  young 
Irishman  made  them  just  a  bit 
apprehensive  over  the  spectacu- 
lar suddenness  of  his  rise  to  the 
heights. 

Because  such  "sky  rocket" 
leaps  to  glory  have  been  known 
in  the  past  to  have  rather  weird 
effects  in  some  few  cases.  Young 
men  who  were  quite  normal  and 
likable  before  the  event  have 
immediately  afterwards  gone  in 


George  O'Brien  is  an  all- 
Irish-American  who  gets 
variety  and  thrill  out  of 
picture  work.  He  comes 
honestly  by  his  love  for  ad- 
venture and  action,  as  his 
father  is  the  Chief  of  Police 
in  San  Francisco.  Natu- 
rally, he  throws  himself 
into  every  part  with  a 
whole-hearted  Celtic  flavor 

56 


for  expensive  foreign  cars,  hats  a  full  size  larger,  Eng- 
lish accents,  and  an  astounding  loss  of  memory  in  recall- 
ing former  acquaintances. 

Hollywood  might  have  saved  itself  all  worry,  so  far 
as  George  was  concerned.  Because  George  doesn't 
happen  to  be  that  kind  of  fellow.  Swank- 
is  a  quality  that  ranks  just  a  little  below 
yellow  fever  in  the  O'Brien  scheme  of 
things.  George's  grin  is  today  just  as 
genial,  his  greeting  to  friends  just  as  warm, 
and  his  head  just  as  level,  as  in  the  days  of 
not-so-long-ago  when  he  was  merely  an  as- 
sistant cameraman  with  the  Tom  Mix  unit. 

Finds  Thrills  in  Pictures 

Came     doesn't     mean     a     great     deal     in 

George's  young  life,  anyway.    He  is  very 

frankly  in  pictures  for  the  fun  he  is  getting 

out  of  the  work. 
The  movies 
offer  variety, 
thrills,  and  ac- 
tion in  large 
quantities,  and 
(Continued  on 
page  86) 


The 

Roost 

Where 

ROY 

Rests 


Roy  D'Arcy,  the  screen's  most  dashing  dis- 
penser of  dark  deeds,  has  a  picturesque  home 
high  up  in  Beverly  Hills.  He  told  the  design- 
ers and  decorators  to  go  the  limit  in  making 
it  cozy,  comfortable — and  compelling  to  the 
eye.  By  placing  it  up  toward  heaven,  Roy 
wanted  the  chance  to  find  recreation  and  re- 
demption and  forget  the  ways  of  the  flesh  and 
devil — which  haunt  him  when  he  stalks  the 
sets. 

At  the  top  and  bottom  are  the  respective  rear 
and  front  views  of  the  D'Arcy  domain,  while 
in  the  center  the  head  of  the  house  has  stepped 
into  the  kitchen  to  show  the  Missus  how  to 
season  the  sauce  with  spice. 


V  —         f 


57 


Strauss  Peyton 

Jackie  Coogan  is  fast  growing  up,  and  the 
infantile  locks  will  soon  be  shorn  so  that 
he  can  play  in  "Johnny  Get  Your  Hair  Cut" 


It  is  always  the   privilege   of  a   dentist  to   give   a  patient   an 

unpleasant  hour  in  the  chair — which  accounts  for  Charlie  Chase's 

painful  expression 


The  Screen  Observer 


The   Warfield   Dramas 

WILLIAM  FOX  has  purchased  all  of  the  War- 
field  plays  and  now  he  is  confronted  by  the  sad 
fact  that  there  are  no  Warfields  to  play  in  them. 
Every  character  man  in  Hollywood  has  been  considered 
for  one  or  more  of  the  familiar  stage  parts,  but  in  every 
case  the  studio  officials  perceived  that  comparison  with 
the  original  would  provoke  only  laughter  from  the  audi- 
ence. There  is  one  exception  to  this  situation.  George 
Sydney  is  perfectly  cast  as  the  Hebrew  comedy  character 
of  the  title-role  in  "The  Auctioneer." 

And  Jean  Hersholt  will  play  Peter  in  "The  Return  of 
Peter  Grimm,"  if  Universal  will  lend  him.  Universal, 
however,  shows  no  great  readiness  to  accommodate  rival 
studios  with  the  services  of  choice  players.  Right  now 
there  is  some  difficulty  over  getting  the  loan  of  Hersholt 
for  Erich  von  Stroheim's  "The  Wedding  March." 

Just   Heinie 

My  sympathy  goes  out  to  Heinie,  the  extra..  I  think  he 
should  have  been  a  star  long  ago.  Heinie — he  has 
no  other  name,  so  far  as  I  know — is  a  dwarfed  figure 
with  a  head  as  smooth  and  hairless  as  an  egg  and  a 
mouth  into  which  he  can  insert  three  billiard  balls  at  one 
time  without  inconvenience.  His  services  are  in  de- 
mand to  lend  grotesquerie  to  the  scenes  of  nearly  every 
picture.  I  never  sit  in  a  movie  show  but  I  see  Heinie 
performing  some  tantalizing  bit.  For  Heinie  is  an  actor 
of  no  mean  ability. 

Now  Constance  Talmadge  gave  a  party  for  her  new 
husband,  Captain  Alistair  Mackintosh.  Heinie  was  em- 
ployed to  give  a  fillip  to  the  blase  assembly.  Equipped 
with  a  pair  of  wings  and  a  harp,  Heinie  was  suspended 
from  the  ceiling  and  when  all  the  guests  were  assembled, 
a  curtain  was  drawn,  revealing  the  most  amazing  angel 
that  ever  trod  the  golden  stair. 

58 


After  his  stunt  Heinie  descended  from  his  perch  and 
attempted  to  mingle  with  the  guests.  He  was  repulsed 
with  laughter  and  informed  by  the  servants  that  he  had 
been  invited  to  the  party  solely  in  a  professional  capacity. 

"What  the  hell?"  said  Heinie.  "I'm  as  much  an  actor 
as  they  are." 

So  saying,  he  took  the  fifteen  bucks — -his  dole  for  the 
evening's  antic — and  departed  in  high  dudgeon. 

For  my  part,  I  think  Heinie  was  right.  He  is  as  much 
of  an  actor  as  many  of  those  present.  And  as  for  social 
standing — My  Word  ! 

Leave  It  to  Lon 

In  this  wonderful  atmosphere  of  make-believe,  as  the 
lady  fan  writers  love  to  say,  it  is  gratifying  once  in  a 
while  to  find  an  artist  who  is  sincere  enough  about  his 
work  to  put  himself  to  some  inconvenience  in  its  prose- 
cution. 

Such  an  artist  is  Lon  Chaney.  Otherwise  he  would 
never  have  submitted  to  the  going-over  which  I  watched 
him  taking  from  Sergeant  Hoffman  of  the  U.  S.  Marine 
Base  at  San  Diego. 

Chaney  is  making  a  war  picture — war  pictures  are 
the  vogue  again,  you  know — a  war  picture  entitled  "Tell 
It  to  the  Marines."  Sergeant  Hoffman  was  employed 
by  the  Metro-Goldwyn-Mayer  studio  with  the  consent  of 
the  Marine  Base  commandant,  to  teach  the  actor  the 
things  he  ought  to  know  about  soldiering.  Sergeant 
Hoffman  is  six  feet  tall  and  he  has  a  jaw  of  iron.  When 
informed  of  his  new  duties,  he  remarked  fervently : 
"All  my  life  I've  wanted  to  drill  a  movie  actor." 
I  watched  the  sarge  putting  Chaney  and  William 
Haines  thru  the  rudiments  of  file  drill.  He  had  to  begin 
at  the  beginning  by  teaching  them  to  stand  at  attention. 
Sergeant  Hoffman  kept  up  the  grilling  for  better  than  an 
hour.  Chaney  seemed  to  be  standing  it  all  right,  but 
poor  Bill  Haines,  softened  by  many  a  studio  tea  scene, 


I— 


Here  is  a  scene  from  "The  Marriage  Clause,"  which  brings  Lois  Weber, 
the  only  woman  director,  to  the  screen.  It  is  a  sort  of  SvtngalLTrilby 
affair  with  Billie  Dove  and  Francis  X.  Bushman  in  the  leading  roles 


The  young  man  gazing  so  intently  at  you, 

is    Douglas    Gilmore — who    is    getting    his 

share  of  good  assignments 


Has  His  Say— By  don  ryan 


was  perspiring  profusely  and  the  expression  on  his  face' 
was  one  of  real  distress. 

But  he  didn't  complain.  And  I  predict  that  Sergeant 
Hoffman  will  make  leathernecks  out  of  his  raw  recruits 
before  the  picture  is  over. 

Royalty  Receives 

r\0UGL.\s  Fairbanks  and  Mary  Pickford  are  making 
the  rounds  of  royalty,  as  usual.  All  of  the  temporal 
monarchs  are  honored  to  receive  them,  hut  so  far  His 
Holiness,  the  Pope,  has  not  been  at  home  in  the  Vatican 
when  they  called. 

1  am  informed  by  Mark  Larkin,  the  Pickford-Fairbanks 
publicity  seneschal,  that  Doug  is  looking  over  the  Ufa 
studio  in  Germany  with  an  eye  to  its  availability  for  his 
use.  If  he  finds  it  sufficiently  equipped  for  his  purpose, 
Doug  expects  to  make  his  next  picture  there.  He  is 
keen  to  try  his  luck  among  the  cinematic  artists  of  the 
World,  who  would  be  his  advisers. 

But  it  seems  that  Doug  will  have  to  hurry  or  Uncle 
Carl  Laemmle  will  have  all  the  Old  World  artists  cor- 
ralled in  Universal  City. 

The  Busy  Von 

I've  been  trying  to  find  out  when  Erich  von  Stroheim 
will  actually  begin  shooting  "The  Wedding  March." 
As  he  is  considered  among  the  greatest  of  directors,  I 
have  put  forth  a  special  effort  to  discover  his  activities. 
The  voice  of  Von  came  to  me  over  the  telephone  the 
other  day  for  the  first  time  in  months.  He  told  me  he 
had  been  away  in  the  mountains  rewriting  the  script  for 
his  story.  The  wary  Paramount  officials  are  making  him 
do  all  the  cutting  of  scenes  in  the  script  instead  of  in  the 
film.  Paper  is  cheaper  than  celluloid.  It  is  rumored 
around  that  he  had  written  an  ending  for  the  picture 
which  didn't  suit  the  powers — no  pun  upon  the  name  of 
the  redoubtable   Pat — that  be.     When  he  called   me,  he 


had   just   completed   the   new  ending,    which   being   more 
cheerful,  he  hoped  would  please  them. 

As  the  story  now  stands,  the  hero,  played  by  von 
Stroheim  himself,  will  ride  away  to  war.  leaving  the 
heroine  praying  in  a  nunnery.  Whether  he  comes  back 
to  her  or  not  is  left  to  the  imagination  of  the  audience. 

Von  has  assembled  everything  necessary  to  make  this 
picture  one  of  the  masterpieces  of  realism  for  which  he 
is  famous.  Authentic  uniforms,  which  formerly  adorned 
the  officers  of  the  Austrian  army,  were  purchased  and 
imported  and  now  lie  folded  in  a  mighty  heap  in  the 
wardrobe  room  of  the  Associated  Studio,  where  the  pic- 
ture will  be  shot.  Decorations  of  every  kind,  purchased 
from  pawn-brokers  and  collectors,  have  been  assembled 
to  deck  the  bosoms  of  the  gentlemen  who  will  compose 
the  von  Stroheim  army  corps. 

Among  the  medals  pointed  out  to  me  by  a  former 
Austrian  cavalry  officer  are  the  Jubilee  medals,  the  ( 
of  Merit,  the  Grand  Cross,  the  War  Medal  of  1866,  Iron 
Crowns  of  the  first,  second  and  third  classes.  Medals  of 
the  Order  of  Leopold,  the  Order  of  the  Golden  Fleece, 
and  many  others. 

Von  told  me  he  expected  to  be  under  way  within  four 
weeks.  So  by  the  time  this  tip  reaches  the  public  the 
picture,  no  doubt,  will  have  begun. 

Loses  the  Locks 

f   saw   Jackie   Coogan  the  other  day    for  the   first   time 

without  the  Dutch  bob  that  for   >ix  years  has  car 
fat  matrons  to  exclaim.  "Ain't  he  cute!" 

Jackie,  in  fact,  has  suddenly  grown  up.  When  a  star 
of  his  magnitude  is  shorn  of  his  infantile  locks,  it  is  an 
event  of  such  importance  that  it  has  to  be  immortalized 
in  a  movie.  So  the  next  vehicle  for  Jackie — the  one  on 
which  he  is  now  engaged — will  be  entitled  "Johnny  Get 
Your  Hair  Cut." 
The  Coogan  kid  plays  the  role  of  a  youthful  hobo  who 

59 


Spurr 


Here  are  Constance  Talmadge  and  her  new 
leading    man,    Tullio    Carminati,   who    for- 
merly played   opposite  Duse 


The  far-famed  "What  Price  Glory?"  has  reached  the  celluloid 
state  and  Edmund  Lowe  has  been  engaged  to  play  the  hard- 
boiled  sergeant  of  the  "leathernecks ' 


Autrey 


I 


beats  his  way  to  Latonia,  Kentucky,  scene  of  many  rac- 
ing classics,  and  becomes  a  jockey,  naturally  riding  the 
winning  horse  in  the  Kentucky  derby.  The  Jack  Coogans, 
father  and  son,  have  already  departed  for  Latonia, 
where  most  of  the  scenes  will  be  made. 

The  race-horse  story  was  written  for  Jackie  by  Gerald 
Beaumont.  The  picture  will  be  released  thru  Metro- 
Gold  wyn-Mayer. 

Not  Always  Fair  Weather 

n   spite  of   propaganda   sent  out   by  the   Los   Angeles 

Chamber  of  Commerce  calling  attention  to  the  mean 
average  temperature  of  the  Glorious  Southland,  we  do 
have  a  few  uncomfortably  hot  days  in  this  latitude. 
These  days  are  the  ones  invariably  selected  by  motion 
picture  directors  for  the  filming  of  Alaskan  or  Siberian 
scenes  in  which  the  poor  actors  are  swathed  in  furs. 

On  one  such  day  I  wandered  across  the  Pick  ford- 
Fairbanks  lot,  now  leased  to  Joe  Schenck.  The  sound  of 
sleigh-bells  attracted  me  to  a  set  where  tons  of  salt  cov- 
ered everything,  presenting  the  illusion  of  snow. 

Two  cutters  emerged  from  the  courtyard  of  a  castle 
and  stopped  in  front  of  the  cameras.  Swathed  in  furs, 
a  blonde  lady  hastily  descended  from  one  of  the  sleighs, 
shook  the  prop  snow  from  her  shoulders  and  vanished 
in  the  castle.  A  director  shouted,  "Cut !"  The  actress 
shed  her  sables,  kicked  off  a  pair  of  galoshes,  and  began 
ardently  to  fan  herself.  I  recognized  her  then  as  Con- 
stance Talmadge. 

Miss  Talmadge  is  making  "The  Duchess  of  Buffalo." 
It  may  be  her  last  picture.  She  told  me  that  she  may 
quit  the  game  and  be  plain  Mrs.  Mackintosh  for  the  rest 
of  her  life. 

She  is  fortunate  in  having  for  her  leading  man  in  the 
wintry  picture  the  talented  Italian,  Tullio  Carminati, 
formerly  leading  man  and  managing  director  for  Eleonora 
Duse.  When  I  saw  this  young  man  making  love  on  the 
stage  of  a  Los  Angeles  theater,  I  wondered  why  in  the 
world  some  producer  didn't  nab  him.  But  nobody  took 
the  hint  until  Schenck  brought  him  back  to  America  last 
fall  and  placed  him  under  a  two-year  contract. 


A  Comeback 

[   fancy  it  will  be  pleasant  to  the  believers  in  women's 
rights  to  hear  that  Lois  Weber,  who,  for  a  long  time 
has  been  the  lone  woman  director  in  motion  pictures,  has 
staged  a  comeback. 

Miss  Weber  was  out  of  the  running  for  about  five 
years  until  she  got  a  job  at  Universal  to  make  a  picture 
from  Dana  Burnett's  "Technic."  The  result  is  called 
"The  Marriage  Clause."  It  is  a  highly  creditable  picture, 
taking  into  account  the  limitations  to  which  the  feminine 
director  was  subjected. 

Billie  Dove  and  Francis  X.  Bushman  have  the  leading 
parts.  It  is  in  the  nature  of  a  comeback  for  Bushman 
as  well  as  the  directress.  The  story  is  a  Svengali-Trilby 
affair,  in  which  a  young  girl,  aspiring  to  stage  success,  is 
taken  in  hand  by  a  director  who  puts  her  over.  But  as 
she  rises  he  descends.  There  is  a  thrilling  finish  in  which 
the  Svengali  impresario  pulls  himself  together  and  by 
force  of  his  will  compels  the  girl  to  give  a  triumphant 
performance  altho  she  is  seriously  ill. 

Glory  for  Two 

More  eyebrows  have  been  arched  in  surprise  in  Holly- 
wood  over  the  casting  of  "What  Price  Glory?"  than 
have  been  raised  since  Jackie  Coogan  proposed  playing 
"Hamlet." 

The  two  principal  characters,  the  rivals  of  the  stage- 
play,  are  a  most  ill-assorted  pair.  Captain  Flagg  is 
played  by  Victor  McLaglen,  the  giant  of  "The  Unholy 
Three."  Edmund  Lowe,  esteemed  for  his  suave  society 
types,  is  cast  as  the  hard-boiled  Sergeant  Quirk.  The 
girl,  Charmaine,  is  played  by  Dolores  del  Rio,  the  new 
Mexican  beauty,  who  is  of  the  most  decided  Spanish  type 
and  resembles  a  village  maid  of  France  about  as  much  as 
she  resembles  Mrs.  Cal  Coolidge.  The  comparison  of 
Senorita  del  Rio  with  Renee  Adoree  of  "The  Big  Parade" 
will  be  inevitable,  and  no  matter  how  well  the  charming 
senorita  performs,  the  fact  remains  that  she  does  not  look 
the  part. 

Fox    has    expanded    the    war    play    by    writing    in   a 


60 


n  ASSIC 


Smith 


He  is  known  by  no  other  name  than  Heinl.-.     Whenever  a  picture 

needs  a  dash  of  slap-stick  or  comedy  relief,  this  very  busy  extra 

is  engaged  to  do  his  stuff 


Sirami  Peyt 


Cecil  B.  De  Mille  has  a  way  of  discovering 
new  talent.  The  young  man  above  is 
Kenneth  Thompson — C.   B.'s  newest  "find" 


sequence  that  takes  place  in  China  and  the  Philippines  in 
the  years  1911-14. 

The  Light  Fantastic 

Summer  in  Hollywood  is  not  without  entertainment  for 
^  our  lighter  moments.  "Chariot's  Revue"  is  running 
at  the  new  El  Capitan  Theater,  the  first  legitimate  theater 
to  be  erected  in  our  celluloid  metropolis. 

At  the  Orange  Grove  Theater  in  Los  Angeles— a  sub- 
urb of  Hollywood — the  inimitable  "Music  Hall  Revue," 
staged  by  Will  Morrissey,  is  attracting  crowds  of  the 
cognoscenti,  as  well  as  those  whose  occupation  is  the 
merchandising  of  dairy  products. 

The  revue  is  such  a  success  that  Ralph  Spence,  Will 
Morrissey  and  Arthur  Freed  have  incorporated  for 
$100,000  and  will  put  on  a  series  of  shows  at  the  Orange 
Grove.     The  next  will  be  called  "Polly  of  Hollywood." 

Spence  is  the  author  of  "The  Gorilla."  Freed  is  a 
well-known  song  writer.  Morrissey,  himself,  is  one  of 
the  keenest  satirists  of  the  American  stage.  Midgie 
Miller  is  to  be  starred  in  all  the  shows  of  the  Orange 
Grove 

Pola's  Directors 

It's  just  one  director  after  another  with  Pola  Negri.  In 
her  effort  to  find  someone  who  understands  her  she  has 
employed  most  of  the  directors  on  the  Lasky  lot.  Ever 
since  she  stepped  on  American  soil  she  has  not  had  re- 
vealed the  talent  which  marked  her  work  in  the  German 
production,  "Passion."  And  the  blame  has  rested 
equally  on  the  mediocre  stories  given  her  and  on  the 
directors.     The  latter  have  failed  to  understand  her. 

About  the  most  successful  of  the  directors  who  have 
handled  her  is  Mai  St.  Clair,  who  was  in  charge  of 
Pola's  latest  picture,  "Good  and  Naughty."  At  least,  he 
has  made  her  bring  out  a  sympathetic  characterization — 
as  well  as  establishing  the  fact  that  she  knows  a  comedy 
scene  when  she  sees  it. 

But  St.  Clair  wont  linger  with  her.  He  has  other  work 
cut  out  for  him.  So  Pola,  according  to  my  spies  on  the 
Coast,  will  give  Mauritz  Stiller  a  chance  to  understand 
her  moods  and  make  the  best  of  them.     The  tempera- 


mental Swedish  director,  who  has  but  recently  come  to 
America,  has  been  given  a  verbal  barrage  of  bouquets  by 
the  other  foreigners  who  handle  the  megaphone.  Prac- 
tically all  of  them  proclaim  him  the  master  of  them  all. 

The  story  goes  that  when  he  was  assigned  by  Metro- 
Goldwyn  to  direct  "The  Temptress"  he  became  so  vio- 
lently temperamental  that  no  one  could  get  along  with 
him — and  in  the  middle  of  the  picture  he  was  discharged, 
Fred  Niblo  taking  his  place.  Now  that  he  has  found 
another  job  the  public  is  engaged  in  watchful  waiting  to 
see  how  Pola  fares  under  his  guidance. 

Stiller  may  be  the  man  to  lead  her  out  of  the  Egypt 
of  mediocre  pictures.  The  cry  was  raised  from  the  start 
that  the  Polish  star,  being  a  foreigner,  needed  a  foreign 
director  to  handle  her.  Yet  Buchowetzki  failed  to  accom- 
plish anything  out  of  the  ordinary  when  he  directed  her. 
Maybe  it  needs  temperament  to  combat  temperament. 
With  Stiller  having  his  share  of  it — as  well  as  Pola. 
probably  they'll  get  along  very  well  together. 

Natural  Colors 

umors  fly  thick  and  fast  on  the  Coast  and  it's  difficult 
tackling  them  and  bringing  them  to  earth.  One  of 
the  latest  to  warrant  the  chasing  o;  it  around  the  lots 
concerns  Cecil  B.  De  Mille.  Ever  up  on  his  toes  with 
bright  ideas — ever  alert  as  to  what  constitutes  a  "scoop" 
on  his  neighbors,  C.  B.  is  going  in  for  natural  colors — 
and  they  dont  pertain  to  any  technical  process,  either. 

The  story  goes  that  having  seen  how  Belasco  has 
profited  by  introducing  colored  types  in  his  stage  produc- 
tion, "Lulu  Belle,"  he  will  do  a  story  based  on  Negro 
life — carrying  the  tentative  title  of  "Porgy." 

C.  B.  is  ever  after  novelties.  He  knows  as  well  as  the 
next  man  who  walks  with  his  eyes  open  that  the  dark- 
skinned  South  Sea  Islander  is  not  so  much  in  popular 
favor  these  days — that  the  public  is  fed  up  with  the  brown 
Peter  Pan  of  the  Pacific.  And  so,  if  the  story  contains  an 
ounce  of  truth,  he  will  concentrate  one  of  these  days  on 
a  deep-hued  brunette. 

But  he  will  have  to  work  fast.  Reports  have  it  that 
Monta  Bell  has  ambitions  to  make  a  picture  with  Negro 
{Continued  on  page  89) 


R 


61 


H.  R.  H. 


DUCHESS 


A  duchess  can  even  be  unhappy.     When  she 

tries  to  occupy  a  throne  which  is  ten  sizes 

too  large  for  her,  you  wish  she  could  kick 

over  the  traces  and  enjoy  herself 


62 


The  Answer 


Replies  to  CLASSIC  Readers 


.  v     t  In  i  a     were 

■    in   the   midst   of    the   strike    in 

Ion.      Guess    n    was    pretty    ex- 

ihn    Barrymore    and    Do 

jtello   arc   to   be   co-starred 

ni  "Manon   Lescaut." 

Mary    A.     Fire    away  !      This    is 
the  month  for  it      You  say  :    "Your 
.    methinks,     is    like    an    hour- 
ins    imaginations   run 
sands,  filling  up  time."     Ricardo  Cortez's  real  name  is  Jacob 
Kr.mtz.     And  now   you  want  the  life  story  of   Ramon   Novarro. 
I'll  see  what   1  can  do.     At  this  writing  he  is  in  New  York. 

\    P.     Well,   what  class   of   women  are  most   apt   to  give 

tone    to    society?      The    Hello?      You    want    a    picture    of    Buck 

That  ought   to  be  easy.     And  you  like  Irene   Rich   in   sad 

stor>    scenes      She  is  good  at  that,  isn't  she?     There's  been 

lange.      Eric    von    Stroheim    is    not   to   direct    Pola    Negri    in 

"Hotel    Imperial"   after   all. 

LYNN.-  Yes,  it  is  $15.00  per.  And  you  dont  believe  it.  At 
twenty  he  thinks  he  can  save  the  world:  at  thirty  he  begin-  to 
wish  he  could  save  part  of  his  salary.  William  Boyd  is  playing 
in  "Man  o'  War"  with  Jetta  Goudal. 

Peggy  F.— Listen  here,  Peggy.  I  only  answer  questions  for 
this  magazine  and  the  Motion  Picture  Magazine,  the  latter  being 
the  first  motion  picture  magazine  in  existence,  and  that's  not 
maybe.  So  you  think  Mae  Murray  is  really  beautiful.  I  guess 
you  are  not  alone.     Norma  Shearer  in  "Up  Stage." 

KlTTY. — Say,  I'm  not  a  weather  bureau,  how  do  I  know  whether 
Elinor  Faire  and  William  Boyd  are  always  going  to  be  happy. 
You  never  know  when  there's  going  to  be  a  storm.  Yes.  Norma 
Talmadge  is  married  to  Joseph  Schenck.  Betty  Blythe  is  expected 
back  in  New  York  in  August  to  fulfill  a  vaudeville  engagement. 
Bin  C. — I  dont  know  about  the  greatest  battle  of  screen  giants, 
altho  I  never  will  forget  the  fight  between  Tom  Santschi  and 
Bill  Farnum  in  "The  Spoilers"  at  the  opening  of  the  Strand,  in 
New  York  City,  in  1914.  I  think  the  greatest  would  be  between 
Tom  and  Hobart  Bosworth.  You  know  Mary  Pick  ford  is  in 
Europe  at  this  writing.  Address  Buck  Jones  at  Fox  Studios, 
14(12   North   Western  Avenue,   Hollywood,  California. 

Irene  H.— Well,  you  know.  Irene,  the  more  idle  a  woman's 
hand,  the  more  occupied  her  heart.  You  remind  me  of  this  little 
verse  : 

I  wish  I  was  a  little  rock 
Away  up  on  a  hill ; 
A  doin'  nothing  all  day  long 
But  just  a  sittin'   still. 
I   wouldn't  work,   I   wouldn't  sleep 
I  wouldn't  even  wash ; 
I'd  just  sit  still  a  thousand  years 
And   rest   myself,   by  gosh! 
>ur  favorites  are  Douglas  Fairbanks  and   Mae   Murray 
you  wouldn't   want  to  see  them  play  together,  would  you  ? 
Murray  is  playing  in  "Altars  of  Desire." 

Big  Boy. — The  "grand  dame"  you  refer  to  who  is  so  aristo- 
cratic as  mother,  dowager,  and  royal  personages  of  advanced 
age  is  Kate  Lester,  but  she  is  of  the  old  Suydams  of  New  York 
and  that  is  her  name.  She  has  a  firm  background,  having  plaved 
with  Richard  Mansfield,  John  Drew,  Mrs.  Fiske,  Julia  Marlowe. 
William  H.  Crane,  Henrietta  Crossman,  Robert  Mantel!  and  all 
the  rest  of  them.  Norman  Kerry  is  playing  in  "Love  Me  and 
the  World  Is  Mine." 

Monsieur  G. — Wee,  wee,  but  men  love  at  first  and  most 
warmly;   women  love  last  and  longest.     This  is  natural   enough; 


THE  ANSWER  MAN  is  at  your  service.  If  you 
want  an  answer  by  mail,  enclose  a  stamped  addressed 
envelope.  If  you  wish  the  answer  to  appear  in  THE 
CLASSIC,  write  at  the  top  of  your  letter  the  name 
you  want  printed,  and  at  the  bottom  youi  full  name 
and  address.  Address:  The  Answer  Man.  Motion 
Picture   Classic,    175   Duffield   Street,    Brooklyn,    N.   Y. 


But 

Mae 


for  nature  make-  women  to  be  won 
and    men    to    win.       You    can     reach 

William  Haines  at  Metro-Goldwyn, 
Culver  City,  California.  Thank- 
for  the  invitation,  I  would  like  very 
much   to   run  out   to   Illinois   just   to 

give   the   "girls  a   treat  " 

Bettie    K.— I    should    -ay    these 
whiskers    of    mine    are    warm.      You 
can    reach    Greta    Garbo    at    Metro 
Goldwyn    Studios,    Culver    City.    California.      Alice    Joyce    is    to 
be    featured    in    the   next    W.    C     Field    i  i<  tun  7<>ur    Old 

Man."  Adolphe  Menjou  in  "The  Ace  of  Cads."  Vilma  Hanky 
and  Agnes  Ayres  in  "The  Son  of  the  Sheik."  Why  Dolores 
Costello  weighs  about    120  pounds. 

Helen    S. — Yes,    Monte    Blue    has    a    little    daughter.    Barbara 
Ann,  born  on   April    5th.      Fox   are   producing    "Is   Zat    So,"    with 
Virginia    Valli.      Wanda    Hawley    and    Gareth    Hughes    in    "The 
Totem    Pole    Beggar."       Syd    Chaplin's    next    is    "The    Cue'.. 
Nest"   from  an  old   English   play.     See  you   later.    Helen. 

Con  me  P. — Just  address  Corinne  Griffith  at  the  United  Studios 
II.  B.  W'arner  has  been  signed  for  a  lead  in  Metro-Goldwyn's 
"The  Temptress."  Yes,  Francis  X.  Bushman  in  "Butterflies  in 
the  Rain."  with  Laura  LaPlante.  Run  in  again  some  time,  when 
you  can  stay  longer. 

1     koi.vn    O. — That's   all    right,    there   are   nearly    1,400   de\ 
patented   by   women    in    this   country.      Peggy   Joyce   did    play    in 
a   picture  some  time  ago.   "The   Skyrocket,"   and   she   is   to   make 
some   more    for   Associated    Exhibitors. 

FELIX. — I'm  right  on  hand,  always  at  the  question  post  You're 
right,  love  is  the  beginning,  the  middle  and  the  end  of  everything. 
Greta  Nissen  weighs  about  110  pounds.  You  say  you  know 
for  a  positive  fact  Harold  Lloyd  likes  radishes.  Maybe  he- 
likes  red.  John  Barrymore  in  "The  Sea  Beast,"  "Don  Juan" 
and  "Manon  Lescaut." 

J.  U.  C.  Manila. — I  dont  think  Alma  Rubens  and  her  husband, 
Ricardo  Cortez,  went  to  Manila  on  their  honeymoon  as  antici- 
pated. William  Cody's  initial  starring  picture  for  Associated 
Exhibitors  will  be  "The  Galloping  Cowboy"  with  Florence 
L'lrich,  sister  to  Lenore. 

Wild  Kin,  Singapore. — So,  F.  A.  S..  90-B  Bukit,  Temah  Road, 
Singapore,  S.  S.,  would  like  to  join  one  of  the  correspondence 
clubs.  Take  it  easy,  girls.  I'm  sorry,  old  man.  but  1  dont  happen 
to  know  the  price  of  Buck  Jones'  hat.  You  mean  the  broad 
brimmed  cowboy  hats.  Better  send  for  a  Sears-Roebuck  catalog. 
Chicago,  Illinois.    Ruth  Clifford  is  married  to  James  A.  Corneliu.-. 

MORRIS  K. — Well,  to  educate  a  man  is  to  form  an  individual 
who  leaves  nothing  behind ;  to  educate  a  woman  is  to  form  future 
generations.  Jackie  Coogan  was  born  Octol  r  26,  1914.  and  he 
is  playing  in  "Johnny-Get-Your-Hair-Cut." 

[SABELLE  J. — Yes,  Leatrice  Joy  and  her  brother,  Billy,  came 
over  to  Brooklyn  to  see  us.  She  was  very  popular  around  the 
magazine  offices,  Leatrice  was  quite  at  home,  and  we  were  sorry 
not  to  have  her  with  us  longer.  So  you  want  Ronald  Colman  to 
read  "Gentlemen   Prefer   Blondes."     Do  you   think  he  should  ? 

Blanche    K. — Well.    Natacha    Rambova    doesn't    tell    her 
and  neither   does  Jean   Acker.     Valentino  has   been   married   only 
twice. 

Mus.  H.  M. — You're  quite  right,  the  more  women  have  risked 
the  more  they  are  willing  to  sacrifice.  Yes,  Valentino  lives  at 
Beverly  Hills.  California.  George  O'Brien  is  playing  in  "The 
Story  of  Mother  Machree." 

Evelyn    G. — Well,   you    know    that    Richard    Barthelmess    was 
(Continued  on  page  90) 


63 


THE       f 

Celluloid| 
CRUISE 

of  the      1 

Continents 


Marietta  Millner,  the  Austrian  star,  has  been  engaged 
for  Universal's  'round-the-world  pictures 


Wide  World  Photos 
On  any  cruise  of  the  continents  you  would  naturally 
expect   the   Germans  to   be  represented.     Which   ac- 
counts for  Elga  Brink,  one  of  Berlin's  leading  picture 
stars 


64 


Among  those  who  will  be  featured  on  this  globe-encircling 
tour  with  Kleigs  and  camera  is  Jack  Trevor,  an  English  actor 

FOR  the  first  time  in  motion  picture  history  Universal 
will  produce  three  encircling-the-globe  pictures. 
The  idea  is  a  result  of  conferences  arranged  by  Carl 
Laemmle,  the  chief  mogul  of  Universal,  while  abroad 
last  year.  The  company  was  gathered  together  in  Ger- 
many and  production  has  already  been  started  on  the  first 
of  the  films,  "The  Woman  Without  a  Name." 

When  the  troupers  reached  New  York,  they  immedi- 
ately set  sail  for  Havana  and  environs  to  take  exteriors. 
Eventually  the  two-part  feature  will  be  finished  in  San 
Francisco  and  Universal  City. 

The  title  of  the  other  picture  is  "Forbidden  Kisses"  and 
the  itinerary  calls  for  visits  to  Honolulu,  Shanghai,  Tokyo 
and  other  Oriental  cities.  The  return  to  Germany,  where 
the  interiors  will  be  filmed — will  be  over  the  trans- 
Siberian  railroad. 

The  celluloid  tourists  will  be  under  the  leadership  of 
George  Jacoby,  the  European  director.  He  is  known  in 
this  country  for  his  production  of  "Quo  Vadis." 


_, 


WMW/     ;. 


THOMAS   MEIGH/L 


~l  Vl 


— A    Home    Portrait. 


wno&i'G 
i\C  ConrfencQ 
\  'Tklmadgp 

Vizewinners   in   our  One 
Week   Competition 


It's  the  Personality  That  Counts 


( c  ontinmd  t '  '»i  Pao*  l()  > 


proves  conclusive!)  tint  as  appraisers  ol 
prospective  screen  talent  out  producers  and 
experts  would   make  good  piano  turn-!'. 

Bring  on   the   Defecta 
VJ/itv  ileal  in  a  lot  ol  moss  covered  theo 

W  rieS,  when  there  .ire  |>lent\  ol  ie.il  I.nl- 
staring  them  right  in  the  face?    To  punc 


Hull 


Jack  Pickford 


ture  the  light-eye  theory,  it  is  only  neces- 
to  refer  to  a  list  of  our  screen  fa- 
vorites, and  we  find:  Mae  Murray,  Gloria 
Swanson,  Marion  Davies,  Douglas  Fair- 
banks, Fred  Thomson,  Eugene  O'Brien, 
Reginald  Denny.  Thomas  Meighan,  Lillian 
Gish.  Vilma  Banky,  Renee  Adoree,  May 
IfcAvoy,  Blanche  Sweet,  Corinne  Griffith. 
Dolores  Costello,  Anna  Q.  Nilsson,  and 
others  with  decidedly  light-colored  eyes 

Vet  only  the  other  day  I  heard  a  well- 
known  producer  reject  a  young  actor  who 
appears  to  be  one  of  the  most  likely  pros- 
pects that  has  arrived  in  the  film  colony 
for  many  years,  because  "his  eyes  are  too 
light."  And  this  producer  thinks  he  knows 
a  great  deal  about  the  picture  business. 

I  have  seen  producers  turn  down  young 
screen  prospects  for  almost  every  sort  of 
reason  imaginable,  because  of  fat  ankles, 
because  of  promineni  noses,  because  their 
gums  showed  when  they  smiled  broadly, 
because  their  eyes  were  too  close  together, 
because  of  high  cheek-bones,  because  their 
ears  were  too  large,  and  because  their  fea- 
tures were  too  small.  Ye,t  by  a  moment's 
reflection,  the  producer  could  have  discov- 
ered that  there  are  many  favorites  upon 
the  screen  who  have  one  or  more  or  all  of 
these  defects. 

In  fact,  there  seems  to  be  no  defect  that 
completely  bars  a  player  from  popularity  if 
he  or  she  has  other  pleasing  qualities. 
There  are  even  three  popular  young  ac- 
tresses on  the  screen  at  the  present  time — 
chivalry  forbids  mentioning  their  names — 
whose  eyes  refuse  to  look  at  the  same  place 
simultaneously. 

Moss-Covered  Regulations 

As   for  the  old  chestnut  which  says  that 

screen  actresses — conversely  to  screen 

actors — should    be    short,    there    are    Con- 


Krnnrth  Alexander 

Mae  Murray 

stance  Talmadge,  Eleanor  Boardman,  Es- 
ther Ralston,  Colleen  Moore,  Vilma  Banky, 
Leatrice  Joy.  Lois  Wilson,  Claire  Windsor, 
Irene  Rich.  N'ita  N'aldi,  Greta  Garbo  and 
Anna  Q.  Nilsson  to  relegate  this  rule  into 
the  discard. 

By  all  means,  let  us  not  forget  regulation 
NO.  316,  which  states  that  screen  leading 
men  should  be  smooth-shaven,  while  screen 
villains  should  boast  some  hirsute  adorn- 
ment. In  the  past  year  or  so,  however, 
this  canon  has  been  smashed  to  smithereens, 
thanks  to  Ronald  Colman,  John  Gilbert, 
Adolphe  Menjou,  Lew  Cody,  Lewis  Stone, 
and  even  Douglas  Fairbanks. 

If  this  sort  of  thing  keeps  up,  we  may 
even  live  to  see  the  day  when  the  fashion 
for  heroes  will  be  a  complete  set  of  chin- 
whiskers. 

Rules,  regulations,  laws  and  dogmas — the 
film  industry  is  full  of  them,  but  they  dont 
mean  anything. 

They  said  that  comedians  couldn't  be 
serious,  and  Chaplin  proved  that  he  could 
be  tragic  and  make  the  public  like  it. 

They  said  that  comedians  had  to  wear 
trick  clothes  and  a  funny  mustache,  and 
Harold  Lloyd  became  the  biggest  money- 
maker in  film  history  without  either. 

They  said  that  comedians  had  to  have  a 
droll  appearance  and  along  comes  the  good- 
looking  Raymond  Griffith. 

Why,  Buster  Keaton  proved  that  a  come- 
dian doesn't  even  have  to  be  funny. 

They're  Out  of  the  Rut 

Dudolph  Valentino's  rise  to  popularity 
was  another  setback  for  the  rule- 
makers.  Rudy  had  been  knocking  about 
Hollywood  for  several  years  trying  to 
break  into  the  movies.  The  best  he  ever 
got  was  a  few  unimportant  roles.  The  pro- 
ducers and  casting  agents  declared  that  he 
violated  rule  No.  226-A — he  was  too 
foreign-looking. 

The  experts  knew — so  they  said — the 
American  public  did  not  care  for  foreign 
players  on  the  screen.  Then  came  the 
"Four   Horsemen." 


Rule  No,  226  x  »j'  smothered  undei  ■><> 
avalanche  "i  foreign  players  who  Ik-kjh  to 

'     the    Amrrn.ni    nrrni,    jnd    the    | 
IS     villi    nil 

Valentino,  who  i  ouldn  l 

he   was   •  .mi  iixikiiig.   became   the 

idol  "i  the  American  public  ami  the  r« 

homed  away  I  p  some  new  rule* 


Bull  Montana 

It  might  also  be  mentioned  that  Valen- 
tino broke  other  rules  in  his  ascent  to  film 
fame,  his  eyes  being  smaller  and  more 
closely  together  than  movie  dogma  allowed. 

Norma  Shearer  might  be  mentioned  as 
another  player  who  had  a  long  struggle  in 
breaking  into  the  films,  because  she  did 
not  answer  the  accepted  screen  require- 
ments. It  was  only  after  learning  many 
make-up  tricks  and  much  experience  before 
the  camera  that  Norma  discovered  how  to 
fool  the  experts  and  make  them  think  she 
had  a  screen  face. 

When  Douglas  Fairbanks  first  tried  his 
hand  at  the  silent  drama,  it  was  predicted 
by  many  that  he  would  be  a  big  failure. 
In  those  days,  it  was  a  custom  for  all 
screen  players  to  act  very  slowly.  In  fact, 
they  moved  and  walked  about  before  the 
camera  in  a  very  self-conscious  and  cum- 
bersome manner.  The  idea  was  to  register 
everything  deliberately  and  with  great  im- 
portance to  the  spectator. 

Fairbanks  didn't  know  anything  about 
this  and  he  nearly  broke  the  hearts  of  a 
number  of  experts  by  ignoring  one  of  their 
most  iron-clad  rules.  Doug  moved  and 
jumped  about  before  the  camera  with  an 
alacrity  that  made  the  experts  shake  their 
heads  and  turn  thumbs  down. 

When  Doug  began  to  appear  on  the 
screens  thruout  the  country,  however,  the 
public  at  once  seized  upon  him  as  a  per- 
sonality refreshing  and  different.  Instead 
of  slowing  down  in  his  movements,  Doug 
put  on  a  little  extra  steam  and  soon  became 
the  biggest  favorite  of  the  day. 

Symmetry  Does  Not  Shine 

It  is  not  necessary  to  go  into  embarrassing 
details,  but  anyone  who  will  impartially 
analyze  the   feaures  of    Norma   Talmadge, 
(Continued  on  page  79) 


Thomas  Meighan 


Strauss  Peyton 

Ramon  Novarro 


Moray 


Milton  Sills 


Masters  of  the  Motion  Picture 


(Continued  from  page  25) 


food  for  thought.  Fur- 
thermore, he  never  in- 
sults the  understanding. 
Here,  since  we  are  all 
grown-ups,  a  courtesan 
is  a  courtesan ;  a  pan- 
der is  a  pander.  We 
are  made  to  feel  the 
reality  of  these  genre 
portraits  despite  their 
romantic  background. 

The  Art  of  Satire 

Iubitsch's  social  sa- 
tires,  such  as  "The 
Marriage  Circle"  and 
"Kiss  Me  Again,"  force 
themselves  even  more 
easily  into  the  category 
of  masterpieces. 

There  is  less  glitter 
to  dazzle  your  eyes. 
The  nature  of  these 
films  is  simpler,  as  the 
highest  art  is  nearly  al- 
ways the  simplest. 
While  dealing  with 
more  trivial  moods, 
"Kiss  Me  Again,"  for 
instance,  is  created  out 
of  much  characteristic 
movie  "business."  There 
is  a  sequence  running  several  thousand 
feet  in  which  the  husband  and  wife,  Monte 
Blue  and  Marie  Prevost,  discuss  with 
their  lawyer  the  most  sensible  method  of 
getting  their  divorce.  The  pantomime  here 
is  tremendously  funny  without  having  any 
of  the  dynamic  farce  of  the  Harold  Lloyd 
buffoonery.  The  face,  hands,  body  of 
Monte  Blue  suddenly  become  an  instru- 
ment that  flickers  before  the  camera  lens 
with  infinite  fantasy.  The  film  offers  a 
brilliant  psychological  portrait  of  these 
frivolous  but  extremely  human  charac- 
ters. 

Instead  of  being  panoramic  like  Griffith, 
who  gives  you  a  great  sweep  of  thousands 
of  men  and  horses  over  a  span  of  years, 
Lubitsch  is  analytical,  and  prefers  to  film 
a  few  highly  concentrated  moments  which 
have  the  imaginative  fillup  of  any  highly 
distilled  beverage.  It  all  has  the  effect 
sometimes  of  certain  dreams  in  which 
events  unfold  themselves  with  an  unearthly 
clarity,  so  that  every  detail  of  a  room,  of 
a  person's  speech,  is  imprinted  on  your 
mind. 

"To  see  eternity  in  a  grain  of  sand  .  .  ." 
said  the  poet,  Blake.  And  Lubitsch  can 
see  and  show  us  eternal  truths  in  a  casual 
gesture,  or  the  oscillations  of  Mr.  Menjou's 
eyebrows. 

Lubitsch's  great  stunt  is  that  he  gets  all 
these  effects  with  such  simple  means,  with 
such  reasonable  material ;  like  the  frame- 
work of  the  old  domestic  triangle.  He  is 
so  intelligent  and  competent  as  he  moves 
from  one  bit  of  business  to  another  that 
he  makes  pantomime,  which  is  too  often 
mere  dumb  show,  have  a  much  greater 
range  of  meaning. 

There  is  one  side  of  these  films  that 
I  object  to,  however;  the  overtone  of 
cynicism.  Granting  that  sometimes  the 
fate  of  an  empire  rests  upon  the  propor- 
tions of  a  naughty  woman's  nose  or  hips, 
I  still  feel  that  that  is  not  the  whole  story. 
Nine  times  out  of  ten  the  greatest  vic- 
tories are  simply  won  by  sweat,  gameness, 
suffering.  Technically,  Lubitsch  touches 
the  deepest  tones  of  his  instrument ;  emo- 
tionally he  scratches  only  the  surface  of 
life. 


James   Cruze   is   a   master   of   motion.      His    masterpiece,    "The    Covered 

Wagon,"  presented  the  unique  sight  of  a  huge  train  of  prairie-schooners 

becoming  the  heroes  of  a  motion  picture  while  the  characters  emerged 

only  for  moments  from  their  roles  of  cogs  in  a  great  machine 


Stroheim's  Grim  Shadows 

""Those  deeply  moving  experiences  which 
I  demand  of  a  great  art  that  almost 
leaves  wounds  and  scars  in  the  memory, 
come  in  fragments  of  "Greed,"  Erich  von 
Stroheim's  great  picture.  To  see  this  is 
like  living  thru  the  night  of  one  of  those 
big  storms  on  the  Atlantic. 

There  were  striking  differences  in 
method  from  Lubitsch.  First,  there  is 
nearly  as  much  shadow  in  Stroheim's  work 
as  there  is  light  in  Lubitsch's.  Instead 
of  trying  for  an  effect  of  lightness,  he 
wants  to  be  ponderous  and  tragic. 

McTeague  is  an  uncouth  and  simple 
being  of  the  lower  classes  with  a  tragic 
life-story  which  Stroheim  sought  to  rep- 
resent, episode  after  episode.  It  was  not 
a  picture  for  tenderfeet,  for  the  film  in 
its  unflinching  realism  goes  down  to  the 
very   dregs   of   life. 

In  my  memory  the  picture  divides  itself 
into  two  parts :  the  action  in  the  city  up 
to  the  murder  and  the  flight  of  McTeague 
to  the  desert.  The  early  scenes  were  in- 
fused with  an  atmosphere  of  drab  horror 
and  piled  up  incitements  to  crime.  Stro- 
heim used  "camera  angles"  and  light  to 
get  the  most  impressive  lines  and  shadows 
he  could.  Above  all,  he  wanted  to  make 
each  set  fairly  drip  with  feeling.  A  master 
of  atmosphere,  he  composes  each  scene 
with  the  idea  of  driving  home  an  emo- 
tional effect  rather  than  a  picture  qf  action. 
He  focuses  his  camera  from  many  different 
angles ;  he  creeps  upon  things  and  sur- 
prises them;  now  he  lingers  over  them 
and  seems  to  wonder  about  them. 

Camera  Angles 

I  dont  know  who  first  invented  these 
"camera  angles."  At  any  rate,  Stroheim 
uses  them  with  telling  effect.  Finding  that 
you  can  get  startling  results  by  suddenly 
devoting  the  whole  spread  of  the  screen 
to  a  few  small  things,  or  even  part  of  one 
thing,  they  let  it  sweep  about  their  material 
like  a  huge,  superhuman  eye,  now  looking 
at  something  from  close  by,  now  from 
below,  now  from  twenty  stories  above. 
And  these  queer  "angles,"  w:hen  used  with 


artistry,  helped  to  em- 
phasize some  things 
above  others,  to  fix,  in 
short,  certain  impres- 
sions in  your  head.  It 
gives  the  camera  an 
amazing  grip  on  you. 

In  the  early  scenes  of 
"Greed"  there  is  a  shot 
of  the  wedding  group 
advancing  up  the  nar- 
row stairway  of  Mc- 
Teague's  house,  seen 
from  the  top  of  the 
hallway.  From  the 
point  at  which  you  see 
them,  they  all  look  pe- 
culiarly distorted,  flat- 
tened. There  is  some- 
thing uncanny  about  this 
effect,  and  it  gives  you 
a  nameless  fear,  which 
is  just  one  of  the  meods 
Stroheim  wants  to 
evoke. 

It    was    these    new 
and    terrible    sensations 
of    deep    shadows    and 
masses,  of  heavy  tragic 
movements    that    I    got 
from  "Greed." 
For   cinema   composi- 
tions   that    aim    at    atmosphere,    the    early 
scenes  of   "Greed"  have  not  yet   been  ex- 
celled by  American  work. 

There  is  a  group  of  films  which  seem 
to  represent  a  completely  different  tech- 
nique and  mood  from  the  Lubitsch-Stroheim 
variety.     I  mean  the  advocates  of  motion. 

An  Advocate  of  Motion 

Qne  of  the  classic  examples  of  this  type 
was  James  Cruze's  "The  Covered 
Wagon."  It  was  a  unique  thing  to  see 
a  huge  train  of  prairie-schooners  become 
the  hero  of  a  motion  picture,  while  the 
characters  emerged  only  for  moments  from 
their  minor  roles  of  cogs  in  a  great  ma- 
chine. The  drama  of  the  covered  wagons 
from  the  formation  of  the  train,  thru  its 
trials  and  quarrels,  to  its  final  haven  at 
the  sea  coast  was  an  amazing  spectacle,  as 
miraculous  as  anything  we  may  read  in 
Marco  Polo. 

It  is  pure  movie  stuff  again  at  its  best. 
In  no  other  form  could  you  have  had 
such  a  sensation  of  space,  of  the  infinite 
sweep  of  desolation,  which  these  winding 
trains  traversed.  It  was  only  because 
Cruze  really  cared  for  those  things  that 
he  got  so  much  of  the  magnificent  surging 
movements  of  this  nomadic  horde  of  cattle 
and  men.  The  journey  of  the  covered 
wagons  is  really  the  whole  storv  01  this 
film.  To  us  it  had  also  the  added  sig- 
nificance of  picturing  the  barbarous,  pio- 
neer side  of  America,  which,  recent  as 
it 'is,  is  already  forgotten. 

It  is  well  that  Cruze  commemorated 
brilliantly  another  colorful  phase  of  Amer- 
ican life:  the  rise  of  the  movie  industry 
itself.  "Hollywood"  was  really  a  much 
better  film  than  most  people  imagined.  It 
was  a  satire  upon  the  life  of  the  prepos- 
terous world  of  Holywood  that  made  us 
realize  just  how  topsyturvy  and  crazy 
things  were  over  there.  The  farcical  in- 
cidents ii.  which  the  group  of  innocents 
who  set  out  to  conquer  the  movie  capital 
are  immersed  increase  in  speed  and  ab- 
surdity until  it  is  all  perfectly  mad. 

One  of  the  best  sequences  was  the  dream 
scene,  in  which  the  hero  rows  thru  the 
(Continued  on  page  83) 


66 


The  Changeable  Chaplin 


only  partly  worth  while  if  I  ilid  not  see 
iplin.  I  went  to  a  telephone  and  called 
up  Samuel  Goldwyn,  and  he  endeavored 
touch  with  the  comedian  He 
called  me  hack  and  said  that  while  he  had 
not  been  able  to  communicate  with  Chap- 
lin he  had  ascertained  that  the  screen 
celebrity  would  not  leave   tor  >e\cral  days. 

The  following  afternoon  I  received  a 
message  from  Mr. 
saying  that 
he  had  made  an  ap- 
pointment for  me 
with  Chaplin  in  hi-> 
studio.  I  was  elated, 
and  punctually  I  went 
he  fun  -  maker's 
workshop,  where  1 
met  Chaplin's  man- 
ager, Alfred  Reeves 
has  been  with 
the  comedian  since 
the  niRhts  Chaplin 
played  in  "A  Night  in 
an  English  Music 
Hall  "  I  made  known 
to  Mr.  Reeves  the 
reason  for  my  pres- 
ence, hut  he  api>eared 
to  be  blissfully  igno- 
rant of  the  comedi- 
an's whereabouts.  He 
did  not  say  that 
Charlie  would  not 
come,  but  neither  did 
he  appear  to  think- 
that  he  would.  He 
was  non  -  committal 
and  evidently  he  de- 
cided to  make  my 
•  as  interesting  as 
he  could.  He  went 
over  the  same  de- 
scription he  had  ob- 
viously done  for  hosts  of  others  in  simi- 
lar circumstances. 

Mr.  Reeves  and  I  entered  Chaplin's 
combination  office  and  dressing-room  and 
in  a  somewhat  distracted  way  the  manager 
pointed  to  two  pairs  of  very'  large  shoes. 

"There  are  his  boots,  the  ones  he  wears 
for  the  screen,"  observed   Mr.  Reeves. 

Hanging  above  the  absurd  shoes  was 
the  little  tail  coat,  the  shapeless  trousers, 
and  above  them,  the  little  derby.  It  was 
all  very  interesting  to  look  at  these  props, 
but  where  was  Chaplin  ?  He  was  almost 
an  hour  late.  Mr.  Reeves  still  appeared 
to  be  wondering  why  I  should  think  that 
he  would  come,  and  he  turned  the  con- 
versation to  stage  settings,  as  his  eyes 
wandered  to  several  telegrams  arranged 
neatly  en  the  comedian's  desk. 

I  was  leaning  back  in  Chaplin's  favorite 
chair  and  Reeves  was  ascertaining  the 
business  done  by  "The  Gold  Rush,"  at 
Grauman's  Egyptian  Palace,  when  a  pre- 
possessing, active  man.  his  hair  well- 
touched  with  grey,  sprang  up  a  few  steps 
and  threw  open  the  screen  door.  It  was 
Charlie.  He  had  kept  the  appointment 
after  all.  Telegrams  did  not  interest  him, 
but  he  was  pleased  to  hear  that  his  latest 
picture  had  sold  out  at  the  matinee.  He 
was  dressed  in  a  well-cut  grey,  -striped 
suit  and  wore  spotless  white  shoes,  and 
only  when  he  smiled  did  he  remind  one 
of  the  sympathetic  character  one  has  seen 
so  much  on  the  screen. 

He  remained  only  three  minutes  in  his 
office,  and  then  we  left  the  building,  in 
front  oi  which  was  waiting  his  Rolls-Royce 
runabout  and  his  Japanese  chauffeur.  The 
chauffeur  jumped  up  in  the  back  seat  and 


:c    Peered   the   machine   to   the    V 
martre.     which,     when     we     entered, 
almost     empty        Only      the     head     waiter 

(nixed  the  comedian.   W 
a  table  near  a  window,  and  MOO  we   were 
talking   of    Thomas    Hurke,   of    I'hil    M.i>, 
the  black-and-white  art  London, 

of   the    Karno  comedians  and  of   Charlie's 
1 1 r > t  with   an    astrakhan   collar. 


musical  i><  !  Ins  mini 

laugh 
Tfal    man   oi    ux - 

of   much   disappotntmei 

■  r    a    l)<i-.tr>s    giving    a 
nice   to   l>e   ■bit  that    Mr     Chaplin 

will    he    present,    but    when    you   know    that 

the    |*-ople    have    com- 
Chaplin   and    he   does    not    put    in   an   ap- 
i  ranee,    it    mat  ■ 
«|uite   trying    (off    those 
who    are    entertaining, 
vcially      when,      at 
times,    they    are    well 
aware    that    som. 
the    guests    have 
•Ken     previous     en- 
gagements    hoping     to 
meet   and   talk    to   the 
comedian.     And  it  not 
infrequently      hai 
that    Mr.    Chap! 
faithful     Japanese 
calls  up  and    - 

"Mister  Chaplin 
very'  sorry'  but  so  ill 
cannot  come  to  dinner 
— he   very'   sorry.-' 

i  this  results 
in  the  host  or  the 
hostess  not  feeling 
the  least  comp;> 
regarding  Charlie's 
indisposition. 

Enjoys  His  Moods 


Here   is   Chaplin   with  Jo   Davidson,  the  famous  sculptor,   who   has  just 
completed  a  clay  portrait  of  the  comedian's  head 


His    Picture   Ideas 

"Vol'  know  I  believe  in  tenderness  in 
stories,"  Chaplin  said  in  the  course  of 
the  conversation.  "It  is  a  great  help  in  pic- 
tures, provided  you  can  express  it  with 
sincerity-.  In  'The  Gold  Rush,'  when  I 
am  a  millionaire,  you  will  see  that  I  cant 
resist  picking  up  a  cigar  butt.  This  re- 
flects the  mood  of  many  persons  who  have 
experienced  a  bitter  struggle  in  early  life. 

"To  this  day  I  fight  against  extrava- 
gance in  make-up,  as  I  constantly  think 
what  it  would  have  cost  me  in  the  old 
music-hall  days,  when  a  shilling  was  a 
shilling.  Even  now  I  economize  on  the 
crepe  hair  I  use  for  my  mustaches,  and 
when  I  throw  away  some  of  this  stuff  I 
recall  that  I  would  not  have  done  so  in 
the  early  London  days.  This  crepe  hair 
costs  about  a  nickel  a  yard,  but  there  you 
are.  On  the  other  hand,  I  sometimes  call 
off  work  for  the  day  and  pay  a  hundred 
men  who  haven't  done  a  stroke,  just  be- 
cause I  am  not  in  the  mood  to  act  or 
direct." 

It  was  nearly  five  o'clock  when  Chaplin 
drove  me  to  the  Ambassador  Hotel,  and 
he  promised  that  I  would  soon  see  him 
again. 

My  next  sight  of  Chaplin  was  at  a 
dinner  where  the  host  served  cocktails, 
and.  what  is  not  unusual,  Charlie  was 
late.  All  the  other  guests  had  arrived 
long  before  he  appeared  with  his  wife. 
He  was  cheerful,  when  he  appeared,  and 
he  looked  very  fit.  He  was  offered  a 
cocktail,  but  refused  it.  asking  the  servant 
whether  he  could  have  a  glass  of  water. 
That    evening    he    imitated    some    of    the 


C^haplin    impre 

one  as  if  he  rather 
enjoyed  his  moods. 
He  wants  to  be  dif- 
ferent and  when  it 
strikes  him  suddenly 
that  he  cant  stand 
going  to  a  certain  function  nobody  could 
make  him  change  his  mind. 

I  had  an  engagement  with  him  for 
dinner  on  another  occasion.  The  Japanese 
servant  called  up  and  announced  that  Mr. 
Chaplin  was  going  to  have  Sir  Henry 
and  Lady  Wood  with  him  and  that  we 
were  all  going  to  see  "The  Gold  Rush" 
after  dinner. 

"I  will  be  ready  at  seven  o'clock."  I 
said. 

"Very  well,"  said  the  Japanese,  timidly. 

Ten  minutes  passed  and  the  telephone 
rang  again. 

"Mr.  Chaplin  say  Sir  Henry' — Lady 
Wood  not  coming,  but  Mr.  Chaplin  meet  you 
at   seven-thirty."   breathed  the  Japaiu- 

Five  more  minutes  passed.  The  yellow 
man  was  again  on  the  telephone  : 

"Mr.  Chaplin  call  for  you  at  your  hotel 
at  seven-thirty  —  but  you  know — Mister 
Chaplin  not  always  there  on  time — some- 
times he  little  late." 

To  my  surprise,  instead  of  having. 
wait  that  evening  for  Chaplin,  he  turned 
up  five  minutes  early.  We  went  to  dinner 
at  a  restaurant  opened  by  one  of  his 
players,  and  there  I  had  the  experience  of 
listening  to  Raymond  Griffith,  who  speaks 
only  in  a  husky  whisper,  and  Charlie  talk- 
ing over  picture  plays  and  people.  Later 
we  drove  to  the  theater,  and  hardly  a 
soul  (and  that  was  in  Hollywood )  knew 
that  the  good-looking  man  next  to  me  was 
the  chief  player  in  the  feature  being 
screened.  He  was  the  only  man  who  did 
not  laugh  that  evening,  his  whole  mind 
being  wrapt  up  in  the  music,  which  he 
wanted  to  change. 

I  Continued  on   f04ic  83) 


67 


The  Haunted  Home  of  Movie  Ghosts 


popular  acclaim,  ghosts  that  bow  in  defeat 
before  the  remorselessness  of  Age — ghosts 
here  and  there  that  bow  before  the  folly  of 
extravagance  and  riotous  living. 

As  the  shadows  of  the  pepper  -  trees 
flicker  across  the  fence,  it  almost  seems 
that  the  notes  from  Wally  Reid's  saxo- 
phone can  be  heard  from  one  of  the  stages 
.  .  .  gay,  happy,  tragic  Wally,  grinding  out 
eight  and  nine  pictures  a  year,  continuing 
work  when  he  had  to  be  carried  on  the 
set,  forcing  a  smile,  making  the  executives 
think  it  was  only  another  irrepressible 
gag. 

In  the  distance  seems  to  move  the  enig- 
matic, courtly  figure  of  William  Desmond 
Taylor,  whose  murder  created  one  of  the 
unsolved  mysteries  in  recent  years  .  .  .  and 
just  beyond  is  a  girl  in  golden  curls  that 
he  is  directing;  Mary  Miles  Minter,  an- 
other ghost,  at  the  age  of  twenty-two.  her 
film  career  ended — 
because  of  the 
tragedy. 

Just  Memories 

James  Neill,  the 
character  actor, 
passes  in  the  flesh. 
As  he  looks  on  the 
ruins,  he  murmurs 
the  verse  quoted  at 
the  beginning  of 
this  story — "I  feel 
like  one  who  walks 
alone,  some  banquet 

hall    deserted " 

Neill  played  in  the 
very  first  picture 
made  on  this  lot. 

"What  memories ! 
What  memories  I" 
he  said  to  me.  "I 
remember  the  early 
days,  when  that  old 
barn  at  the  corner 
was  the  whole  stu- 
dio. I  owned  the 
only  automobile — 
an  old  Buick.  It 
was  the  sole  car 
parked  under  the 
pepper-trees  of 
Vine  Street,  where 
now  there  are  hun- 
dreds. Jesse  Lasky 
walked  to  work, 
and  so  did  Cecil  De 
Mille,  and  Samuel 
Goldwyn.  Dust  in 
Farnum,    the    star, 

owned  a  car  in  New  York,  but  he  hadn't 
brought  it  out  with  him.  The  studio,  for 
its  location  trips,  had  three  old  Pope- 
Hart  fords.  Later  Mr.  Lasky  purchased  a 
small  foreign  car." 

Dustin  Farnum  1  Why,  isn't  that  his 
name  on  the  Orpheum  24-sheet  across  the 
street,  advertising  him  in  "The  Littlest 
Rebel"  ?    One  rubs  one's  eyes. 

Dustin  Farnum,  the  man  who  missed  an 
opportunity  to  make  a  million  on  this  very 
spot !  He  and  Lasky  and  De  Mille  and 
Goldwyn  were  the  original  four  partners  in 
the  concern.  The  other  three  put  in  $5,000 
apiece.  Farnum  was  to  get  his  quarter  in- 
terest in  stock  in  return  for  acting  in  the 
first  picture,  "The  Squaw  Man."  At  the 
last  minute  he  decided  he  wanted  the  $5,000 
in  cash,  and  gave  back  the  stock,  and  the 
other  three  took  it  reluctantly  because  they 
had  a  hard  time  finding  the  $5,000.  Today, 
if  Farnum  had  retained  the  stock,  it  would 
be  worth  more  than  $1,000,000,  not  to  speak 
of  the  many  dividends.     But  he  took  the 


(Continued  from  page  33) 

$5,000  .  .  .  and    is    still    playing    on    the 
Orpheum,  so  the  billboard  says. 

Onward  Stalk  the  Shadows 
In  the  tide  of  traffic  that  swirls  by,  one 

sees  another  ghost,  a  chastened,  some- 
what shrunken  ghost  with  a  serious  face, 
who  passes  in  an  unobtrusive,  inexpensive 
car.  He  casts  a  pondering  glance  at  the 
partially  demolished  studio.  Whatever  may 
be  his  thoughts,  they  are  well  hidden  be- 
hind the.  immobile  mask  of  his  counte- 
nance. It  is  Fatty  Arbuckle,  and  the  door 
which  he  is  now  hurrying  past  is  the  same 
to  which  he  used  to  drive  with  a  grand 
flourish  in  a  red-and-gold  custom-built  auto- 
mobile. Today  he  is  on  his -way  to  the  Metro- 
Goldwyn-Mayer  lot,  where  he  is  directing 
under  the  name  of  William  Goodrich. 

Ghosts  of  dead  heroes  and  heroines,  of 
men  and  women  who  laughed  and  loved  in 


Here  is  a  bird's-eye  view  of  the  Lasky  Studio  in  Hollywood  which  is  being 

dismantled.     Famous  Players  are  erecting  a  new  studio,  the  plans  calling  for 

enough  floor  space  to  take  care  of  eleven  enormous  stages 


the  celluloid  world  of  make-believe,  haunt 
the  spot.  Most  of  them  worked  there,  all 
of  them  knew  it  as  a  landmark :  Edward  S. 
Abeles,  Hjfrry  Woodruff,  Bobby  Harron, 
Alan  Holubar,  the  director,  all  dead. 
Glorious  Barbara  La  Marr,  who  died  at 
the  pinnacle  of  fame ;  Harold  Lockwood, 
victim  of  the  "flu"  epidemic,  and  brave 
Larry  Paton,  who  paid  the  price  in  France. 
Arthur  Johnson  and  John  Bunny  passed 
away  before  this  studio  was  well  known, 
but  Bunny's  leading  lady,  Flora  Finch, 
recently  .  appeared  in  a  small  role  in 
Gloria  Swanson's  latest  Paramount  picture. 
Charles  Ogle,  the  charactci  actor,  is  re- 
tired and  living  at  Long  Beach,  California. 
He  has  no  telephone — because  the  casting 
directors  insist  on  trying  to  lure  him  back 
to  the  screen. 

Fill  the  Cup  and  Toast  Them 

Oow  the  ghost  names  haunt  this  famous 

world  of   filmdom !     Like   Napoleon's 

conquering  army,  the  ranks  are  always  full, 


for  as  soon  as  one  hero  falls,  another  steps 
in  to  fill  the  gap! 

Florence  Turner  stopped  a  moment  on 
the  avenue  to  look  at  the  scene  of  destruc- 
tion. Once  a  shining  light  of  movie  star- 
dom, she  recently  returned  to  the  screen 
in  mother  roles.  Moths  in  the  flame.  .  .  . 
Ruth  Roland,  the  heroine  of  thrillers, 
dressed  in  a  chic  business  suit,  slows  down 
in  her  car  to  pay  passing  tribute.  She  is 
on  her  way  to  close  a  big  business  deal, 
for  Ruth  is  now  a  real-estate  operator  of 
note  in  Los  Angeles.  Her  name  is  posted 
on  countless  lots  in  the  city. 

Bryant  Washburn  enters  the  gates — on 
his  way  to  hold  a  short  conference  with 
Raymond  Griffith.  Five  years  ago  he  was 
a  big  star  on  the  lot.  Raymond  Griffith 
was  then  an  unknown.  Today  Griffith  is 
a  big  star — and  Washburn  recently  re- 
turned to  the  screen,  playing  a  second  lead 
in  support  of  Grif- 
fith. 

"Life's  all  right 
— as  long  as  you 
have  a  sense  of  hu- 
mor," he  smiled  in 
passing. 

Time    Was 

When 

HThe  faint  ghostly 
trilling  of  so- 
prano notes  recalls 
Geraldine  Farrar, 
as  famous  in  pic- 
tures as  she  was  on 
the  operatic  stage. 
She  is  now  in  re- 
tirement so  far  as 
both  arts  go,  and 
is  living  at  Ridge- 
field,  New  Jersey. 

A  shadow  from 
the  land  of  the 
Rising  Sun  is  Ses- 
sue  Hayakawa,  who 
recently  returned  to 
this  country  from 
France,  where  he 
has  been  making 
pictures.  Once  he 
was  famous  in 
Hollywood.  Today 
there  is  a  younger 
generation  that 
scarcely  knows 
him.  He  is  now 
trying  his  luck  on 
the  stage. 
Dapper  Charlie 
Chaplin  rides  by  on  his  -way  to  his  own 
lot.  He  casts  a  passing  glance  at  Pola 
Negri's  bungalow.  .   .   . 

A  doorway  of  the  star  dressing-room 
building  that  is  being  torn  down  reveals 
the  name  of  Kathlyn  Williams  .  .  .  she  has 
retired  from  the  screen,  and  is  living 
abroad  with  her  husband,  Charles  Eyton. 
Another  doorway  reveals  the  name  of 
Betty  Compson,  now  Mrs.  James  Cruze. 
She  is  now  featured  in  all-star  casts  .  .  . 
but  her  friends  are  predicting  she  will  come 
back — to  stardom. 

In  the  Days  of  the  Nickelodeon 
|wj  emories  .  .  .  memories  .  .  .  Carlyle 
Blackwell  is  in  vaudeville  in  England. 
Fanny  Ward  is  retired  and  living  in  Paris, 
and  so  is  Pearl  White.  Maurice  Costello 
is  on  the  stage  in  this  country,  but  his  two 
beautiful  daughters,  Dolores  and  Helcne, 
are  "carrying  on"  the  Costello  name  in  the 
films  with  tremendous  success.  James 
(Continued  on  page  78) 


68 


Your  Powder  wont  "Sh 

when  you  use  a  scientifically  blended  shade  of 
Pompeian  Beauty  Powder  to  match  your  skin 


V 


OW 


By. MADAME      JEANNETTE 

Famnu<    lOimttictait.    retained   b)    Tht    Pompeian 

l^iboratonti  at  a  consultant  to  gut  authentic  adi  tie 

regarding  tht  cart  of  the  skin  and  tht  proper  use 

of  beauty  preparation*. 


C7T  SOFT,  delicate 
CxX  texture  — a  lovely 
satiny  face  yet  not  a 
sign  of  powder.  What  is 
the  secret  of  her  alluring 
complexion?  Does  she 
use  powder?  She  does, 
but  a  shade  that  matches 
so  perfectly  the  tone  of 
her  skin  that  she  secures 
the  good  effects  of  pow- 
der without  seeming  to 
use  it. 

All  smart  women 
strive  for  a  natural  com- 
plexion, but  all  do  not 
achieve  it.  Not  all  wo- 
men have  found  a  pow- 
der thar  really  matches  their  skin — a  powder  that 
reveals  their  natural  coloring.  Complexions 
are  not  composed  of  single  colors,  but  a  blend 
of  different  colors.  Pompeian  Beauty  Powder 
is  scientifically  blended  from  different  colors. 
Whatever  the  tone  of  your  complex- 
ion, some  one  shade  of  this  powder 
matches  it  perfectly.  Select  this  shade 
from  the  directions  that  follow  in  the 
Shade  Chart. 

Pompeian  Beauty  Powder  has  gained 
its  remarkable  popularity  because  of  its 
purity,  its  exceptional  consistency,  its 
delicate  odor,  its  quality  of  adhering 
well — and  its  perfection  of  shades. 


You  can  gilt  your  skin  a 
lottly  uniform  lent  by  wing 
astltcttd  sbadtofPomptian 
Beauty  Powder-  tht  shadt 
that  exactly  matches  your 
skin. 


This  charming  type  of  American  beauty,  with  gray  eyes  and  brown  hair,  should  use 
Pompeian  Beauty  Powder  in  the  Naturelle  shade  to  emphasize  the  lovely  tone  of  her  skin. 


White  Skin :  This  skin  is  unusual,  but  if  you 
have  it  you  are  the  only  type  that  should  use 
White  powder  in  the  daytime. 

In  the  evening  under  artificial  light  it  may 
be  better  to  use  powder  of  lighter  shade 
than  the  one  recommended  above.  In  case 
of  doubt,  write  a  description  of  your  skin, 
hair  and  eyes  to  Madame  Jeannette  for 
special  advice. 


S   P 


E    R 


Shade  Chart  for  selecting 
your  shade  of  Pompeian  Beauty  Powder 

Medium  Skin:  The  average  American  skin 
tone  is  medium,  neither  decidedly  light  nor 
definitely  olive.  This  skin  should  use  the 
Naturelle  shade. 

Olive  Skin:  Women  with  this  type  of  skin 
are  apt  to  have  the  dark  hair  and  eyes  char- 
acteristic of  beautiful  Spanish  women.  This 
skin  should  use  the  Rachel  shade  to  match  its 
rich  tones. 

fink  Skin :  This  is  the  youthful,  rose-tinted 
skin  (not  the  florid  skin)  and  should  use  the 
Flesh  shade. 


If  you  have  experienced  the 
difficulty  of  having  powder 
look  "chalky  and  unnatural," 
buy  a  box  of  Pompeian  Beauty 
Powder  today,  in  the  shade 
suggested  for  your  special 
type.  At  all  toilet  counters 
60c.  (Slightly  higher  in  Can- 
ada.) Purity  and  satisfaction 
guaranteed. 

Sptcialistt    \l  tn  Btautt 

P.  S.  I  suggest  Pomptian  Day  Crtam  to 
pntttt  your  skin  against  iht  utatbtr, 
and  Pompeian  Bloom  for  a  touch  of  color. 


E    C   I    A    L      OFF 

x/i  of  a  60c  box  of  Bloom 

tht  1926  Panel  with  lamptei  of  Beauty  Powder 
and  other  Pompeian  products  alt  for  20c 

'"THIS  generous  offer  of  Bloom  gives  you  an 
-*■  opportunity  to  really  know  howgooa  is  this 
popular  Pompeian  product.  For  20c  you  get  ' ;, 
of  a  60c  box  of  Pompeian  Bloom,  valuable 
samples  of  Pompeian  Day  Cream  (protecting  ■, 
Night  Cream  (cleansing),  Beauty  Powder, 
Madame  Jeannette's  beauty  booklet  and 
the  famous  1926  Pompeian  Panel  en- 
titled, "Moments  That  Will  Treasured 
Be,  inihe  Mint  of  Memory. "This  panel, 
executed  by  a  famous  artist,  is  in  full 
color.     Art  store  value  75c  to  $1.00. 

Tear  off,  sign,  and  tend 


Madame  Jeannette,   Thi  Pomfiian  Lasoiatoiih 
ZW-1  Payne  Ave.,  Cleveland.  Ohio. 

Dear  Madame:  I  enclose  2  dimes  20c  for  1926 
Panel.  H  of  60c  box  of  Bloom.  Beauty  Booklet  and 
samples. 

Name        

.Street 

Address  

Cits  State 

Shade  of  powder  wanted.  

This  coupon  \nid  after  Ntrv.  i,  1926 


69 


It  Is  To  Laugh 


called  Mr.  Pollock's  attention  to  it  and  he 
had  the  uniform  changed.  This  mistake, 
I  am  informed,  was  entirely  due  to  the 
costumer.  In  that  delightful  musical  com- 
edy of  German  life,  "The  Student  Prince," 
the  military  uniforms  and  court  costumes 
in  it  are  purely  fanciful  ana  not  in  the 
least  accurate.  They  would  have  been  just 
as  brilliant  and  much  more  effective  had 
they  been  correct. 

The  most  common  error  seen  on  both  the 
stage    and   the   screen    in   connection   with 
military  uniforms,  is 
that     of     side     arms 
worn     with     foreign 
military     dress.        It 
rarely    seems   to   oc- 
cur   to    a     producer 
that    each    army    has 
regulations   of    its 
own     regarding     the 
form    of    the    sword 
and    the    manner    in 
which    it    should    be 
worn,    so    they    pro- 
vide    U.     S.     sabres 
for  all  types  of  for- 
eign officers,  and  the 
actors    wear    them 
hooked   up   in   the 
manner     prescribed 
for  our   officers,   re- 
gardless of  the  reg- 
ulations of  the  army 
of    which    they    are 
supposed  to  be  mem- 
bers.   Once  in  a  while 
a    striking   exception 
to   this   rule   is   seen. 
The    thing    which    I 
enjoyed  most  in  "The 
Phantom     of     the 
Opera"    was    watch- 
ing   the    unconscious 
ease  and  correct  man- 
ner in  which  the  actor  who  played  the  part 
of  the  lover  wore  his  sword.     I  wish  that 
I  could  remember  his  name  so  that  I  could 
mention   it   here.     In  one  of   the   "Zenda" 
pictures  there  was  also  a  group  of  officers 
who  wore  their  swords  in  the  Continental 
manner,  hanging  from  a  single  sling,  as  if 
they    had    so    worn    them    all    their    lives. 

Military   Mistakes 

Just  because  our  army  officers  wear  their 
sword  belt  outside  the  coat  is  no  reason 
why  producers  should  consider  that  officers 
in  all  armies  do  so.  As  a  matter  of  fact, 
with  many  types  of  uniform,  the  belt  is 
almost  always  worn  under  the  coat,  and 
our  officers  are  about  the  only  ones  who 
hook  up  the  sabre  when  dismounted.  With 
all  service  uniforms,  the  belt  is,  of  course, 
worn  over  the  coat,  but  the  sword  in  many 
armies,  when  worn  with  it,  is  passed 
thru  a  frog. 

Foreign  military  equipment,  other  than 
side  arms,  is  another  thing  which  is  often 
incorrectly  worn.  Of  course,  no  actor 
should  be  expected  to  know  how  to  wear 
such  articles  as  arynillettes,  sabre-taschcs, 
despatch  pauches  and  sashes,  but  someone 
connected  with  the  production  should 
know  and  see  that  they  are  worn 
properly. 

Foreign  uniforms,  other  than  those  worn 
in  the  World  War,  are  rarely  correct  as 
shown  on  the  stage  or  the  screen.  I  have 
seen  "Carmen"  several  times,  both  on  the 
stage  and  in  pictures,  and  I  have  never  yet 
seen  it  presented  with  real  Spanish  uniforms 
showing  the  proper  insignia  of  rank.  The 
usual  method  of  marking  the  rank  of  the 
corporal  who  is  later  reduced  to  a  private, 
is    to   have   him    wear   a   pair   of    two-bar 


{Continued  -from  page  41) 

chevrons  in  the  first  act  and  leave  them  off 
in  the  second.  Now  in  the  Spanish  army, 
rank  for  both  officers  and  non-commis.sioned 
officers  is  indicated  by  means  of  bands  of 
gold  or  silver  braid,  or  scarlet  cloth,  en- 
circling the  cuff,  a  corporal  having  three 
stripes  of  scarlet  cloth. 

From  about  1750  until  1812,  it  was  the 
custom  in  most  armies,  including  our  own, 
for  officers  to  wear  one  or  two  epaulets 
according  to  rank ;  general  and  field  officers 
wearing  one  on  each  shoulder ;  captains,  one 


These  two  officers  of  the  guard  imagine 
they  are  settling  their  feud  with  rolling- 
pins  instead  of  swords.  Such  combat  is 
not  of  a  very  high   order  in  the   films 


on  the  right  shoulder ;  and  lieutenants,  one 
on  the  left  shoulder.  In  all  of  the  Colonial 
and  Revolutionary  period  plays  and  pic- 
tures which  I  have  seen,  I  can  only  re- 
call one  instance  in  which  all  officers, 
regardless  of  their  rank,  did  not  wear  two 
epaulets. 

The  further  back  the  supposed  period  of 
the  picture,  the  greater  seems  to  be  the 
percentage  of  error.  "When  Knighthood 
Was  in  Flower,"  the  scenes  of  which  were 
laid  in  the  time  of  Henry  VIII,  was  well 
costumed,  while  "Robin  Hood,"  a  picture 
of   the   time   of    Richard   the   Lionhearted, 


Mr.  Blakeslee,  the  author  of  "It 
Is  To  Laugh,"  is  a  Consulting  Cos- 
tume Expert.  He  is  an  authority 
on  detail  and  nothing  escapes  his 
vision.  Where  the  rest  of  us  may 
discover  a  few  irrelevant  points,  he 
discovers  many.  There  is  scarcely 
a  picture  or  play  which  does  not 
need  "doctoring"  to  carry  out  a 
similitude  with  realities.  But  the 
producers  continue  to  err — and  this 
calls  for  him  and  the  rest  of  us  to 
ask — "What's  wrong  with  this  pic- 
ture?" 

Mr.  Blakeslee  is  one  of  many 
brilliant  writers  who  have  been  en- 
gaged to  write  feature  articles  for 
the  Classic.  He  knows  his  sub- 
ject thoroly — and  our  readers  may 
look  forward  to  future  numbers 
which  will  carry  his  entertaining 
ideas. 


was  full  of  technical  errors.  One  of  the 
most  noticeable  of  these  was  the  wearing 
of  quivers  for  arrows  suspended  from  the 
shoulder,  instead  of  from  the  hip.  Imagine 
the  difficulty  of  trying  to  draw  quickly  a 
cloth  yard  shaft  from  a  case  hanging  down 
the  back ! 

Sword  play  and  knife  fighting  as  seen 
in  motion  pictures  is  not  usually  of  a  very 
high  order,  but  sometimes  really  remark- 
able work  is  done  along  these  lines.  The 
duel  in  "Scaramouche"  was  an  excellent 
example  of  small 
sword  play,  while  the 
fight  on  horseback  in 
"Under  the  Red 
Robe"  was  certainly 
a  thriller.  The  best 
knife  fight  which  I 
ever  saw  on  the 
screen  was  in  "Or- 
phans of  the  Storm." 
No  real  knife  fighter 
ever  places  his  thumb 
on  the  pommel  and 
strikes  downward 
from  the  shoulder; 
he  puts  it  along  the 
flat  of  the  blade  and 
thrusts  straight  out 
from  the  hip.  The 
fight  in  "Orphans  of 
the  Storm"  was  done 
by  the  latter  method 
and  was  most  real- 
istic. 

Oh,  For  the  Styles 

of  Yesterday 
Pominc  down  to 
modern  days  and 
civil  dress,  I  wonder 
why  it  is  that  in 
most  pictures  all 
clothing  since  the 
Civil  War  is  the  same  as  that  of  today. 
When  I  was  a  boy,  the  hoopskirt  had 
gone  out,  but  the  ladies  wore  in  its  place 
the  bustle,  and  their  dresses  had  long  trail- 
ing pleated  skirts.  Men  of  standing  in  the 
community  wore  high  hats,  frock  coats  and 
striped  trousers,  and  often  carried  gold- 
headed  canes.  As  a  young  man,  I  remem- 
ber wearing  a  short  tan  overcoat  reaching 
scarcely  below  the  hips,  a  stiff-bosomed 
white  shirt,  and  a  straight  and  very  high 
collar.  Trousers  at  that  time  were  rather 
large  and  without  a  crease  and  the  soft 
hat  of  today  was  practically  unknown  in 
the  East,  the  derby  being  the  almost  uni- 
versal head  covering  for  the  male  sex, 
except  in  formal  dress  when  the  silk  hat. 
or  opera  hat,  was  worn.  The  ladies  at  that 
time  favored  gowns  with  large  puff  sleeves, 
and  wore  wide-brimmed  hats. 

In  the  90's,  when  the  bicycle  rage  hit 
the  country,  the  men  took  to  knickers  and 
the  ladies  to  ankle-length  skirts,  shirt- 
waists and  straw  sailor  hats.  When  the 
bicycle  craze  had  run  its  course,  the  men 
resumed  their  long  trousers  and  knickers 
were  not  seen  again  until  the  popularity  of 
golf  brought  them  once  more  into  use. 
About  1890,  the  soft  shirt  with  turn-back 
cuffs  replaced  the  one  with  the  stiff  bosom 
and  cuffs,  as  an  article  of  wearing  apparel 
for  the  male  sex ;  and  early  in  the  twen- 
tieth century  the  ladies  began  to  tighten 
and  shorten  their  skirts  and  reduce  the 
size  of  their  hats  until  eventually  the  ab- 
breviated skirt  and  small  head  covering  of 
the  present  time  was  evolved. 

Very  few  of  these  changes  in  dress, 
which  have  all  occurred  within  the  past 
fifty  years,  are  shown  in  motion  pic- 
tures. 


70 


STKA I C  HT   H  A I  FL  MadejiQturallt,  ivavtf 
Perfect  permanent  waves  assured  in  advance 


No  Longer  Quesswork  or 
Uncertainty 

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t 


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Nestle's  Circuline  Process 
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Nestle's  Circuline  Process  carries 
out  the  readings  of  the  Nestle 
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71 


Impressions  of  Hollywood 


(Continued  from  page  45) 


sort  of  church 
which  was  former- 
ly occupied  by  the 
Theosophists,  and 
it  is  very  pictur- 
esque and  quaint. 

Gardner  is  quite 
youthful  and  pre- 
possessing—  partic- 
ularly in  the  cos- 
tume and  make-up 
in  which  he  en- 
tered, just  having 
come  from  a  re- 
hearsal of  a  scene 
in  "The  Amateur 
Gentleman,"  in 
which  he  is  giving 
Dick  Barthelmess 
a  battle  for  the 
honors.  He  proud- 
ly showed  me  some 
of  his  old  books 
and  rare  prints, 
which  I  enjoyed 
quite  as  much  as 
viands  and  cigars. 

Drinking     Tea 

With     Jack 

Dempsey 

Pstelle  Taylor 
^*  invited  me  over 
recently  to  meet  her 
husband  and  you 
can  bet  I  went,  be- 
cause I  had  not  yet 
met  Jack  Dempsey, 
who  is  perhaps  the 
most  popular  man 
on  this  little  ant- 
hill of  ours  that  we  call  the  world.  They 
sent  their  Rolls-Royce  to  take  me  there, 
and  when  we  drew  up  in  front  of  a  pretty 
bungalow  in  a  fine  neighborhood  I  did  not 
realize  that  this  was  the  house  that  Jack 
built.  It  looked  nothing  like  Jack,  outside 
or  in,  but  it  did  look  like  Estelle  Taylor. 
Everything  looked  nice  and  neat  and  tidy, 
and  there  were  no  signs  of  boxing-gloves 
or  sports.  Estelle  and  a  few  other  ladies 
were  there,  but  no  Jack — he  was  expected 
to  return  from  his  training  camp  at  any 
minute. 

While  we  were  talking,  a  green  parrot 
walked  in  and  joined  in  the  conversation. 
He  belonged  to  Estelle  and  soon  proved 
that  he  did.  Then  a  maid  wheeled  in  a 
tea-wagon  full  of  sandwiches,  cakes,  tea 
and  other  delicacies,  and  I  was  informed 
by  one  of  the  ladies  that  the  tea-set  (a 
very  choice  one)  was  a  Christmas  present 
from  Jack  to  Estelle.  And  I  thought  to 
myself,  Jack  has  mighty  good  taste.  I 
partook  of  the  delicacies  slowly,  because 
I  was  impatient  to  prolong  things  and  see 
Jack. 

A  Genial  Host 

T  could  not  imagine  Jack  sitting  in  that 
dainty  drawing-room  drinking  tea  1  I 
simply  couldn't  get  myself  to  believe  that 
he  was  coming.  But  shortly  we  heard  a 
car  outside,  then  a  key  turning  in  the  front 
door,  and  then  a  voice  saying  to  the  maid, 
"It's  only  me,  the  iceman."  It  was  not 
a  heavy,  bass  voice,  as  I  had  expected,  but 
quite  a  boyish  one.  And  then  the  young 
giant  walked  in.  He  was  dressed  quite 
like  any  other  ordinary  business  man,  not 
loudly,  nor  coarsely,  but  neatly.  He  kissed 
Estelle  affectionately,  smilingly  shook  hands 
with  the  other  ladies  and  then  grasped  my 
hand.     He  did  not  look  so  big  as   I   ex- 


72 


The  latest  craze  to  hit  the  feminine  portion  of  the  country  is  the  pastime  of 

making  hooked  rugs.     Here  are  Marian  Nixon  and  her  sister,  Linda,  at  the 

new  art — making  rugs  for  Marian's  new  home 


pected.  He  seemed  only  three  or  four 
inches  taller  than  myself  and  not  quite  so 
plump.  His  figure  looked  well  formed  and 
not  overmuscular  nor  ungainly.  He  is  not 
handsome  but  decidedly  likable.  He  has 
personality  and  charm,  and  he  talks  quite 
like  anybody  else,  using  good  language. 

Then  he  sat  down  by  my  side,  took  up  a 
dainty  teacup  and  saucer  in  his  big  hand 
and  drank.  Then  he  took  an  olive  and  two 
or  three  immature  sandwiches,  a  couple  of 
candies  and  a  fancy  cake  or  two,  and  be- 
haved himself  like  a  Beau  Brutnmel.  Not 
a  word  about  sports  and  fighting.  We 
talked  about  pictures  some  and  he  said  that 
he  liked  to  see  them  but  believed  he  wasn't 
much  of  an  actor.  "I  was  in  a  picture  at 
Universal  and  I  was  supposed  to  feel  very 
badly  about  something — in  fact,  I  had  to 
cry,  but  they  couldn't  get  me  to  do  it,  try 
as  I  would.  They  made  me  look  at  bright 
lights,  put  onions  in  my  eyes,  vaseline,  and 
everything  else,  but  I  couldn't  make  myself 
cry." 

Touring  the  Dempsey  Manse 

"VY/ell,  I  can  make  you  cry,  Jack,"  said  I. 

"  "You  go  down  and  see  'Stella  Dallas.' 
and  I'll  bet  $100  your  eyes  will  moisten." 
Estelle  doubted  it,  and  so  she  took  the  bet, 
and  we  put  up  the  money.  We're  all  going 
together,  and  I'm  hoping  to  get  that  $200 
pot! 

After  "tea"  I  was  shown  thru  the  house 
at  my  request.  You  just  ought  to  see 
Jack's  bedroom !  It  is  chuck-full  of  pink 
silk  pillows,  fancy  dolls,  perfumes,  dainty 
laces,  and  so  on,  and  the  bed  is  ivory- 
colored  with  fluffy  lace  coverings.  Of 
course,  this  is  really  Estelle's  room,  but  I 
know  that  he  bought  a  lot  of  the  stuff  him- 
self, and  that  he  likes  it,  and  that  he  is 
just  as  fond  of  perfumes  as  she  is. 


But  in  another 
room  there  is  an 
athletic  device  that 
looks  quite  mascu- 
line, and  a  big 
clothes  closet  con- 
taining at  least 
twenty  suits  of 
men's  clothes  hang- 
ing on  a  pole. 

Then  they  showed 
me  a  lot  of  small 
pet  dogs  —  some 
beauties,  too — and  I 
wondered  if  these 
were  Jack's.  No, 
they  weren't — they 
were  Estelle's. 
Jack's  are  huge 
ones  and  he  has 
them  out  in  the 
country. 

Jack  is  running 
a  hotel  to  keep  him 
busy,  and  he  likes 
it.  He  is  very 
much  like  any 
other  man — except 
he  is  the  greatest 
fighter  on  earth. 

That  Semon  Chap 
I  ran  across  my 
old  friend,  Larry 
Semon,  the  other 
day,  and  he  took 
me  over  to  the 
F.  B.  O.  studio, 
where  he  is  doing 
a  five-reel  comedy 
called  "Spuds." 
Years  ago  I  thought  that  Larry  would  by 
now  be  giving  Lloyd,  Chaplin  and  Keaton 
a  hard  run  for  first  place,  but  he  seemed  to 
have  gotten  a  bad  break  in  the  last  few 
years  and  did  not  progress  as  he  should. 
I  am,  however,  still  betting  on  him  and 
hope  yet  to  see  him  quite  at  the  top  among 
the  first  comedians  of  the  screen.  He 
showed  me  the  first  reel  of  "Spuds,"  and  it 
is  as  good  as  anything  I  have  seen  by  any 
of  the  comedians.  If  the  other  four  reels 
are  as  good  as  the  first,  he  has  a  sure  win- 
ner, but — alas  ! — he  says  that  they  wont 
give  him  enough  money  to  finish  the  pic- 
ture properly.  And  that  is  the  way  things 
go.    His  backers  must  be  blind  1 

In  one  of  the  scenes  in  "Spuds"  is  a  se- 
quence where  Larry  is  hiding  behind  a 
couch  near  a  steam-pipe,  when  a  little 
monkey  comes  in  and  turns  on  the  steam. 
This  little  monkey  is  very  clever  and  gets 
twenty-five  dollars  a  day — at  least,  his  fat 
Italian  master  gets  it.  I  watched  them 
for  two  hours  training  this  monkey  to 
sneak  in  and  unscrew  the  handle  of  the 
radiator,  but  of  course  they  did  not  use  the 
steam  during  these  rehearsals  because  it 
would  frighten  the  monkey.  His  master 
would  make  the  motions  of  turning  the 
handle,  the  monkey  would  look  at  him  and 
imitate  the  movement,  all  the  time  cheeping 
his  willingness  to  do  the  best  he  could.  He 
was  fastened  to  the  end  of  a  long,  thin 
piece  of  black  silken  cord  to  prevent  his 
getting  away,  because,  I  am  told,  in  a  pre- 
vious scene  he  escaped  and  for  hours  had 
a  jolly  time  aloft  among  the  rafters,  finally 
getting  out  of  the  building  and  quite  losing 
himself  several  blocks  away,  much  to  the 
distress  of  his  master — but  Larry  himself 
rescued  him  in  the  back  yard  of  a  bunga- 
low. 

(Continued  on  page  85) 


John   (filbert 
as  "Rodolphe" 


j  <>n-x  GILBERT 

LA  BOHEME. 


in 


Brilliant  Supporting  Cast  Includes 

Renec  Adorec  and  Karl  Dane  of  "The 
Big  Parade",  Roy  D'Arcy  of  "The  Merry 
Widow",  Frank  Currier  of  "Ben  Hur", 
as  well  as  George  Hassell  and  Edward 
Everett  Horton. 

Screen  story  by  Fred  De  Gresac  based 
on  Henri  Murger's  "Life  in  the  Latin 
Quarter." 


KING  VIDOR'S  production  of 

STUDIO  days  in  Paris 

GOLDEN  days  of  love,  laughter  and  tears  .... 

AND  through  it  all 

A  great  undying  love. 

COMING  to 'your  theatre 

AFTER  a  record  breaking  $2.00  run 

AT  the  Embassy  Theatre 

BROADWAY'S  most  exclusive  playhouse 

" More  stars  than  there  are  in  Heaven" 


73 


rresistiblt.    % 

is  the  charm  of 
a  smooth  clear  skin 


"MTJother  element  of  beauty 
has  the  alluring  appeal 
of  a  fresh,  velvety  skin, 
glowing  with  health  and 
color.  Every  man  admires 
it  and  nature  intended  every 
woman  to  possess  it. 

But  no  skin,  however  lovely,  will 
retain  its  beauty  unaided  and  thou- 
sands of  women  have  found  the  solu- 
tion of  their  problem  in  the  daily  use 
of  Resinol  Soap.  There  are  three  ex- 
cellent reasons  why  this  soap  appeals 
so  strongly  to  the  woman  who  wishes 
to  preserve  or  restore  the  fresh,  youth- 
ful charm  of  her  complexion. 

First,  it  is  a  decidedly  pleasing  toilet 
soap  giving  a  quantity  of  creamy, 
pore-searching  lather  that  invigorates 
while  it  cleanses. 

Then  its  ingredients  are  absolutely 
pure  and  wholesome.  There  is  no  trace 
of  free  alkali — that  harsh,  drying 
chemical  which  makes  so  many  ordi- 
nary soaps  injurious  to  the  skin  and  hair. 
But  best  of  all,  it  contains  the  sooth- 
ing Resinol  properties  which  give  it 
that  distinctive,  refreshing  fragrance 
and  rich  color,  and  cause  it  to  keep  the 
skin  clear  and  velvety. 

RESINOL  OINTMENT  is  a  ready  aid 
to  Resinol  Soap.  In  addition  to  being 
widely  used  for  eczema,  rashes,  chaf- 
ing, etc.,  thousands  of  women  find  it 
indispensable  for  clearing  away  black- 
heads, blotches  and  similar  blemishes. 
Write  for  free  sample  of  Resinol  Soap  and 
Ointment.      Dept.  E,  Resinol,  Baltimore,  Md. 


Sfeu 


Resinol 


The  Disillusioned  Director 

{Continued  from  page  30) 


Seely 

Mabel  Ballin  is  one  of  the  real  artistes  of 
the  screen.  She  is  a  mistress  of  make-up  as 
well  as  characterization — and  never  fails  to 
reveal  sympathy  and  sincerity  in  her  per- 
formances 


I  asked  him 
why  he  gave  up 
the  most  lucra- 
tive business  of 
directing  pic- 
tures. 

"I  haven't 
really  given  up 
my  film  work," 
he  said.  "To 
tell  the  truth,  I 
have  been  ex- 
perimenting 
with  a  fairy 
story  at  the 
Paramount  Stu- 
dio. Douglas 
Fairbanks  want- 
ed me  to  make 
'The  Black  Pi- 
rate' with  him, 
but  I  was  tied 
up  with  the 
Paramount  peo- 
ple and  couldn't. 
I'm  sorry,  for 
the  setting  of 
that  story  had 
tremendous 
color  possibili- 
ties. 

"However,  I 
intend  to  make 
one  color  picture 
before  I  give  up 
my  screen  work 
entirely.     My 

hobby  is  color.  I  have  devoted  my  life  to 
the  study  of  color  and  I  have  a  thousand 
theories  about  color  values  on  the  screen 
and  of  course  I  want  to  try  out  some  of 
these  theories." 

But  the  note  of  enthusiasm  that  was 
present  when  he  mentioned  his  books  and 
his  murals  was  absent  when  he  discussed 
his  work  for  the  screen. 

A  Thankless  Task 

"1V/TAKING  pictures,  especially  if  you  are 
trying  to  make  beautiful  pictures,  is 
a  thankless  task,"  he  volunteered. 

"You  see  before  you  a  very  disillusioned 
person !  I  love  Hollywood  and  have  made 
firm  friendships  among  the  picture  people — 
but  as  a  whole,  and  this  is  especially  true  of 
the  producers,  I  find  the  people  of  the  film 
world  to  be  a  fickle  lot. 

"Who  was  it  that  said  there  was  no  such 
thing  as  true  friendship  in  Hollywood  ? 
The  newest  big  name  arrives  here  with  a 
fanfare  of  trumpets,  there  is  feasting,  the 
Yes-Yes  Chorus  does  its  darnedest,  and 
the  film  colony  literally  hangs  on  the  words 
of  the  new  arrival.  But  after  the  novelty 
and  excitement  has  died  down — the  biy 
name  becomes  a  worn  toy,  one  whose  secret 
mechanism  has  been  discovered — then  it  is 
time  for  another  big  name. 

"Such  a  state  of  affairs  is  very  discour- 
aging to  the  real  artist,  for  art  thrives  best 
in   an   atmosphere  of   appreciation. 

"Art  and  talent  are  not  novelties — they 
are  things  which  grow  richer  and  more 
prolific  with  time.     There  is   little  leisure 


in  Hollywood— 
that  may  be 
the  answer  to 
it  all !  But  look 
what  they  have 
done  to  Pola 
Negri — to  Lu 
bitsch  —  let  us 
hope  that  Jan 
nings  does  not 
come  to  Ameri- 
ca to  make  pic- 
tures !" 

We  gossiped 
about  the  Ger- 
man pictures 
and  agreed  that 
American  film 
production  will 
have  to  change 
radically  unless 
we  want  to  be 
beaten  in  the 
end  by  the  very 
excellence  of 
the  German  out 
put. 

Yes,  There  Is 
Subtle    Drama 


V4r.  Ballin  is 
discouraged 
when  he  thinks 
of  the  future  of 
the  American 
films.  I  have 
been  discour- 
aged for  a  long,  long  while,  especially  after 
viewing  'The  Last  Laugh'  and  seeing  the 
lack  of  appreciation  accorded  the  Hugo 
Ballins  and  the  Maurice  Tourneurs  of  the 
industry. 

"They  tell  me,"  Mr.  Ballin  went  on.  with 
a  sudden  sly  humor  in  his  smile,  "that  I 
have  no  feeling  for  drama — that  I  'try'  to 
be  artistic.  I  was  a  recognized  artist  be- 
fore I  attempted  directing  pictures — as  for 
drama — I  confess  the  thriller  bores  me! 
But  there  is  such  a  thing  as  subtle  drama, 
the  kind  we  find  in,  say,  the  Lubitsch 
pictures." 

I  asked  him  for  a  photograph  to  go  with 
this  article. 

"Why  do  you  want  to  print  the  picture 
of  a  fat,  middle-aged  gentleman  in  spec- 
tacles ?"  he  protested,  and  gave  me  two  of 
Mabel   Ballin   instead. 

And  when  I  remarked  upon  the  charm 
of  his  home  and  his  happy  domestic  life — 
he  explained  very  simply,  "Mrs.  Ballin  and 
I  are  not  anxious  to  be  famous — we  wan: 
always  to  do  the  things  we  enjoy  doing. 
Of  course,  we  like  appreciation — who 
doesn't?  But  we  love  most  of  all  to  work 
together — she  paints,  you  know,  and  paints 
well." 

Mutual  interests,  no  wild  bid  for  fame — 
that  is  the  secret  of  one  of  the  most  con- 
tented menages  in  the  film  colony. 

But  just  the  same,  Hugo  Ballin  is  a  dis- 
illusioned gentleman — disillusioned  when  it 
comes  to  things  cinematic — but  otherwise  a 
happy  and  contented  gentleman. 

He  believes  in  himsef  and  his  art. 


The  Most  Quoted  Man  (Favorably  and  Unfavorably) 
in  America— HENRY  L.  MENCKEN— Talks  for  the 
First    Time    on   the    Movies. 

This  Is  But  One  of  the  Many  Brilliant  Articles  You 
Will  Want  to  Read  in  the  September  Classic. 


74 


.« 


"Came  One  Spring  Day;  and  Then — ' 


ued  f 

hadn't  tl 

bottle  o i   '  .hi. uli. m  ale   in  a   taxi*  ah 

gone  "in  of  tl  ■'  welcome  me  and 

i  h  mi-  .mil  wire  even  nl>  inn  ""  that 
.mi  it  ni  axiom,  "the  vvaj   to  heai  t 

is  thin  Ins   stomach."     The)    w< 
linn  h.    I  onse(|iientl) .  I  evoh 
which   started   m 
ment  to  see  if   I   rcall)    could,  and  ended 
b)  being  clasped  to  m)  bosom  with  .1  shrill 
wakening   mothci    love.     In  other 
words,  I  h  rote  .1  movie,  and  what 

ible,  I  liked  it  aftei    I  had  w  1  ittcn  it. 

Ami   this,  as   brief!)    as   possible,   is   the 

psis   that    I    read   to  Mi      1  call  and  to 

Mi     Turner,  the  head  of   the  scenario  de 

partmenl   ol    Controversial    Pictures,    (who 

had  sent  out    fot    the  Spikenard  and 

Kirst   we  had  lunch,  and  then  we 

I    Mi      r timer's  private  office,  1 

full)    stuffing    all    the   cracks    with    cotton 

and   chloroforming   the   subordinates 

in  the  outside  office.     Here  goes  the  synop- 

nitl  be  it   understood   that   all   motion 

picture   rights   to   it   are  held   by   me   ami 

me  alone     whatever  that  means  I 

The  Plot  Thickens 
A  handsome  youth,  bored  with  his  sis- 
**  iti's  garden  party,  finds  the  photograph 
of  a  beautiful  girl  in  the  living-room  of 
his  sister's  house.  He  falls  in  love  with 
the  photograph.  His  sister  dismisses  his 
inquiries  as  to  who  the  original  may  be  by 
md  that  she  left  a 
few  days  ago  for  a  five-year  visit  to  the 
Philippines.  That  being  that,  the  youth  is 
petrified  a  few  days  later,  while  taking  a 
short   cut   thru  the  Grand  Central   Station, 

.  the  object  of  his  adoration  abou 
set  forth  on  her  long  voyage.  Dates  have 
meant  much  to  his  sister,  anyway. 
Lured  b)  the  girl's  beauty,  he  follows  her 
down  to  her  train  and  when  it  starts  off 
for  the  Coast,  he  is  on  board.  He  buys  a 
tieket  as  far  as  a  lone  twenty-dollar  bill 
will  take  him,  and  establishes  himself  in 
the  smoking  compartment  to  plan  a  means 
of  meeting  her.  Unfortunately,  before  he 
can  meet  her.  she  meets  an  old  college 
deadly  rival  of  his  and  meeting  her  be- 
comes  even  more  impossible.  Desperation 
over  his  lack  of  funds  causes  the  youth 
to  throw  the  porter  off  the  car  as  the 
train  reaches  the  end  of  his  twenty  dollars' 
worth,  whereupon,  with  the  aid  of  a  can  of 
friendl)  shoeblacking  and  the  porter's  hat 
and  coat,  he  becomes  the  porter.  Numer- 
ous highly  risible  scenes  ensue  which  end 
by  the  youth's  disguise  being  discovered 
and  his  being  promptly  thrown  off  the 
train.  Fortunately  he  stumbles  onto  a 
truck  that  is  being  hijacked  and  drives  off 
- '■'•'•  ',  heating  the  train  to  its  destination. 
His  rival  again  frustrates  him  antl  takes 
the  girl  to  her  ship  followed  by  the  youth 
in  hot  pursuit.  Many  more  extremely 
risible  scenes  ensue  on  board  the  departing 
ship  which  end  with  the  youth  throwing  the 
rival  into  the  bay  b)  the  slack  of  bis  trou- 
sers and  the  boat  sailing  for  the  Philip- 
pines without  the  girl,  who  at  last  is  safe 
on  the  pier,  clasped  in  the  youth's  arms. 
It's  a  pretty  thing,  isn't  it  ? 

Came  the  Conference 
Prktty  or  not,  such  it  was  that  I  read  to 

Mr.  Turner  and  Mr.  Teal  while  the 
cuckoos  sang  to  the  chloroformed  sub- 
ordinates and  the  cigaret  smoke  swirled 
about  the  cotton-wool  padding.  Mr.  Tur- 
ner was  the  first  to  break  the  silence  that 
greeted  the  ending  of  my  effort. 

"Very  good,"  said  Mr.  Turner,  "very 
good  indeed." 


tout 

"  I  he 

ill,    "tho    ■ 
■ 
nDii  1  is  n<  wed  Mi 

'and  the  n  what  thin, 

the  idea  is  splendid.     I  mean,  I  1 
lik. 

.•  first,"  1  s.ud,  t  thi  .  "1 

thought  1  would  have  this 

Isf        silt 

Reno 
"Now    you' vi  med    Mr. 

Te.ill,  a  tU  ni'  -mat  al  h  ■ 

.U     the    garden  pa 

Ami  the) 

all  get  the  same  tram      Ami   then,  b)    some 

means  or  other,  you  show   tin-  fellow  do- 
ing   something    or    other    which    makes    all 

them  decide  they   wont   get  a  divorce 

■     all.      That,"    he    explained    kindh     to 
me,  "is   what    we  call   human   inn  ■ 

"Wouldn't  it  be  funnier,  Phil,"  said  Mr. 
Turner  to  Mr.  1  \  all.  "if  somehow  this 
chap  got  to  throwing  all  the  officials  off 
the  train,  first  the  other  porters  and  then 
the  conductor  ami  finally  the  engineer  until 
he  was  practical!)  running  the  train  bv  him- 
self, first  being  all  tie  porters,  and  then 
the  conductor  collecting  tickets  and  then 
iigineer " 

laimed  Mr.  Teall.  "Now 
you  certainly  have  it."  he  said,  waving  a 
hand  to  me.  "And  you  want  to  get  in 
some  more  for  the  girl  and  for  the  other 
fellow  to  do.  They're  sort  of  in  the  back- 
ground. You  have  a  great  opportunity  for 
chromatic  nuance.'' 

"Oh,  yes,"  I  replied  dully,  wondering  if 
there   was   any   chloroform   left. 

Just  a  Figurehead 

"Tr's  a  fine  idea,"  Mr.  Turner  insisted, 
with  no  jot  of  his  enthusiasm  gone. 
"It's  the  best  we've  had  in  months.  But 
you  haven't  quite  got  the  angle.  All  you 
need  to  do  is  fix  it  up  along  the  lines  we 
suggested  and  you'll  have  something.  You 
go  back  and  work  on  it  and  put  in  some 
new  ideas — by  the  way  you  might  make 
the  fellow  the  president  of  the  railroad, 
or  perhaps  it  would  be  better  to  make  the 
girl's  father  the  president  of  the  railroad 
— and  put  in  a  scene  somewhere  where  he 
saves  somebody's  life,  or  stops  the  train 
from  getting  wrecked — they  like  that,  and 
then  bring  it  back  to  us." 

"And  then  what?"  I  said.  At  least  it 
sounded    vaguely    like    my    voice. 

"Why  then,"  said  Turner  triumphantly, 
"I'll  bet  you  it  gets  over  !" 

"Of  course  it  will."  crowed  Teall.  "it's 
a  great  idea.  All  it  needs  is  a  little  fixing 
up — nothing  at  all.  Good-bye,"  he  said, 
opening  the  door  for  me.  "don't  forget 
your  pathos  and  your  unity  and  your 
coherence  ami  your  characterization  and 
your    sex    appeal.  .  .  ." 

"Good-bye,"  said  Turner,  "be  sure  to  re- 
member your  chronological  march  of 
events  and  play  up  your  climacteric  values 
to    the    full.  .  .  ." 

I  dont  remember  saving  anything. 

Rut  of  course  there  had  to  be  a  catch 
in  it.  I  knew  you  couldn't  just  up  and 
write  for  the  movies  the  way  you  can  for 
the  London  Mercury,  The  Atlantic 
Monthly  or  the  "Encyclopaedia  Britannica." 
And  Mr.  Teall  and  Mr.  Turner  really  have 
your  interest  at  heart  and  they're  very 
anxious  to  get  ideas  from  you — tho  I  dont 
know  why.  God  knows  they  seem  to  have 
enough  of  their  own. 

Just  the  same,  as  soon  as  I  get  another 
idea.  I'm  going  over  to  see  them  again. 
The  braised  beef  tongue  a  I'Anglaisc  was 
really    awfully    good. 


FREE— 10  i)  >  1  nbe 


Your  Smile 

can  be  given  dazzling  white 
teeth,  and  pretty  gums 
quickly,  this  new  way 


STUDY  attractive  people,  men  or 
women.  Note  the  tremendous  part 
gleaming,  clear  teeth  play.  Off-color 
teeth  are  an  injustice  to  one's  smile. 
Don't  permit  them  to  mar  yours. 

And  don't  believe  your  teeth  arc  nat- 
urally Hull  and  colorless.  You  can  dis- 
prove that  in  a  few  days.  Can  work  a 
transformation  in  your  mouth.  Millions 
are  doing  it  today. 

New  methods  remove  the  film 

and  Firm  the  Gums 

Run  your  tongue  across  your  teeth,  and 
you  will  feel  a  film,  a  viscous  coat  that 
covers  them.  That  film  is  an  enemy  to 
your  teeth — and  your  gums.  You  must 
remove  it. 

It  clings  to  teeth,  gets  into  crevices 
and  stays.  It  absorbs  discolorations  and 
gives  teeth  that  cloudy  "off-color"  look. 

Now,    in   a   ncw-typc   dentifrice   called 

-odent.  dental  science  has  discovered 

effective  combatants.    Their  action  is  to 

curdle   the    film   and   remove   it,   then   to 

firm  the  gums. 

Xow  what  you  see  when  that  film  is 
removed — the  whiteness  of  your  teeth — 
will  amaze  you.  A  few  days'  use  will 
prove  its  power  beyond  all  doubt. 

Mail  the  coupon.  A  ten-day  tube  ivill  be 
sent  you  free. 


*9^\  •^^■^^^■^■^■■■f     pat  or*.     § 


FREE 

Ma^this 

10-Dav         The  Netr-  Day  Quality  Dentifrice 
Tube  to       Endorsed  by  World 's  Dental  Authorities 

THE    PEPSODENT   COMPANY, 
Dept.  668,     ll'M   s.    Wahush    Ave., 
Chicago,  III.,  U.  S.  A. 


;i  family  1101 


77 


^IhereS  a  difference 
worth  knowinP  I 


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T^ioubj 


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The  Haunted  Home  of  Movie  Ghosts 


(Continued  from  page  68) 


Cruze,  once  famous  as  a  leading  man,  and 
especially  famous  in  "The  Million-Dollar 
Mystery,"  in  which  his  ex-wife,  Marguerite 
Simw,  played  opposite  him,  is  now  one  of 
the  big  directors,  and  is  filming  "Old  Iron- 
sides." Miss  Snow  is  in  vaudeville.  Francis 
X.  Bushman  is  still  in  pictures,  having  last 
appeared  in  "Ben-Hur."  J.  Warren  Ker- 
rigan occasionally  returns  to  the  screen, 
as  in  "The  Covered  Wagon."  He  is  living 
in  semi-retirement  in   Hollywood. 

King  Baggott,  Francis  Ford,  Robert  Z. 
Leonard  and  Alan  Hale  are  all  directors, 
and  Marshall  Neilan,  once  tremendously 
popular  as  an  actor,  is  now  one  of  the 
biggest  of  directors. 

Juanita  Hansen,  once  a  Sennett  bathing 
beauty  and  later  a  dramatic  player,  is  in 
retirement. 

Betty  Blythe  is  making  pictures  abroad, 
tho  she  is  scarcely  heard  of  any  more. 
Mae  Murray,  another  old-timer,  is  still 
going  strong.  Beverly  Bayne  is  only  seen 
at  intervals  on  the  screen. 

Once  Upon  a  Time 

lois  Weber,  once  a  star,  and  former  wife 
of  Phillips  Smalley,  who  played  op- 
posite her  in  most  pictures,  is  the  only 
woman  director  in  the  business, .  and  is 
making  a  picture  for  Universal.  Smalley 
is  on  the  stage. 

Irving  Cummings,  an  old-time  hero,  is 
directing.  Mabel  Normand,  after  a  time 
out  of  pictures  during  which  she  was  on 
the  stage,  has  just  returned  and  signed 
a  half-million-dollar  contract  with  Hal 
Roach.  Another  old-time  actor  is  now  the 
king  of  comedy  producers — Mack  Sennett. 
Theda  Bara,  once  the  vamp  of  vamps,  is 
now  trying  to  come  back  as  a  comedienne. 

Mabel  Van  Buren,  the  first  leading  lady 
at  the  studio,  has  retired  altogether  from 
the  screen.  So  have  Edith  Storey,  Pauline 
Bush,  Patty  Darwell,  Grace  Cunard,  Bessie 
Barriscale,  Anita  King,  Marie  Doro  and 
Edna  Goodrich.  Marguerite  Clark  is  mar- 
ried to  a  very  wealthy  New  Orleans  busi- 
ness man,  and  is  no  longer  in  pictures. 
Mae  Marsh  recently  made  a  picture  in 
England,  but  is  now  practically  retired 
and  living  at  Flintridge,  California.  She 
is  the  wife  of  Louis  Lee  Arms,  well-known 
newspaper  man,  and  has  two  charming 
children. 

The  Fast  Thinning  Line 

A  lice  Joyce,  once  known  as  the  "Kalem 
^^  Girl,"  continues  her  old-time  popu- 
larity, and  recently  appeared  in  "Manne- 
quin" and  "Beau  Geste."  Blanche  Sweet, 
Marshall  Neilan's  wife,  is  as  popular  as 
ever,  and  is  now  appearing  in  "Diplomacy," 
which  her  husband  is  directing. 

Valeska  Surratt  has  retired  and  is  living 
in  New  York. 

Constance  Binney  left  the  atmosphere 
of  the  Kleigs  some  time  ago  in  order  to 
marry  a  Boston  banker. 

Henry  B.  Walthall,  famed  as  the  "little 
colonel"  in  "The  Birth  of  a  Nation,"  after 
being  out   of   pictures   for  some  time,   re- 


cently staged  a  comeback,  as  did  Katherine 
McDonald.  Marguerita  Fisher  is  married 
and  is  playing  mother  roles  and  second 
leads. 

But  the  passing  flicker  of  film  fame, 
like  the  verdict  between  the  gladiators  and 
the  lions  in  the  old  Roman  arena,  is  not 
always   unkind. 

Mary  Pickford  is  still  at  the  top  of 
picturedom,  and  so  are  Doug  Fairbanks 
and  Charlie  Chaplin.  Owen  Moore,  Matt 
Moore  and  Tom  Moore  are  still  high  in 
popularity.  Thomas  Meighan,  another  old- 
timer,  so  far  as  picture  history  goes,  is 
still  at  the  top  of  the  heap,  and  Gloria 
Swanson  is  a  star  of  stars. 

Robert  Edeson,  Hobart  Bosworth,  James 
Neill,  William  S.  Hart,  Shirley  Mason, 
Viola  Dana,  Noah  Beery,  Wallace  Beery, 
Dorothy  and  Lillian  Gish,  are  all  still  re- 
ceiving the  rewards  of  popular  favor.  Wal- 
lace Beery,  after  many  ups  and  downs, 
is  firmly  established  as  one  of  the  greatest 
of  them  all,  vying  for  honors  as  a  char- 
acter actor  only  with  a  comparative  new- 
comer in  pictures — Ernest  Torrence. 

Raymond  Hatton  is  still  keeping  the 
even  tenor  of  his  way  before  the  cameras. 
Marjorie  Daw  is  still  prospering  before 
the  Kleigs. 

Some  of  them  have  passed  clear  out  of 
the  picture — into  new  realms.  For  instance, 
"Broncho  Billy"  Anderson  is  now  running 
a  string  of  race-horses  at  Tia  Juana.  And 
"Texas"  Guinan,  once  famed  as  a  picture 
star,  is  a  witty  ad  lib.  hostess  at  a  New 
York  night  club.  Elliott  Dexter  is  on  the 
stage,  and  so  is  Robert  Warwick.  Vivian 
Martin  is  in  musical  comedy. 

Dear  old  Theodore  Roberts,  the  "grand 
old  man"  of  pictures,  is  gradually  regaining 
his  health  after  a  long  siege  of  illness,  and 
has  just  appeared  in  his  first  picture  in 
two  years — "The  Cat's  Pajamas."  He  is 
now  making  a  vaudeville  tour.  His  big 
house  on  the  hill,  at  the  head  of  Vine 
Street,  looks  sadly  down  on  the  wrecked 
studio,  where  he  came  as  one  of  the  first 
actors,  and  where  his  portable  garage, 
which  he  used  as  a  dressing-room,  was 
moved  all  over  the  lot  as  expansion  began 
to  take  place. 

Like  Ships  That  Pass  in  the  Night 

("■  hosts  .  .  .  ghosts  that  seem  to  tread 
softly  in  the  gathering  darkness,  ghosts 
that  will  soon  be  homeless,  wandering  sadly 
thru  a  new  maze  of  buildings  that  will 
spring  up  on  this  site,  store  buildings,  cold, 
prosy,  unromantic ;  buildings  that  will  not 
bask  gently  under  the  pepper-trees,  build- 
ings that  will  not  hide  the  glitter  and 
pageantry  of  filmdom  ;  ghosts  that  will  turn 
over  a  dead  leaf  and  poke  into  an  odd 
corner  in  hope  of  finding  a  faded  remnant 
of  the  studio  glory  that  was.  Ghosts  that 
would  not  feel  easy,  ghosts  who  might 
even  be  unknown,  should  they  haunt  the 
bright  modern  buildings  of  the  new  studio 
where  the  army  of  film  great,  ever  re- 
cruited anew,  marches  on  and  on,  down  the 
pathways  of  celluloid  fame. 


The  Celluloid  Critic 

(Continued  from  page  51) 


film  outweighs  the  serious.  There  is  where 
you  must  look  to  be  entertained.  And 
there  are  enough  mirthful  scenes  to  keep 
you  laughing  most  of  the  way.  One  of 
them  shows  Chester  Conklin,  who  is  lugged 
out  of  a  Detroit  sausage  factory  to  become 
the    Prince    of    Spezonia.      And    Chester 


doesn't  forget  a  single  trick  from  his  as- 
sortment. He  is  particularly  amusing  dur- 
ing the  royal  parade,  when  he  runs  to 
cover  as  the  bombs  begin  to  fly.  Dix  is 
the  customary  dashing  American  who 
palms  himself  off  on  the  high  dignitaries 
(Continued  on  page  82) 


It's  the  Personality   i'h.n 
Counts 

A. Ill 

son,   Richard    Dis,    Kenee    Vdoree,  Colleen 
re,    lithe    I '.i'  ral    othei 

promiiu  nl     sci  eeu    cclcbi  ities    will    immc 
Ij    tlisiovii    lli.it    th  '   |mi! 

in  one   featui i    •■■    anotli       fi om  the  usual 

standards  i'i  perfection  .is  set  l>>  the  studio 

\\  lull-  each  and  evei )   one  o(  them  has 
ahIi  outstanding  success  on  the  silvei 
sheet,   am    young   playet    having   the 

,  .|  di  i » 1 1  ive,  would 

have  .t  difficult  time  lauding  .1  contract   in 
I    Hollywood    studio    il    the    decision    « K 
pended  upon  one  of   these  gentlemen   who 
like  to  rely  upon  rules  and  regulations. 

Summing   up,   what   i!«>  we   find 
the  greatest  and  most  popular  players  upon 
the    screen,    from    (iloria    Swanson, 
t  iilbei  t.    Douglas     '    lirh  inks,    Ronald 
njan,    Lillian    (iish,    \'orma    Shearer,    Ru 
dolph    Valentino,    Norma    Talmadgc,    1 
Rich  and    Thomas    Meighan   down   t. 
al  run  of  film  stars,  arc  .ill  bn  il 
r  more  of  the  laws  which  certain  stu- 
seek  to  use  in  judging  new 
n  talent. 
The  reason   foi    this  phenomenon  is  ap 
parent  to  all  except  the  "experts." 

The  player  who  appears  to  have  a   1 
Feet    screen    face   and   other   qualifications 
that  approach  perfection,  according  to  the 
"experts,"  very  often  makes  rapid  progress 
upon  the  screen,  but  as  a  rule  their  prog- 
ress  is  of  short  duration.    This   is  due  to 
the  fact  that  because  of  their  asserted  pei 
fection  as  screen  material,  they  are  given 
every   opportunity   for  advancement  at  the 
In   the   long    run  they   usually    fail. 
because  while  they  may  appear  technically 
ect,    they    lack    that    something    which 
might  be  called  "screen  personality,"  which, 
all,    is    the    only    thing    that    really 
counts. 

Personality  Counts 

(~}s  the  other  hand,  players  who  have  the 
potentialities  for  .ureat  favorites  and 
I  artists  are  usually  very  slow  in  yet 
ting  to  the  top.  Once  again  the  blami 
he  laid  at  the  door  of  our  motion-picture 
wiseacres  who  fail  to  note  the  possibilities 
of  such  players  because  they  are  looking 
only  for  exterior  physical  qualifications  in- 
stead of  the  divine  spark  which  makes  the 
outstanding   and   lasting   screen    favorite. 

Such  players  usually  meet  with  great 
opposition  and  suffer  man}-  discoui 
ments  in  their  climb  upward  in  the  silent 
drama.  They  are  rebuffed  and  rejected  at 
almost  every  turn  by  men  who  are  merely 
iting  a  lot  of  chatter  they  have  heard, 
after   the    fashion   of   parrots. 

\fter  watching  tin-  successful  stats  and 
Struggling  young   players  and  making  pre 

for  over  ten  3 
— predictions  which  have  been  fulfilled  al- 
most without  a  solitary  exception — I  defy 
any  "expert"  to  forecast  with  a  degree  of 
certainty  the  future  of  any  young  player 
by  means  of  physical  qualifications  or 
standards  of  any  kind. 

Judging  from  my  own  experiences,  which 
have  netted  the  writer  a  batting  averagi 
almost   one   thousand   per  cent,   in  discover- 
ing  successful  screen  talent,  there  is   only 
one  method  to  use. 

That   is.   watch    for  magnetic   vibrations 
or   what  might   he  termed   "screen   pel 
ality." 

If  the  screen  player  has  this  quality,  put 
your  money  on  him  and  forget  everything 
else. 


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The   Nerves  of  a   Nation 


The  magnitude  of  our  present 
system  of  telephone  communica- 
tion was  beyond  the  thoughts  of 
men  fifty  years  ago.  While  at 
that  time  Bell,  the  inventor,  had 
a  prophetic  vision  of  places  and 
houses  and  factories  connected 
by  telephone,  even  he  could  not 
have  foreseen  the  American  city 
of  skyscrapers  with  more  tele- 
phones in  one  building  than  are 
to  be  found  in  many  a  foreign 
country. 

The  massed  multitudes  of  the 
modern  city  can  no  longer  be 
served  by  wires  strung  in  the  air. 
We  now  have   telephone  cables 


no  bigger  than  a  man's  wrist 
each  containing  2400  thread-like 
wires,  carrying  beneath  the  city 
streets  their  millions  of  spoken 
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overhead  and  underground  con- 
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storm-proof  conductors,  now  be- 
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network. 

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of  the  45,000,000  miles  of  tele- 
phone wire  in  the  Bell  System 
are  in  cable.  The  service  of  each 
telephone  user  has  become  more 
and  more  reliable  with  the  exten- 
sion of  this  cable  construction. 


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(Continued  from  page  21) 


or  no  contact  with  the  motion  picture 
today  is  not  keeping  abreast  of  the  times. 
Can  a  writer  afford  to  ignore  the  motion 
picture?  One  thing  is  certain,  which  is, 
that  any  writer  who  keeps  his  work  and 
product  in  step  with  the  movies  can  afford 
most  anything. 

Yet,  here  is  a  representative  group  of 
the  foremost  women  writers  in  the  world, 
whose  opinions  on  the  motion  picture 
should  be  intelligent,  valuable  and  con- 
structive. Motion  pictures  are  a  newer 
art,  but  a  blood  relation  to  the  printed 
book,  which  it  should  be  their  business  at 
least  to  become  well  acquainted  with. 

Yet  here  we  have  the  concrete  feeling 
and  expression  of  three  great  constructive 
minds  upon  the  art  of  the  motion  picture, 
with  particular  reference  to  our  method 
of  preserving  that  art.  It  is  a  bitter  pill 
for  the  British  to  swallow,  this  Yankee- 
izing  of  the  films  that  once  promised  so 
much  for  the  English  producer.  They 
make  wry  faces  at  the  facts.  And  the 
facts  remain,  that  America  is  in  control 
of  the  world  market,  and  when  I  compare 
American  pictures  with  those  of  any  Other 
country — by  and  large — I  find  ours  do 
excel. 


REBECCA  WEST 

(Continued  from  page  20) 

"All  English  films  are  bad.  We  have 
no  money,  cannot  pay,  like  Hollywood,  to 
keep  up  a  reserve  of  actors  for  the  films. 
We  must  depend  rather  on  a  group  of 
players  that  must  be  doing  other  things  as 
well.  We  cant  have  West  End  actors  at  the 
price  we  are  obliged  to  offer  them,  but 
must  take  the  provincial  actor.  The  pro- 
vincial actor  requires  a  long  training  and 
by  the  time  we  had  given  it  to  him,  the 
film  field  was  lost  to  us. 

'America  does  not  seem  to  take  seriously 
— from  an  art  view,  I  mean — her  position 
in  this  matter  of  a  world-leader  in  a  field 
of  incalculable  influence.  We  look  to 
America  for  better  things  than  she  has 
been  doing." 


SHEILA    KAYE-SMITH 

(Continued  from  page  20) 

sort  of  literature  in  England,  the  'penny 
shocker.' 

"So,  if  I  were  to  criticize  the  films  in 
one  particular  more  than  another,  I  would 
point  to  this  tendency  of  taking  the  life 
out  of  their  stories  and  stuffing  them  with 
sawdust  or  candy  or  bank-notes. 

"Life  is  so  interesting,  so  thrilling  !  And  I 
mean  the  ordinary  every-day  life  of  every- 
day people.  Why  dont  the  film  people 
take  up  the  middle-class  life  more?  Of 
course,  the  middle-class  life  will  need  ex- 
pert handling  by  accomplished  story-tellers. 
It  is  so  easy  for  anyone  to  weave  a  fanci- 
ful tale,  an  extravagant  story,  around  some 
happening  that  seems  to  demand  it.  But 
the  curious  part  of  it  is,  that  common, 
ordinary  things  are  intrinsically  interesting 
— if  handled  in  an  artistic  manner.  And 
by  'artistic,'  I  do  not  mean  in  some  high- 
falutin  way,  but  inspirationally  treated  in 
an  honest  fashion  by  some  good  literary 
craftsman. 


"Oh,  I  think  the  films  have  really  their 
biggest  field  still  before  them  in  this  every- 
day life  of  every-day  people.  There  will 
be  a  great  impetus,  a  sort  of  renaissance, 
when  they  discover  real  life.  Of  course, 
they  are  bound  to  do  it  sooner  or  later." 


MAY    SINCLAIR 

(Continued  from  page  21) 

names.  There  are  Queen's  Gates,  Queen's 
Gate  Roads  and  Queen's  Courts  in  every 
section  of  London,  where  some  queen  or 
other  during  the  past  thousand  years  has 
honored  the  locality  by  stepping  her  foot, 
or  possibly  sending  her  Equerry.  It  is  all 
cut  off  the  same  piece  of  cloth  of  public 
sentiment  with  our  "Washington's  Head- 
quarters." No  locality  is  going  to  give 
up  its  Washington's  Headquarters,  even 
tho  some  stupidly  honest  college  professor 
should  discover  that  it  was  Booker  T. 
Washington. 

London  is  the  same.  It  has  its  Abbey, 
or  Queen's  or  King's  this  or  that  every- 
where, and  stubbornly  holds  on  to  them. 
The  only  way  to  be  sure  to  locate  the 
one  you  want  is  to  fix  firmly  in  your  mind 
which  section  of  the  great  city  in  which 
it  may  lie — W.,  W.  C,  E.  C,  and  so  on. 

Having  lost  my  bearings,  it  was  with 
great  difficulty,  then,  that  I  found  Abbey 
Road. 

May  Sinclair  lives  in  a  little  house  on 
the  corner  with  a  bay  window,  just  like  a 
thousand  other  houses  in  long  dismal  rows. 
It  is  not  a  pretty  part  of  London.  There 
is  a  latched  gate  and  a  small  yard  in  front, 
a  brass  door-knob  and  bell-pull,  a  cold 
entrance  hall  and  a  hesitating  slavey  that 
goes  with  it — just  as  there  is  with  all  the 
rest  of  the  little  houses  in  the  neighbor- 
hood. There  is  a  back  parlor  in  the  rear, 
too,  with  a  handful  of  fire  in  the  grate. 
And  before  this  little  fire  I  found  May 
Sinclair — the  real  May  Sinclair,  not  the 
one  I  had  imagined. 

She  seemed  very  small  as  she  sat  perched 
in  a  large  chair  like  Alice  in  "The  Looking- 
Glass,"  her  legs  so  short  that  her  feet 
scarcely  touched  the  floor.  But  that  might 
have  been  partially  an  illusion.  She  wore 
a  shiny  black  silk  dress  and  held  an  enor- 
mous black  silk  cat — named  Jerry,  I  learned 
later — on  her  lap.  She  looked  just  like 
one  of  those  little  side-street  persons  of 
whom  Sheila  Kaye-Smith  had  suggested 
that  the  movies  ought  to  depict  their  lives. 

So  this  was  May  Sinclair ! 

"I  would  like  to  tell  you  only  about  my 
experience  in  relation  to  my  novel,  'The 
Immortal  Moment,'  that  was  done  in  the 
films.  I  may  say  that  they  took  great  pains 
to  get  the  scenes  in  Italy.  But  beyond  that, 
the    performance   positively   made    me   ill! 

"They  turned  the  quiet  hotel  I  had  pic- 
tured in  my  novel  into  a  palace.  In  my 
story,  the  chief  woman  character  commits 
suicide.  There  seemed  no  other  way  out. 
The  man  of  the  story  was  really  quite 
an  impossible  person,  especially  with  chil- 
dren, yet  in  the  last  scene  the  door  is 
thrown  open  and  two  little  children  come 
in  and  put  their  little  hands  in  his  and  he 
folds  them  in  his  arms.  If  he  had  suf- 
focated them,  it  would  have  been  better 
artistically,  I  should  not  have  minded.  But, 
just  fancy  the  audience  thinking  I  had 
done  a  thing  like  this !" 


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The  Man  Who  Envies 
Bill   Hart 

ntitmtd  from  /••'•/■   39 1 

applause  m  .1  nesl  of  -int>  -it  ••  picnic  I 
want  i"  get  ju^t  one  chance  to  k<>  thru 
m\  solid  reels  whhoul  having  t"  button  m> 
cull. ii  even  once.  I  crave  ju>t  one  picture 
in  which  l  can  teai  loose  t>>  mj  hi 
content,  fan  -i  ii*  gun  till  the  air  is  blue, 
ruthless  1)  slaughtei  the  vill.nn  and  .ill  liis 
little  playmates,  and  in  general  ili-i*"1  mj 
sell  like  .1  ti  ue  son  "i  the  \\  ide  '  >iM'" 
Places.  Then  maybe  I  can  resign  myself  to 
n« >iiiLi  back  to  the  societj  type  <>i  work 
n." 
i  lutdoor  life  and  acting  have  always  been 
the  two  bis  interests  in  Huntlj  Gordon's 
lni  He  is  a  native  1  ianadian,  born  in 
Montreal,  and  educated  in  London,  England. 

From  Stock  Tickers  to  Studios 
"J" no  ho  hated  the  thought  <■!"  .1  business 
*  career,  he  gave  it  an  arduous  tryout  in 
New  York  City.  I"  the  space  0.  .1  verj 
few  years  he  succeeded  in  failing  with 
amazing  thoroness  and  rapidity  in  ball  a 
dozen  different  business  ventures.  Then 
the  stage  chance  for  which  he  had  secret!) 
been  longing  came  when  he  applied  for 
work  in  "Life,"  as  mellow  a  drama  as  ever 
graced  the  boards  of  Broadway,  and  was 
given  a  minor  role. 

The  big  feature  of  the  play  was  sup- 
posed to  be  a  boat-race  between  Yale  and 
Harvard.  The  climax  came  when  the  two 
Shells  Hashed  out  on  the  stage,  with  Yale 
slightly  the  winner.  Good-looking,  husky, 
young  athletes  were  required  to  man  these 
boats.  Huntly's  physique,  as  well  as  his 
face,  caused  him  to  be  chosen  for  this,  his 
first  role,  on  the  stage. 

It  was  soon  seen  that  Gordon  was  "dif- 
ferent."  He  was  well  educated  and  could 
read  lines.  His  speaking  voice  was  ex- 
cellent, and  physically  he  was  enough  to 
challenge  any  eye.  His  well-knit  frame 
had  everything  the  popular  matinee  idol 
was  supposed  to  have  and,  even  then,  he- 
was  sartorially  perfect.  He  advanced  rap 
idly  until  he  was  understudying  the  leading 
man. 

He  struggled  from  one  part  to  another 
until  1910,  when  he  won  a  prominent  role 
with  Ethel  Barrymore  in  the  stage-play, 
"Our  Mrs.  McChesney."  Ralph  luce,  the 
motion  picture  director,  was  then  on  a 
search  for  a  leading  man  to  appear  oppo- 
site Anita  Stewart.  He  saw  <  iordon  and 
made  him  a  ver>  flattering  offer.  Huntly 
sought  the  advice  of  Miss  Barrymore,  who 
advised  him  to  accept  the  screen  proposi 
tion.  lie  did.  and  thus  made  his  picture 
debut  with  Yitagraph.  It  is  interesting  to 
note  that,  when  \li>s  Barrymore  made 
"Our  Mrs.  McChesney"  for  the  movies 
two  years  later,  she  summoned  Gordon  to 
play  opposite  her. 

From  the  date  of  his  screen  debut  until 
1922,  when  he  came  to  Hollywood.  Gordon 
intermittently  played  on  both  the  stage  and 
the  screen.  It  was  I.ouis  I!.  Mayer  who 
brought  Gordon  to  Hollywood  to  play  the 
role  of  Jeffrey  Fair  in  "The  Famous  Mrs. 
Fair."  Critics  hailed  him  as  a  real  find, 
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That  picture  "made"  (iordon  on  the  screen. 
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posite  l'ola  Negri,  Pauline  Frederick,  Betty 
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Perhaps  some  day  a  picture  producer 
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action  story  with  an  outdoor  setting,  where 
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81 


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The  Celluloid  Critic 

{Continued  from   page  78) 


when  they  naturally  fail  to  grasp  Conklin 
as  the  possible  heir  to  the  throne.  Then, 
too,  the  young  man's  English  is  difficult  to 
understand. 

Well  Burlesqued 

I— If.  had  met  the  heroine  (the  princess) 
while  invalided  on  Spezonian  soil  dur- 
ing the  war.  The  girl  does  not  recognize 
him,  since  she  had  only  seen  his  eyes,  the 
rest  of  his  face  being  swathed  in  bandages. 
But  he  remembers  her — and  he  is  thrust 
into  matrimony  with  her — tho  he  doesn't 
know  what  it's  all  about. 
.  There  is  a  lot  of  good-natured  burlesque 
of  court  pomp  and  ceremony — with  the 
funniest  sequence  revealing  the  quick- 
stepping  bodyguard  going  thru  their  in- 
tricate evolutions.  The  bridal  night  also 
has  its  mirthful  moments — while  the  fight 
at  the  finish,  in  which  Dix  and  "Gunboat" 
Smith  whip  all  the  able-bodied  men  of 
Spezonia,  is   fast  and  exciting. 

In  all,  "Say  It  Again"  is  a  rollicking 
number  which  only  pauses  in  its  journey 
across  the  screen  to  permit  a  few  romantic 
interludes.  The  subtitles  are  rather  amus- 
ing, tho  the  constant  repetition  of  spelling 
them  backward  to  indicate  the  language 
of  Spezonia  becomes  somewhat  tiresome 
after  a  while. 

If  I  were  to  pick  out  any  particular  high- 
light, I  would  select  Conklin's  expression 
of  fright  as  he  turns  the  pages  of  the  his- 
tory of  Spezonia  and  discovers  how  de- 
parted kings  suffered  violent  deaths.  It  is 
a  hilarious  scene. 

The  acting  is  creditable  all  the  way — 
with  Dix  playing  his  role  easily  and  surely. 
Alyce  Mills,  his  new  leading  woman,  suc- 
ceeds in  being  charming — while  the  "Gun- 
boat" and  Conklin  take  care  of  the  laughs. 

Another  Farce  Comedy 

Cpoxtaneity  should  be  the  cry-word  with 
makers  of  farce  comedies.  It  hasn't  al- 
ways been  remembered  in  "Money  Talks," 
for  the  piece  slips  and  slides  in  its  pace 
quite  frequently.  Naturally,  this  tends  to 
make  it  lose  some  of  its  sparkle. 

The  farcical  twists  evaporate  rather 
quickly — and  what  develops  is  a  series  of 
slap-stick  gags  when  Owen  Moore,  after 
the  style  of  Syd  Chaplin,  dons  dresses  and 
a  wig  and  proceeds  to  cut  up  a  few  high 
jinks.  Owen  appears  as  a  flashy  youth 
engaged  in  the  advertising  business.  Like 
a  good  bluffer,  he  succeeds  in  putting  up  a 
good  front. 

The  idea— true  to  most  farcical  ideas — 
centers  around  the  youth  having  tiffs  with 
his  wife.  She  tires  of  his  unfulfilled  prom- 
ises and  goes  back  to  mother.  However, 
the  author  doesn't  neglect  the  happy  end- 
ing. He  sees  to  it  that  the  youth  stumbles 
upon  prosperity.  So  it  all  ends  merrily 
and  peacefully. 

The  piece  has  its  high  spots.  You  cant 
take  anything  away  from  Owen  Moore. 
His  interpretation  is  breezy  and  to  the 
point,  while  Bert  Roach  and  Claire  Wind- 
sor handle  their  roles  to  extract  all  the 
humor  and  charm   from  them. 

Hines   Helps   Himself  to   a   Good   One 

\Jo  moviegoer  who  treasures  his  laughs 
can  go  wrong  with  "The  Brown 
Derby,"  Johnny  Hines'  newest  essay. 
Truly,  it's  a  lively,  rollicking  number — 
and  one  that  should  sky-rocket  the  comedian 
right  up  there  on  the  highroad  to  popu- 
larity. He  can  look  the  world  in  the  face 
and  say,  "Folks,  I've  put  it  over." 

The  piece  is  bright  with  an  assortment 
of  brand-new  gags — which  burst  forth  and 


spread  the  silversheet  with  liveliness. 
Spontaneous  laughter  is  developed  at  the 
start — and  this  response  continues  to  the 
end.  There  may  be  some  old  high  jinks 
here,  but  if  there  are  they  are  not  recog- 
nizable. That's  how  this  comedy  has  been 
treated  to  look  novel  and  neat. 

"The  Lirown  Derby"  has  a  "snap  and  go" 
about  it  which  keeps  it  moving  with  fine 
speed.  Xot  a  scene  is  shown  which  loses 
its  pace  and  gingery  quality.  We  see  Hines 
suffering  from  an  inferiority  complex  in 
his  "underdog"  study  of  a  plumber.  He 
inherits  a  brown  derby  from  an  eccentric 
uncle — a  derby  which  carried  the  old  fel- 
low to  a  financial  triumph — and  it  brings 
him  all  sorts  of  good  luck  as  well  as  en- 
abling him  to  conquer  his  inferior  fancies. 

The  head-piece  almost  has  a  mind  of  its 
own  in  the  manner  which  it  places  Hines 
in  one  tight  jam  after  another.  It  skips 
about  of  its  own  accord — and  the  comedian 
skips  about  some  himself.  The  w.  k. 
chase  figures  for  a  finish  to  the  merry 
mix-up — which  involves  the  characters  in 
a  marital  scene  of  mistaken  identities.  I 
recommend  this  comedy.  It  is  a  sure-fire 
laugh-getter. 

Marie  as  Mabel 

And  still  they  come — these  film  farces. 
The  month  seems  to  be  devoted  to 
showing  them  to  the  exclusion  of  the 
straight  romantic  stuff.  One  of  the  new- 
est entries  is  "Up  in  Mabel's  Room,"  with 
Marie  Prevost  cast  as  the  irrepressible 
Mabel. 

As  the  title  indicates,  this  farce  comedy 
has  to  do  with  a  marital  mix-up — with  the 
figures  making  frenzied  dashes  in  and  out 
of  Mabel's  room.  The  crisp  dialog  of 
the  spoken  version  has  been  silenced,  but, 
nevertheless,  the  director  knew  what  he 
was  about.  He  has  timed  it  well  so  that 
the  action  is  projected  in  gingery  fashion. 

The  piece  calls  for  much  activity — and, 
like  all  farces,  a  word  of  explanation  from 
one  of  the  dozen  characters  would  give  it 
away  long  before  it  had  run  its  course. 
But  true  to  the  unwritten  law  of  the  thea- 
ter— these  characters  keep  silent.  And  so 
the  fun  is  on  as  they  try  to  capture  the 
filmy  piece  of  lingerie  which  is  up  in 
Mabel's  room. 

Now  Mabel,  mind  you,  has  made  up  her 
mind  to  win  her.  divorced  husband  over 
again.  She  mistrusts  the  lingerie  was  in- 
tended for  another  girl.  And  so  it  becomes 
a  battle  of  wits  between  the  quarrelsome 
love  birds — which  culminates  in  a  happy 
reconciliation.  The  players  keep  on  the 
move  all  the  time — hence  there  are  no  dull 
pauses. 

Marie  Prevost  demonstrates  very  capably 
that  she  is  a  clever  comedienne — and  Har- 
rison Ford  plays  with  that  mock  serious- 
ness which  is  necessary  to  interpret  farce 
correctly.  Harry  Myers  is  also  in  the 
picture. 

Colleen's  Comic   Strip 

A  satisfactory  job  has  been  done  by  the 
■^  comic  strip,  "Ella  Cinders,"  in  con- 
verting it  into  celluloid.  While  the  title 
spells  Cinderella  backwards,  you  can  judge 
for  yourself  what  the  theme  indicates. 
Just  the  same,  it  is  a  refreshing  little  ver- 
sion of  the  Cinderella  pattern — one  that 
carries  its  measure  of  hokum,  but  which, 
nevertheless,  is  not  spoiled  by  it. 

Colleen  Moore's  personality  is  easily 
adaptable  for  the  role  of  the  drudge  who 
becomes  movie-mad — and  wins  a  beauty 
contest  to  enter  the  movies.  She  gives  it 
the  requisite  amount  of  wistful  appeal,  plus 
(Continued  on  page  84) 


82 


FRECKLES 


Othine  Will  Remove  These 
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time    I'll     lemon    juice    ur    on- 
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Be    sure    to    ask    for    Othine — double 
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ntinutd  /■ 

Ova    i  cup  of  coffee  and    i  roll  in  the 
Mont  ma  i  ire,  i  hai  lie  lold  lotne  ol  hi 
i>ti nine-,  with  people  who  breezed  up  t.> 
linn    and    asked    nim    whether    he    waj 
i  ti.it  lie  i  haplin, 

"I    Mt)     ti«    ihcui,"    s.u.l    (  li.H  lie,    "     ' 

am  i  harlie  t  naplm.' 

"Say,   I   saw  you  m  in   L908  in 

vaudeville  AM  I  RIGH  r?"  they  wind  up 
with  a  thunderous  Sourish, 

"1  pause,  nodding,  and  then  tins  type 
ol  individual  will  repeat  so  that  everybody 
in  the  restaurant  thinks  we  are  having  a 
frightful  argument:    'AM    I   RIGHT?1 

"Do   you   know   that    this   s,,rt   of   man   is 

so  difficult  tu  Kct  rid  of,  thai  I  feel  bice 
pushing  back  my  chair  and  leaving  my- 
self." 

And  this  ("haplin,  the  Kennington  boy, 
now  better  known  than  Irving,  Mansfield, 
Tree  or  Bellew,  more  famous  than  Ade- 
lina  Patti,  Melba  and  others,  renowned  in 
nooks  of  thf  u,l(ihe  that  have  never  heard 
of  the  celebrated  clown,  Grimaldi,  is  a 
film  genius  who  hasks  in  the  sunshine  of 
his  own  achievements  and  is  at  the  same 
time  appreciative  of  the  worthy  efl 
of  others. 


Masters  of  the  Motion 
Picture 

(Continued  from  page  66) 

congested  streets  of  Los  Angeles  in  a 
skiff,  the  next  moment  pounces  upon  an 
arrow-collar  man,  dressed  in  l'.\  D's,  who 
is  shaving  before  a  chewing-gum  mirror, 
and  in  the  next  moment  is  catapulted  into 
an  enchanted  garden  where  film  stars  are 
diving  backward,  full-dressed,  out  of  a 
swimming  pool.  .  .  .  The  speed  of  these 
incidents  is  skilfully  increased  by  Cruze 
all  the  time.  He  is  a  master  of  tempo 
who  understands  the  compelling  power  of 
visualized  motion  as  neither  Lubitsch  nor 
Stroheim  do.  He  save  us,  moreover,  a 
true  impression  of  the  wild,  wild  American 
scene  with  its  headlong  speed  and  its  un- 
reasonable characters.  "Hollywood"  was 
as  pure  a  product  of  American  life  as  Jim 
Europe  or  Ring  Lardner  or  the  Krazy  Kat 
cartoons. 

Dynamics 

T  have  rated  Yidor's  "The  Big  Parade" 
as  a  masterpiece  in  a  previous  issue  of 
The  Classic.  I  must  add  here  that  it  is 
also  a  masterpiece  of  dynamics.  So  intent 
was  Vidor  on  controlling  the  movement 
of  the  film  that  he  had  each  gesture  and 
step  taken  to  the  beat  of  big  drums,  quick- 
ening in  time  as  the  action  grew  more 
intense. 

The  greater  discoveries  will  come  from 
this  direction,  I  suspect,  rather  than  from 
the  European  school.  There  are  experi- 
ments already  with  machines,  whose  re- 
sults look  quite  terrifying,  as  yet  But, 
then,  they  must  never  stop  experimenting. 
.  .  .  Altho  the  movies  have  already  come 
a  great  distance  forward  and  have  achieved 
a  tremendous  range  of  expression  as  an 
art  in  their  own  right. 


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Resinol 


I  Wonder  What  Became  of  Him 


(Continued  from  page  27) 


One  of  the  most  remarkable  jumps  from 
the  background  to  the  "five-foot  line," 
as  the  privileged  space  before  the  lens  on 
which  the  stars  tread  is  known  n  studio 
parlance,  has  been  accomplished  right 
under  our  respective  noses  by  one  Ray- 
mond Keane — an  extra.  Raymond  de- 
scended upon  Hollywood  a  few  months 
ago  from  Denver,  confident  of  success 
only  as  those  who  admit  to  being  seven- 
teen or  a  little  over  can  be  confident.  He 
was  one  of  the  many  extra  boys  who  clut- 
tered up  the  massive  sets  on  which  Norma 
Tahnadge  acted  in  the  film  "Graustark." 
But  Raymond  refused  to  be  mothered. 

His  personality  caught  and  held  the  at-' 
tention  of  Buchowetzki,  one  of  the  contin- 
gent of  imported  directors  of  which  we 
have  quite  a  few  now  in  Hollywood.  The 
director's  interest  brought  Raymond  a  part 
with  Laura  La  Plante  in  a  Universal  film, 
with  the  result  that  the  young  extra  is  now 
firmly  clutching  a  contract  which  calls  for 
his  services  for  the  next  five  years  in  Uni- 
versal productions. 

But  all  extras  who  achieve  a  rise  from 
the  background  players  are  not  so  fortu- 
nate as  young  Keane.  There  come  to 
mind  instances  of  several  players  who 
forced  their  way  thru  the  mob  to  camera 
recognition,  held  the  spotlight  momentarily 
and  then  dropped  back  to  the  extra  class 
again.  Many  of  you,  who  sometimes 
wonder  what  has  become  of  the  player  you 
were  beginning  to  like,  can  satisfy  that 
curiosity  by  scanning  carefully  the  crowd 
scenes  and  ballroom  gatherings  as  they 
flash  across  the  screen — they're  there, 
sunk  again  in  obscurity  and  their  big 
chance  gone,  probably   forever. 

Griffith  Discovered  a  Few 

Tt  is  more  cheerful,  tho  to  contemplate 
some  more  present  screen  favorites  who, 
not  so  long  ago,  bore  the  tag  of  extra. 
Norma  Shearer,  for  instance.  The  delight- 
ful artist  who  registered  so  strongly  in 
"His  Secretary"  recently,  cashed  many  a 
five-dollar  check  as  one  of  those  "on  the 
set"  with  Corinne  Griffith,  Colleen  Moore 
and  other  stars  with  whom  she  now  holds 
equal  rank.  Can  you  wonder,  tho,  that 
Norma  succeeded  in  saving  you  the  trou- 
ble of  asking  "I  wonder  what  became  of 
her." 

The  director  to  whom  belongs  the  most 
credit  for  sensing  the  possibilities  of  talent 


among  extras  is  D.  W.  Griffith.  His 
selection  of  Lillian  and  Dorothy  Gish,  Mae 
Marsh,  Carol  Dempster,  Bobby  Vernon, 
Charles  Emmett  Mack  and  others  too 
numerous  to  mention  who  evolved  from 
the  supernumerary  contingent  is  proof 
conclusive  of  this.  It  is  strange  indeed 
that  the  soldier  who  held  the  screen  with 
Lillian  Gish  in  those  scenes  in  "The  Birth 
of  a  Nation"  did  not  find  a  place  with  the 
other   extras  who  have  risen  to  stardom. 

A  glance  at  some  of  the  old  stills  which 
present  various  scenes  from  the  first  pro- 
ductions of  the  late  Thomas  H.  Ince  re- 
veals the  fact  that  many  of  the  background 
characters  of  those  early  days  may  be  num- 
bered among  "extras  who  have  made 
good."  Two  who  come  to  mind  are  Leo 
Maloney,  possessor  of  a  starring  contract 
with  Pathe,  and  Charles  Ray.  Awhile 
back  we  spoke  of  Wally  Van.  This  same 
Wally  has  to  his  credit  the  foresight  of 
seeing  in  a  dapper  young  man  fighting  for 
recognition  in  the  old  Vitagraph  days  the 
makings  of  a  good  screen  actor.  The  dap- 
per youth  was  known  as  Adolphe  Menjou 
and  he  was  given  the  chance  to  display  his 
ability  in  "The  Scarlet  Runner."  a  Vita- 
graph  serial  starring  Earle  Williams,  and 
which  Wally  directed. 

There  is  one  man  we  know  of  who  broke 
into  the  movie  studios  via  the  extra  route 
who  is  now  a  millionaire.  Jack  Coogan, 
Sr.  The  daddy  of  the  screen's  most  be- 
loved juvenile  star  formed  part  of  the  line 
which  filed  regularly  to  the  paymaster's 
window  at  the  old  Metro  studios  in  Hol- 
lywood. In  the  picture  which  brought 
Coogan,  Sr.,  and  Jackie  from  the  extra 
class,  "The  Kid,"  starring  Charlie  Chaplin, 
the  father  of  Jackie  may  be  discovered  as 
one  of  "those  present,"  providing  atmos- 
phere for  Chaplin  and  his  talented  off- 
spring. 

And  so  we  could  go  on  indefinitely  nam- 
ing players  from  the  extra  fold  who  have 
made  good,  but  arrayed  against  those  we 
have  mentioned  are  the  hundreds  who  still 
remain — extras.  We  have  seen  them  do  an 
excellent  "bit"  of  acting  more  than  once 
and  in  rare  instances  we  have  seen  them 
"steal"  the  scene  from  the  featured  player 
with  whom  they  may  be  working.  And 
as  we  file  out  of  our  favorite  theater  we 
bury  them  under  the  blanket  of  obscurity 
with  the  casual  "I  wonder  what  became 
of   him." 


The  Celluloid  Critic 

(Continued  from  page  82) 


a  roguish  sense  of  humor.  And  Ella,  as 
a  result,  stands  out  conspicuously,  thus 
winning  your  sympathy. 

There  is  a  scene  at  the  railroad  station 
which  contains  a  bit  of  pathos.  The  folks 
are  certain  the  girl  will  make  good,  par- 
ticularly the  young  iceman,  who  believes  in 
her.  But  the  best  episodes  are  found  in  the 
journey  in  the  train  and  later  at  the  studio. 
The  car  scene  brings  a  laugh  when  a  small 
tribe  of  Indians  in  full  regalia  occupy  all 
the  seats.  One  brave  commands  the  girl 
to  smoke  a  cigar  just  like  the  squaws  op- 
posite her.  And  Miss  Moore  gives  play 
to  her  plastic  expressions  in  her  effort  to 
please  the  Indian  and  make  her  stomach 
behave.  The  studio  bits  reveal  some  inside 
stuff  regarding  productions — and  the  hu- 
morous side  of  trying  to  crash  the  gate 
makes  a  bid  for  a  laugh — and  gets  it. 

In  all,  a  pleasing  number — one  that  is 
capably    titled,    allowing    for   a    few   wise- 


cracks   here    and    there  —  and    acted    and 
staged  up  to  the  best  requirements. 

Hero-Worship 

Warner  Brothers  have  a  picture  in 
"Why  Girls  Go  Back  Home"  that 
carries  all  the  earmarks  in  its  title  of 
being  a  preachment.  One  might  imagine 
it  to  be  one  of  those  home-and-fireside 
melodramas  in  which  Pop  and  Mom  wait 
patiently  for  their  erring  daughter  to  re- 
turn by  the  light  of  the  parlor  lamp.  This 
is  true  in  some  respects.  Yet  the  director 
has  refrained  from  resorting  to  the  obvi- 
ous. He  embroiders  it  with  enough  deft 
touches  of  humor  and  humanities  to  make 
it  bright  and  interesting  most  of  the  way. 
The  picture — or  rather  the  action — 
doesn't  take  itself  too  seriously  even  if  its 
plot  does  get  out  of  hand  here  and  there. 
Where  the  director  has  erred  is  in  pound- 
(Continued  on  page  87) 


84 


Impressions  of  Hollywood 

mlinued  from  pagt  72) 

When  the  monk  had  been  sufficiently  r« 
hearsed,  the  lights  were  turned  on  and  the 
camera  i-runkcd  while  the  monkej  turned 
the  radiator  handle.  (  louds  ol  something 
th.it  looked  likt-  steam  came  from  the 
rsdiatoi .      I  h  ned   the   monk   and 

he  ran  i » t V  the  set,  but  fortunateh  the  scene 
was  not  spoiled.  I hey  wanted  a  retake, 
but  for  the  life  of  them  the)  could  not  get 
that  monk  t.>  k>>  "ear  the  radiatoi  again 
hissing  steam  spelled  dangei  to  him  but 
next  daj  the)  were  trying  it  again  and 
from  last  reports  they  finall)  gol  the  monk 
to  do  the  stunt  successfully. 

Another  peculiar  thing  about  monkeys  is 
that  the)  are  afraid  of  revolvers.  *  me  da) 
thi>  very  monk  was  very  much  agitated  for 
no  known  cause  and  the)  could  not  get  him 
to  do  anything  whatever,  ^t  last  the  master 
said,  "There  must  be  a  revolver  some 
where,"  and  sure  enough,  on  looking 
rid,  they  found  a  revolver  almost  hid 
tUu  among  papers  and  things  <>n  a  desk  in 
a  distant  corner.  Monk  had  spied  it  and 
refused  to  work  until  it  was  removed. 

Another  Fashion  Show 

Fashion    pictures   appear   to   be   all   the 

ge  just  now.     The  huge  set  that   (  ol 
leen  Moore  had  in  "Irene"  was  so  mi.  - 
nil  that   they  arc  all  doing  it  now.     The 
last   I   saw   was  one  at  the   Fox  studio  in 
"lit;    Leaves,"   in   which  Olive   Borden   is 
starring.     It  is  a  gorgeous  set   with  mar 
velous  gowns  and  girls  and  it  is  being  made 
in    technicolor.      I    am    told    they    will    use 

It  eighl  hundred  t'eet  of  this  fashion 
Stuff,  which  means  that  one-tenth  of  the 
picture  will  he  that  and  nothing  else  and  it 

sting  a  mere  trifle  of  $40,000.00  for 
this  scene. 

Doug's  Wit 
LIarold  Lloyd  is  not  funny  at  all  in  real 
life,  and  does  not  try  to  he  witty. 
Doug  likes  to  make  merriment.  He  was 
riding  on  a  trolley  out  on  location  recently, 
and  the  conductor,  not  recognizing  him, 
said:  "I  got  your  fare,  didn't  [?"  "No, 
I  think  not,"  Doug  replied.  "1  believe  1 
saw  you  ring  it  up." 

Personalities 

LJ  akrv  Carr.  most  beloved  of  all  writers 
on  the  Coast,  is  to  von  Stroheim  what 
soothing  syrup  is  to  a  baby.  And  \  on 
is  very  much  of  a  baby.  If  handled  right, 
he  is  not  hard  to  get  along  with,  and  as 
for  Harry,  anybody  could  get  along  with 
him. 

r\oROTHY  Manners  and  Doris  Denbo 

two  brilliant  young  Coast  writers  and 
just  as  popular  as  they  are  brilliant.  They 
know  everything  and  everybody  out  here 
and  the  Brewster  Publications  are  very 
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and  nothing  escapes  them.  Watch  out  for 
their  comments.  They  never  fail  to  get 
just  the  right  angle  on  things,  and  further- 
more you  can  always  believe  what  they 
say. 

(""^harles  Farrell,  who  played  in  "Sandy" 
attractively,  is  doing  so  well  in  "Old 
Ironsides"  that  he  will  probably  be  in  the 
matinee-idol  class  before  long.  He  be- 
longs to  Fox,  who  loaned  him  temporarily 
to  Famous   Players. 


Ample  argument 

THE  OLD  CHINES]  proverb  says,  "One  picture 
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85 


The  O'Brien  Boy  Gets  a  Kick  Out  of  Life 

(Continued  from  page  56) 


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clear  your  skin  of  freckles, 
roughness,  tan,  or  a 
"muddy"  aomplexiou. 
These  imperfections  van- 
ish as  if  by  magic — and 
your   skin   takes    on    that 


The  strong  lights 
used  in  making  our 
pictures  exaggerate  all 
skin  imperfections,  so 
that  I  have  to  keep 
my  skin  always  free 
from  even  the  tiniest 
blemish.  I  have  found 
that  Golden  Peacock 
Bleach  Creme  does 
this  work  admirably, 
correcting  every  defect, 
— Doris    Kenyon. 


delicate    smooth   beautv    that 


everyone   admires. 

Make   This   3   Minute 
Test! 

Three  minutes  before  bed- 
time smooth  this  cool  frag- 
rant creme— Golden  Peacock 
Bleach  Creme  —  on  your 
skin.  The  very  next  morn- 
ing look  in  your  mirror. 
Notice  how  muddiness  and 
sallowness  have  aheady 
started  to  give  way  to  an 
unblemished,  milky  white- 
ness, So  wonderful,  so 
quick  are  the  results  of  this 
new  scientific  creme  that  we 
absolutely  guarantee  it !  Get 
a  jar  now — today — at  all 
good  drug  and  department 
stores.  Use  it  five  nights. 
Then  if  you  are  not  de- 
lighted and  amazed  your 
money  will  be  gladly  re- 
funded. 

FREE— If  your  dealer  can- 
not supply  you  with  Golden 
Peacock  Bleach  Creme  mail 
the  coupon  bt  low.  Send  no 
money.  When  package  ar- 
rives pay  postman  $1.  If 
you  give  us  your  dealer's 
name  with  your  order  we 
will  send  you  a  lovely  gift  absolutely  FREE  with  our 
compliments. 

/golden  Peacock 

VJ  ^Bleach  Greme> 

PARIS  TOILET  COMPANY,  4?  Oak  St.,  Paris,  Tenn. 


PARIS  TOILET   COMPANY 

47  Oak  St..   Paris.  Tenn. 

Please   send    me    a    jar   of   Golden    Peacock    Bleach 

Creme.      When   package  arrives   1    will  pay  postman 

$1.     If  not  delighted  my  money  will  be  refunded. 

Name 


I   Address 
City State. 

I   Dealer's  Name 


those  three  things  happen  to  be  George's 
favorite  dishes. 

If  he  hadn't  made  good  in  pictures,  there 
would  very  probably  be  a  big,  muscular, 
laughing  young  Irishman  writing  history 
in  some  far  corner  of  the  earth  right  now 
— driving  a  sullen  crew  of  Kanakas  at  the 
pumps  of  a  pearler  in  some  crystal  lagoon, 
panning  raw  gold  from  the  virgin  gravels 
of  Papua,  or  else  taking  joyous  chances  in 
one  of  those  South  Sea  isles  where  some 
luckless  member  of  a  rival  tribe  often 
finds  himself  included  in  the  salad  course 
at  the  festive  board. 

For  George  O'Brien  has  the  joyous  in- 
stincts of  the  born  wanderer,  the  ceaseless 
thirst  for  new  places  and  new  thrills,  that 
only  a  certain  kind  of  Irishman  can  have 
to  the  fullest  measure.  Picture  work  is 
giving  him  that  variety  and  thrill.  Con- 
sequently, he  is  happy — for  the  time  being, 
at  least.  If  pictures  ever  bore  him,  how- 
ever, I  have  a  strong  hunch  there  will  be 
a  vacant  chair  in  Hollywood  some  bright 
morning. 

Has  the  Gypsy  Urge 

f~*  eorge  told  me  of  his  inborn  gypsy  urge 
the  other  afternoon  as  we  sat  chatting 
on  a  log  at  the  edge  of  one  of  the  weirdest 
sets  in  Hollywood.  It  wasn't  an  interview. 
Mere  personalities  were  completely  forgot- 
ten. We  compared  notes  on  those  parts 
of  the  world  we  had  both  seen,  and  then 
argued  the  respective  merits  of  those  parts 
we  wanted  to  see.  My  pet  ambition  has 
always  been  to  invade  the  upper  Amazon 
and  collect  spider-monkeys  and  anacondas. 
George  claimed  that  the  unexplored  inner 
part  of  Borneo  promised  twice  the  thrills 
of  the  Amazon.  And  so  we  argued  the 
matter  amicably,  there  on  a  property  log 
at  the  edge  of  the  Garden  of  Eden. 

The  Garden  set  was  for  a  sequence  in 
"Fig  Leaves,"  in  which  George  and  Olive 
Borden  are  playing.  It  was  far  from  the 
conventional  idea  of  Eden.  The  forest  was 
virgin  enough,  but  the  trimmings  were 
weird.  The  tree  bungalow  of  Adam  and 
Eve  had  a  sign  in  front,  "No.  780 — No 
Peddlers  Allowed."  A  crude  street-car 
track  ran  nearby,  a  sort  of  Stone  Age 
edition  of  the  "Toonerville  Trolley." 

The  single  car  was  drawn  by  a  lumbering 
brontosaurus.  Or  it  may  have  been  a 
diplodocus.  I  never  could  tell  the  boys 
apart.  Whatever  it  was,  it  weighed  about 
a  ton,  had  spines  down  its  back,  three  horns 
on  its  nose,  and  looked  like  a  mixture  of 
a  Chinaman's  idea  of  a  dragon,  a  Medieval 
concept  of  Beelzebub,  and  a  gin  addict's 
vision  of  a  lavender-eyed  grakkiwampus. 
Seven  men  concealed  in  its  interior  manipu- 
lated its  movements  with  startling  realism. 

George,  as  Adam,  was  clad  in  a  suit 
of  bear-skin  lingerie,  and  had  a  flowing 
wig  that  would  have  shamed  Samson  him- 
self before  he  got  his  fatal  "Delilah  bob." 
Olive  Borden,  as  Eve,  wore  a  gorgeous 
fur  that  had  cost  some  luckless  leopard 
all  nine  of  its  lives.  After  gazing  at  Olive, 
I  realized  for  the  first  time  why  Adam 
fell  for  the  apple.  He  was  lucky  it  wasn't 
a  pumpkin. 

"There's  what  I  mean  when  I  say  that 
picture  work  gives  me  a  real  kick,"  George 
indicated  the  exotic  set  before  us.  "Where 
else  would  you  find  a  scene  like  that?  And 
where  else  in  the  civilized  world  would 
I  get  a  chance  to  dress  like  this  and  play 
Adam,  without  landing  in  some  nice  quiet 
booby-hatch? 

"In  pictures  I  never  know  what  I'll  be 
doing  next.  Today  I'm  Adam.  Next 
month  I  may  be  playing  a  lumberjack  up 
in  Oregon.     The  month  after  that  I  may 


be  a  prospector  over  in  Arizona.  In  this 
game  you  never  know  what's  around  the 
next  corner.  That  suits  me  in  every  way. 
I  dont  even  want  to  know  when  I  get 
up  in  the  morning  what  I'm  going  to  do 
that  day.  I  hate  routine.  And  I  never 
make  plans.  They  take  all  the  kick  out 
of  life. 

"I'm  glad  I've  managed  to  get  across 
in  pictures,  of  course.  I  worked  mighty 
hard  in  doing  it,  and  success  has  brought 
the  same  feeling  of  satisfaction  to  me  that 
it  brings  to  any  normal  man  who  has 
finally  won  it  after  a  hard  pull  up-stream. 
I  like  the  acting  and  the  other  things  about 
the  game.     If  I  didn't,  I  wouldn't  be  in  it. 

"But  the  real  appeal  of  picture  work  to 
me  is  the  constant  variety  and  ever- 
changing  life  it  offers.  No  two  days  are 
ever  the  same.  It's  hard  work,  sure.  But 
what  does  that  matter?  It  offers  travel, 
thrills,  the  unexpected,  and  it's  work  that 
I  really  like.  What  more  could  any  sane 
person  ask?" 

The  Son  of  a  Cop 

(^eorge  O'Brien  came  honestly  by  his 
love  for  adventure  and  action.  .His 
father  is  Chief  of  Police  in  San  Francisco, 
and  that  is  a  job  not  noted  for  humdrum 
daily  routine.  The  O'Brien  family  never 
knew  whether  a  bulky  package  in  the 
morning  mail  was  a  box  of  candy  or  a 
bomb  sent  by  some  affectionate  little 
Nihilist  as  a  holiday  token.  Death  threats 
were  common  events. 

His  parents  decided  that  it  was  time  that 
the  family  had  at  least  one  quiet  member, 
so  they  planned  for  George  to  be  a  physi- 
cian. They  might  almost  as  well  have  tried 
to  grow  a  morning-glory  vine  from  an 
acorn.  The  World  War  came  along  very 
conveniently,  and  George  immediately  en- 
listed in  the  Navy. 

Hostilities  over,  he  returned  to  college 
at  Santa  Clara,  and  became  famous  as  an 
all-round  athlete.  Then  he  decided  that  he 
wanted  to  be  an  actor,  and  the  medical 
profession  promptly  and  permanently  lost 
a  promising  candidate. 

He  succeeded  in  getting  occasional  work 
with  picture  companies  on  location  in  San 
Francisco,  and  finally  entrained  for  Holly- 
wood with  one  of  them.  Actors  seemed 
to  be  a  drug  on  the  local  market  when 
he  got  here,  so  George  became  an  assistant 
cameraman  with  the  Tom  Mix  troupe.  He 
attracted  the  favorable  notice  of  the  cow- 
boy star,  and  a  warm  personal  friendship 
began  between  the  two,  a  friendship  that 
has   endured   unbroken   ever   since. 

George  jumped  at  the  first  opportunity 
to  forsake  his  camera  crank  for  the  grease 
paint,  and  he  was  soon  back  in  the  dramatic 
ranks  again.  He  traveled  to  Panama  with 
the  Thomas  Meighan  company  when  "The 
Ne'er-do-well"  was  filmed,  and  other  fairly 
substantial  parts  followed  in  various  stu- 
dios. Then  the  one  big  chance  that  comes 
at  least  once  to  every  player  came  when 
Director  John  Ford  started  casting  for  "The 
Iron  Horse." 

George  won  the  coveted  role  of  the  ex- 
press rider  in  the  Fox  epic  after  camera 
tests  had  been  taken  of  half  the  male  popu- 
lation of  Hollywood.  W'hen  the  picture 
was  finished,  George  had  "arrived."  His 
work  since  has  held  to  the  same  high 
standard,  and  the  O'Brien  star  is  now  very 
near  the  top  of  the  movie  firmament. 

George  is  a  born  actor,  and  a  good  one. 
He  throws  himself  into  every  part  with  a 
whole-hearted  Celtic  fervor  that  carries 
everything  before  it.  He  is  good-looking 
in  a  virile,  he-man.  fashion  that  appeals  to 
men  and  women  alike. 


86 


The  Celluloid  Critic 

ing  home  his  message  It  is  as  il  he  didn't 
credit  his  audience  with  sufficient  intelli 
to  grasp  it 
.ill  things  considered,  the  film 
shapes  up  a-  moderate!}  good  entertain 
unlit.  Win  Because  its  high  lights  fai 
outweigh  its  Haws. 

A   Fine  Theater  Story 

I  recall  evei   having  seen  a  more 

sorbing  and  moving  storj  ol  the  thea 
tir  than   what   is   revealed    in  "The    Mai 

Clause,"  which  brings  E.ois  Weber, 
the  only  woman  director,  back  to  the 
Kleigs  and  the  cameras.  In  the  first  place 
it  has  .1  real  dramatic  plot  one  charged 
with  deep  pathos  and  tenderness.  And 
carrying  such  qualities,  Miss  Weber  has 
ted  a  woman's  privilege  in  emphasiz 
ing  them  with  fine  humanities. 

Everyone  who  is  the  least  bit  familiar 
with  the  theater  knows  that  certain  man 
exercise  a  dominating  influence  over 
their  star-.  If  the  latter  prove  t<>  be  un- 
usually successful,  they  are  compelled  to 
sign  contracts  carrying  the  marriage 
clause  which  stipulates  they  must  not 
marry  during  tluir  contractual  obligations. 

Billie  Dove  Soars  High 
ETsOM    this    wry    logical    idea    this    story    is 

established— and  it  moves  along  with  a 

well-defined  ring  of  truth.  The  central 
figure,  played  with  fine  emotion  by  Billie 
Dove  (it  is  her  greatest  role  and  she  en- 
dows  it    with   great     feeling),    is    signed    up 

by  the  manager.    She  is  placed  under  the 

guidance    of    the    stage    director     who    e\ 
irts  a  sort  of   Svengali   hypnosis  over  her. 
When    he    is   near    her,    she    feels    Confident 

and  secure-   and  manage-  to  get  the  utmost 

expression.     Naturally  they  fall  in  love. 

You  ask  where  is  the  conflict?  It  en- 
ters in  the  element  of  jealousy  manifested 
by  the  manager.  In  other  words,  he  trie- 
to  make  things  unpleasant  tor  his  direc- 
tor—and  succeeds.  The  latter,  being  highly 
sensitive,  broods  over  his  humiliation — 
and,  thinking  the  girl's  ardor  for  him  is 
beginning  to  cool,  he  descends  the  prim- 
rose path.  He  places  wrong  conclusions 
on  subsequent  events  in  the  girl's  life — 
and  yet  he  loves  her  well  enough  to  re- 
turn for  her  premiere  under  the  guidance 
of  another  director. 

The  girl,  meanwhile,  has  become  de- 
spondent— and  fails.  With  her  life  de- 
spaired of.  the  Svengalian  director  hastens 
to  be  with  her.  In  her  delirium  he  coaches 
her  with  the  same  words  he  used  when  he 
made  her  a  star  in  the  first  place.  The 
crisis  passes  and  all  ends  happily. 

Very  Real  and  Human 

Tx  the  mere  outline  of  this  picture  I  can- 
not do  credit  to  the  many  little  touches 
of  humanity  which  saturate  it.  The  story- 
is  poignant  and  it  is  treated  with  a  fine 
appreciation  of  its  heart  throbs.  The  the- 
ater side  of  the  plot  is  ever  present — and 
because  the  idea  is  so  genuine  it  will  catch 
everyone's  attention  and  hold  it.  There  i- 
no  hokum  here.  What  is  revealed  could 
reasonably  happen  in  any  large  city  which 
caters  to  stage  activities. 

Be  it  said  that  the  manager  becomes 
more  pliable  to  his  conscience  and  the  mar- 
riage clause  is  stricken  out. 

The  acting  is  of  a  high  quality  thruout 
— especially  in  the  performance  by  Miss 
Dove — and  the  excellent  support  contrib- 
uted by  Francis  X.  Bushman  and  Warner 
Gland  as  the  director  and  manager,  re- 
spectively. 


A^v^^syNrt^^^^^-^^.vvv^.^/v^^^A^^^^^^^^^^^A^AAA-^^^v^«^^^^w^^AA•v^^^^vAA^^^«yws^^^^^^vv 


Setting  the  ^acel 

I  t's  a  difficull  matter  i"  set  the  pa<  e 

and  keep  it.  Yet  thai  is  JUS1  what 
T]  II    CL  1SSIC  lias  marked  out  tor  ttSCll 

ever  since  it  entered  the  publication 

held.  It  i>  the  one  de  luxe  magazine 
ol  the  film  world.  As  everyone  i>  in- 
terested     in     motion     pictures,     Tin 

Classic  is  the  one  publication  to  sup- 
ply the  demand  for  brilliantly  writ- 
ten articles.  It  is  dedicated  to  the  idea 
of  furnishing  its  readers  with  live 
topics  and  live  pictures.  Its  contribu- 
tions  are  tree  ol  bunk  but,  i)n  the  other 
hand,  treat  of  films  and  the  people  as- 
sociated with  films  in  an  authoritative 
and  fearless  manner.  The  Classic  is 
not  only  the  most  beautiful  publication 
of  the  screen,  but  it  is  also  the  most 
original. 

When  you  glance  over  its  list  of  con- 
tributors, you  will  recognize  the  fore- 
most writers  of  the  screen — writers 
who  know  every  angle  of  picture  pro- 
duction— and  who  give  you  first-hand 
knowledge  of  what's  going  on  in  the 
celluloid  world.  There  are  Eugene  V. 
Brewster,  the  founder  of  the  Brewster 
Publications,  Adele  Whitely  Fletcher, 
Gladys    Hall,    Milton    Howe,    Harry 

Carr,  Tamar  Lane,  H.  W.  Hanemann,  Don  Ryan,  Don  Eddy 
— and  a  host  of  others.  These  all  write  for  The  Classic — 
most  of  them  exclusively. 

There  will  be  several  fine  scintillating  articles  in  the  Sep- 
tember issue — as  well  as  a  complete  assortment  of  beautiful 
pictures.  Don  Ryan  will  tell  you  about  the  Foreign  Directors. 
The  article  places  the  cards  right  on  the  table  in  regard  to  the 
foreign  invasion. 

The  September  CLASSIC  will  also  continue  Henry  Albert 
Phillips'  interviews  with  famous  European  writers,  in  which 
they  talk  about  their  impressions  of  the  screen. 

There  will  also  be  interesting  articles  about  \V.  C.  Fields,  the 
new  comedy  star,  Reginald  Denny,  and  Lewis  Milestone,  the 
director. 

And  dont  fail  to  read  about  Hollywood's  Pet  Extravagances 
and  The  Great  Athletes  of  the  Screen. 

Read  the  Classic.  It  supplies  you  with  accurate  and  interest- 
ing information  of  all  the  varied  activities  of  the  film  world. 


****\*<iSS^*>^SSS*SSSK*i*>^^****^i^^*V\i*i/**^^ 


87 


Once  I  Too  Wis 
WfeaK  and  Ailing 


By  oAnnette  Kellermann 

(TV^ANY  people  will  be 
Q^SoL  surprised  to  hear 
that  as  a  child  I 
was  so  deformed  as  to  be 
practically  a  cripple.  I  was 
so  weak,  so  puny  that  I  was 
considered  an  invalid.  I  was 
bow-legged  to  an  extreme 
degree ;  I  could  neither  stand 
nor  walk  without  iron  braces 
which  I  wore  constantly.  My 
mother  put  long  skirts  on 
me,  down  to  my  ankles,  to 
hide  my  bow  legs  and  braces. 

No  one  ever  dreamed  that 
some  day  I  would  become  fa- 
mous for  the  perfect  proportions 
of  my  figure.  No  one  ever 
thought  I  would  become  the 
champion  woman  swimmer  of 
the  world.  No  one  ever  dared 
to  guess  that  I  would  be  some 
day  starred  in  great  feature 
films,  such  as  "A  Daughter  of 
the  Gods,"  "Neptune's  Daugh- 
ter," etc.  No  one  ever  dreamed 
that     I     would     some    day    travel     _  j  ]Q2b 

the  world  over,  appearing  on  the 
stage,    at    great    universities,    on 
lecture    platforms,    explaining    my 
methods    of    acquiring    and     maintaining     perfect 
health   and   a   perfect   figure.      Vet   that   is   exactly 
what   has   happened. 

I  relate  these  incidents  of  my  early  life  and 
my  present  success  simply  to  show  that  no 
woman  need  be  discouraged  with  her  figure,  her 
health,  or  her  complexion.  The  truth  is  tens  of 
thousands  of  tired,  sickly,  overweight  or  under- 
weight women  have  already  proved  that  a  per- 
fect figure  and  radiant  health  can  be  acquired  in 
only  fifteen  minutes  a  day  through  the  same 
methods  that  I  myself  use,  the  methods  which 
have  kept  my  health  perfect,  and  my  figure  at 
exactly  the  same  proportions  during  the  past 
fifteen    years. 

I  invite  any  woman  who  is 
interested  to  write  to  me.  I  will 
gladly  prove  to  you  in  10  days 
that  you  can  learn  to  acquire 
the  body  beautiful,  how  to  7nake 
your  complexion  rosy  from  the 
inside,  instead  of  from  the  out- 
side, how  to  stand  and  walk 
!  gracefully,  how  to  add  or  re- 
move weight  at  any  part  of  the 
'body;  hips,  bust,  arms,  shoul- 
ders, chin,  limbs,  waist,  abdo- 
men; how  to  be  full  of  health, 
strength  and  energy  so  that  you 
can  enjoy  life  to  the  utmost, 
how  to  be  free  from  colds,  head- 
aches, neuralgia,  nervousness, 
constipation,  weak  back,  and  the 
many  other  ailments  due  to 
physical  inefficiency;  in  short, 
how  to  acquire  perfect  woman- 
hood. 

Just  mail  me  the  coupon  below 
or  write  a  letter  and  I  will  send 
you,  at  once,  my  interesting, 
illustrated  new  book,  "The  Body 
Beautiful."  I  will  also  explain 
about  my  special  Demonstration 
Offer. .  Just  send  the  coupon  or 
letter  now.  Do  this  at  once, 
before  my  present  supply  of  free 
books  is  exhausted.  Address, 
Annette  Kellermann,  Suite 
385,  225  West  39th  Street,  New 
York    City. 

ANNETTE    KEI.LKRMAXN,    Inc.,    Suite    385 
225  West  39th  Street,  New  York. 

Dear    Miss    Kellermann:     Please    send    me,   en- 
tirely   free    of    cost,    your    new   book    "The    Body 
Beautiful."      I    am    particularly    interested    in 
□  Reducing  Weight.        □  Body  Building. 

Name 

Kindly  Print  Name  and  Address 

Address 

City State 


y 


Flash  Backs 

{Continued  from  page  55) 


star  has  invariably  had  his  own  way  when 
it  came  to  setting  up  new  records.  But 
his  audience  was  drawn  thru  the  appeal  of 
his  characterization  plus  the  all-round  ex- 
cellence of  his  pictures.  Which  makes  us 
think  that  Gilda's  personal  magnetism  is 
what  drew  the  crowds.  They  came  to  see 
her  dance  in  the  flesh  and  as  her  celluloid 
self  in  the  same  terpsichorean  number. 

The  Cinema  Chair 

LJ/7LL  there  be  a  cinema  chair  at  Yale? 
That  is  the  question  which  is  agitating 
the  learned  professors  and  the  student 
body.  For  the  first  time  in  the  history 
of  motion  pictures,  a  large  seat  of  higher 
learning  gave  the  honor  of  its  approval  to 
the  movies  thru  the  presentation  of  "The 
Big  Parade"  at  one  of  New  Haven's  thea- 
ters recently — under  the  auspices  of  the 
Yale  University  Dramatic  Association. 
The  picture  was  so  honored  because  of 
its  freedom  from  artistic  defects  and  its 
combination  of  all  the  qualities  deemed 
great. 

The  premiere  was  recognized  as  a  step 
forzvard  in  the  recognition  of  the  movie 
makers  by  the  colleges  and  may  lead  to  the 
establishment  of  a  chair  of  cinematics  at 
Yale. 

The  Autumn   Shower 

"The  producers  are  all  busy  watching  one 
another!  Each  is  awaiting  the  oppor- 
tune time  to  pounce  upon  the  picture  public 
and  beat  his  neighbor  in  showing  the  prize 
production.  Having  taken  a  leaf  from  the 
legitimate  theater  magnates,  these  movie 
men  dont  risk  their  aces  during  the  hot  dog- 
days.  As  a  result,  the  public  is  given  what 
the  producers  please  to  give  them.  The  big 
specials  are  held  back  for  the  fall  opening. 
And  then  they  drop  into  the  theaters  like  so 
many  snowflakes. 

If  one  producer  comes  along  with  a  big, 
smashing  hit,  he  is  quickly  followed  by  his 
contemporaries.  By  Christmas  all  of  the 
New  York  residents  are  out  of  the  apart- 
ment-house trenches  and  trekking  toward 
the  big  lights — and  big  pictures. 

Among  these  attractions  of  large  dimen- 
sions to  be  shown  soon  are  "Old  Ironsides," 
"Beau  Geste,"  "Tell  It  to  the  Marines," 
"Don  Juan,"  "Variety"  and  a  host  of 
others. 

That  Tragedy 

THEODORE  DREISER'S  "An  Ameri- 
can Tragedy"  is  still  being  discussed  in 
its  pictorial  shadozvs.  The  rumor  will  not 
down  that  Monta  Bell  will  be  the  final 
choice  to  direct  it,  tho  D.  IV.  Griffith  has 
first  claim.  If  the  master  of  the  close-up 
cares  to  take  it — well,  it  is  his  to  do  with 
as  he  desires.  But  he  is  not  pressing  mat- 
ters to  any  extent.  First  of  all,  he  zvants 
to  give  all  of  his  time  to  "The  Sorrows  of 
Satan."  Mai  St.  Clair  and  one  or  two 
others  have  sort  of  faded  into  the  back- 
ground as  the  directors  who  will  film  the 
tragedy. 

Personally,  zvc  would  like  Bell  to  have  it 
— as  he's  shown  what  he  can  do  with  life- 
like material  that  sings  all  the  chords  in  the 
human  scale  of  realities.  It  ought  to  be 
a  monumental  picture — one  that  soars  with 
heart-beats.  And  if  the  director  treats  it  as 
Dreiser  wrote  it — there  will  be  no  doubt 
of  its  appeal.  But  on  the  other  hand,  if  it 
is  handled  as  written,  it  might  possibly  take 
tivo  consecutive  evenings  to  show  it  in  its 
entirety.  On  that  supposition  it  is  easy  to 
make  von  Stroheim  an  entrant  among  the 


possible  directors.  Von  Stroheim  can 
surely  make  them  long — but,  incidentally, 
he  can  also  make  them  gripping. 

Dreiser  is  a  realist — and  lie  stalks  trag- 
edy as  a  cat  stalks  a  mouse.  He  may  not 
be  a  stylist,  but  he  writes  with  conviction 
and  honesty — and  he  always  has  something 
to  say  in  his  vivid  colorings  of  life.  Let's 
hope  that  the  film  version  of  "An  Ameri- 
can Tragedy"  carries  out  the  soul-search- 
ing theme  of  the  novel.  Let's  hope  there 
are  no  sentimentalities  wasted  over  the 
tragic  life  of  Clyde  Griffiths. 

This  brings  up  another  argument — and 
everyone  is  arguing  over  the  possible 
choice  for  the  character.  There  seems  to 
be  a  sweepstake  on  as  to  who  will  come 
under  the  wire  a  winner.  Glenn  Hunter 
has  been  chosen  to  portray  Griffiths  in 
the  stage  version,  which  will  be  produced 
next  season.  He  is  also  favorably  men- 
tioned  for  the  screen  portrayal. 

In  so  far  as  physical  characteristics  go,  he 
docs  not  approach  the  youth  at  all.  But  he 
is  endowed  with  the  necessary  emotional 
faucets  which  he  can  turn  on  at  will.  Yet 
Griffiths  is  not  painted  as  a  dynamic  boy. 
Rather  is  he  painted  as  one  suffering  from 
inhibitions — one  who  holds  himself  in  re- 
straint, but  who  temporarily  conquers  thru 
his  physical  attributes. 

Gregory  Kelly  has  also  been  mentioned 
in  a  favorable  light.  And  so  has  Charles 
Emmett  Mack.  The  latter  is  our  choice  of 
the  three  mentioned.  The  latest  to  be  con- 
sidered seriously  is  Charles  (Buddy)  Rog- 
ers, a  recent  graduate  of  the  Paramount 
school — and  one  of  the  few  receiving  Mr. 
Lasky's  diplomas — who  seems  destined  to 
go  the  furthest.  He  has  been  given  some 
fair  sized  roles  —  and  his  acting  has 
earned  him  steady  work  in  the  studios. 
He,  more  than  any  of  the  other  "dark 
horses,"  approaches  the  Clyde  Griffiths 
of  the  novel.  Dreiser's  character  is  some- 
thing of  a  young  sheik — and  surely  fasci- 
nated the  girls.  Buddy  Rogers  has  good 
looks  and  personality.  The  question  is,  can 
he  get  the  drama  out  of  the  role?  It  is  a 
large  order,  but  with  the  proper  coaching 
he  can  give  a  good  account  of  himself. 

Greta  in  the  Flesh 

C^reta  Nissen  has  gone  back  to  the  stage. 
When  the  new  Ziegf  eld  "Follies"  opens, 
the  theatergoers  will  have  the  opportunity 
of  seeing  her  do  a  pantomimic  dancing 
number  modeled  on  the  pattern  of  that 
which  she  executed  in  the  stage  version  of 
"Beggar  on  Horseback.' 

There  is  a  story  back  of  this  girl. 
Somehow  she  hasn't  quite  made  the  grade 
as  a  picture  actress.  Rumors  are  ever 
current  of  how  she  permits  whims  and 
fancies  of  temperament  to  guide  her 
thoughts  and  actions.  And  there  is  no 
doubt  that  she  has  caused  a  director  or 
three  a  sleepless  night  or  two. 

Miss  Nissen  has  not  been  favored  with 
the  most  suitable  stories  for  her  person- 
ality— and  her  talent  doesn't  react  to  vamp- 
ish  roles  at  all.  It's  just  another  case  of 
a  foreign  girl  who  has  not  been  under- 
stood. She  came  to  the  screen  with  a  dis- 
tinct style  of  beauty  and  expression — and 
neither  the  screen  nor  Miss  Nissen  has 
profited. 

We  think  there  is  a  definite  place  for 
her — if  given  stories  and  parts  adaptable 
to  her  personality.  Then  some  director 
should  be  found  who  would  take  into  con- 
sideration her  temperamental  flights  and 
handle  her  sympathetically. 


88 


The  Screen  Observer  Has 
His  Say 

leqw  ■  tit.tt    [osel   von  Stei i 

who  is  always  original,  contemplate 
ducing    i   picture    based    on    Negro   lite 
written  by   Laurence  Stallings,  entitled 
I  limself." 
It    these  ideas  ai  haps 

ne    (  ("Neil's     play  •>     oi     tin      N 
"Emperor  Jones,"  and   "  \ll  God's  ChiTlun 
Wings"  will  bear  celluloid   fruit. 
Some  time  ago   D,   \V    Griffith  tried   to 
put   out   .1   comedy    with    \1   Jolson    in  .1 
blackface   roll        \l.  .^  you    may.    remem 
walked  out  on  the  director    and  Lloyd 
Hamilton  was  engaged   to  t.ikc  the  burnt- 
comedian's   place. 
The  piece  didn't  make  much  oi  a  stir 
in  the  picture  world. 

According  to  the  best  authorities  these 
stories  will  nol  carry  anj  thing  offensive 
to  the  whites.  .1^  the}  will  be  produced  as 
comedy   dramas.      It    1  >>     Mille    is    realb 

ius  about   making  a  picture  of   N< 
life,    1    recommend    that    he   engage    Paul 
Robeson,  the   Negro  actor  and  singer. 

It  these  pictures  arc  really  made  and 
become  popular  it  might  be  possible  that 
the  most  prominent  black  man  in  the  pub- 
lic eye  will  try  and  talk  "turkey"  to  the 
producers.  I'm  paging  Harry  Wills.  If 
he  ever  tights  Dempsey  or  Tunnej  and 
wins  the  decision  the  Senegambian  maj 
take  up  his  abode  in  Hollywood  and  dare 
the  producers  to  keep  him  out  of  the  cam 
era   lines. 

Peter  Fades  Out 

Ctron'CIIE.srt  and  Rin  Tin-Tin  have  lost 
their  greatest  rival,  Peter  the  Great. 
The  big  police  dog  checked  off  this  mortal 
coil  at  the  Hollywood  Dog  and  Cat  Hos- 
pital the  other  day,  following  an  unsuc 
cessful  operation  for  a  gunshot  wound. 

Peter  was  shot  during  a  dispute  between 
his  trainer,  Edward  Faust,  and  Fred 
Cyriacks,  dog  fancier,  at  the  latter's  home. 
While  the  dog  was  valued  at  $75,000  by 
his  owner,  Charles  B.  Dreyer,  he  never 
became  so  successful  on  the  screen  as 
Strongheart   and   Rin-Tin-Tin. 

An  Ardent  Lover 

(""LARA  Bow  found  herself  in  the  head- 
lines  the  other  day  when  an  ardent 
admirer,  Robert  S.  Savage,  former  Yale 
football  star,  attempted  suicide  when  she 
refused  to  marry   him. 

Clara  very  firmly  stated,  according  to 
the  press  despatches,  that  he-men  didn't 
attack  themselves  with  razors — they  used 
guns.  She  also  declared  that  she  is  en- 
gaged to  Gilbert  Roland,  a  young  film 
actor. 

As  for  Savage  he  was  taken  to  a  hos- 
pital and  later  forced  to  face  insanity  pro- 
ceedings as  the  laws  of  California  requires 
the  sanity  of  any  person  who  attempts 
suicide  to  be  investigated.  The  Lunacy- 
Commission  examined  the  youth  and  pro- 
nounced him  sane. 

The  Spanish  Songbird 

Ail  of  Hollywood  is  talking  about  the 
^^  reputed  offer  of  seventy-five  thousand 
dollars  for  the  services  of  Raquel  Meller, 
the  Spanish  songbird — with  an  executive 
of  Famous  Players  as  the  party  holding 
the  contract.  This  did  not  sound  like  a 
lot  of  money  out  Hollywood  way  until  it 
was  learned  that  the  offer  was  made  for 
Meller's  appearance   in   one   picture. 

Just  what  Meller  will  play  is  not  an- 
nounced, hut  it  is  a  cinch  she  will  be  given 
a  story'  with  a  Spanish  setting. 


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The  Answer  Man 

(Continued  from  page  63) 


married  to  Mary  Hay,  and  that  Richard 
Dix   has  never  been  married  at  all. 

Edith  A. — So,  you  dont  believe  that  I 
am  eighty  some  odd  years  old.  Honest 
Injun,  Edith.  Yes,  I  liked  Jack  Gilbert 
in  "The  Merry  Widow."  Anna  Q. 
Nilsson  is  playing  in  ''The  Masked 
Woman."  Tom  Mix  in  "Western  So- 
ciety." 

Mary  S. — Why  Marion  Davies  had  a 
birthday  January  1,  and  she  was  born  in 
1898.  You  can  reach  her  at  Metro-Gold- 
wyn-Mayer,  Culver  City,  California.  Yes, 
Norma  Talmadge  may  play  in  a  story 
based  on  the  life  of  Gaby  Deslys,  the 
French  music  hall  actress,  who  died  a  few 
years  ago. 

Tootsie  from  Indiana. — Oh,  you  al- 
ways want  to  send  twenty-five  cents  in 
stamps   when  asking    for  a   picture. 

Peaches. — What  word  by  changing  one 
letter  becomes  its  opposite?  United-Un- 
tied. Greta  Nissen  is  not  married,  and 
she  is  to  play  on  the  stage  in  "The  Palm 
Beach  Follies"  for  Ziegfeld.  Larry  Gray, 
Clara  Bow  and  Esther  Ralston  are  play- 
ing in  "Kid  Boots."  Yes,  Marion  Davies 
is  to  create  on  the  screen  the  role  that 
Lady  Diana  Manners  played  on  the  stage 
in   "The    Miracle."      See  you   later. 

Jean. — Thanks  for  the  picture  of  your- 
self.    Very  pretty. 

Ivan  H. — Xo,  it's  not  fair.  He  that 
cheateth  in  small  things  is  a  fool,  but  in 
great  things  is  a  rogue.  Ramon  Novarro 
is  playing  in  "Bellamy  the  Magnificent." 
Yes,  Hope  Hampton  is  in  Paris  where 
she  is  starring  in  a  colored  film,  "A 
Marriage  Under  Louis  the  Fifteenth" 
which  is  from  the  Dumas  novel,  but  which 
will    be    released    under    another    title. 

Berneici.  —  No,  Cecil  De  Mille  isn't 
going  to  produce  "The  Deluge"  after  all 
because  it  would  conflict  with  Warner 
Brothers'  picture  "Noah's  Ark."  Cullin 
Landis  is  playing  in  "Then  Came  the 
Woman." 

Macduff. — Well,  it's  hard  enough  to 
learn  how  to  read,  but  harder  still  to 
learn  what  to  read.  Corinne  Griffith  is 
playing  in  "Ashes."  She  is  five  feet  four 
inches  tall.  So  you  think  Valentino  is 
the  only  one  who  can  play  as  Mrs.  Hull's 
sheiks. 

Ann  S. — Here  you  are.  More  than 
4,000,000  people  in  Japan  are  listed  as 
wage  earners,  and  Constantinople  has 
20,000  women  industrial  workers.  So  you 
saw  Mary  Anderson  in  Cleveland.  She 
is   not  playing  in  pictures   right  now. 

Kathrvn. — Yes,  Georgia  Hale  in  "The 
Great  Gatsby."  Mary  Astor  has  been 
chosen  as  Milton  Sills's  leading  lady  in 
"Men  of  the  Night."  Of  course,  I'm  every 
bit  of  eighty  years  old.  You  bet,  I  con- 
sume bottles  of  buttermilk  these  warm 
days. 

Betty  H. — Virginia  Browne  Faire  was 
TinkcrbcU  in  "Peter  Pan." 

Gertrude  B. — Yes,  indeed,  there  are 
many  large  ranches  in  the  Western  United 
States.  Harry  Carey  has  a  ranch  at 
Saugus,  California.  Alyce  Mills  is  play- 
ing with  Richard  Dix  in  "The  Quarter- 
back." Mr.  Dix  chose  her  as  his  leading 
woman  because  of  her  excellent  work  in 
his  previous  picture  "Say  it  again." 

Claire  G. — You  are  right,  Claire. 

Zak,  Paris. — No,  I  have  never  been  to 
Paris,  but  wait,  some  day  I'll  be  there.  I 
have  seen  one  or  two  french  films,  where 
the  women  all  shrug  their  shoulders.  You 
can  reach  Pola  Negri  at  the  Famous 
Players    Studios,    1520    Vine    Street,    Los 


Angeles,  California.  Write  me  again, 
your  letters  are  always  so  interesting. 

Evelyn  F. — Welcome  to  the  throne. 
The  more  the  merrier.  I  like  to  hear 
from  my  readers.  Ben  Lyon  at  First 
National,  807  E.  175th  Street,  New  York 
City.  Agnes  Ayres  is  back  in  pictures 
with  Valentino  in  "The  Son  of  the  Sheik," 
a  sequel  to  "The  Sheik."  Madge  Bellamy 
and  Lou  Tellcgen  in  "The  Way  Things 
Happen." 

R.  B. — Clara  Bow  was  born  in  1905, 
and  she  is  playing  in  "Mantrap"  and  "Kid 
Boots."  Cecil  De  Mille  is  producing 
"Young  April,"  which  includes  Joseph 
Schildkraut  and  Bessie  Love. 

Eva  R.  B. — You  know,  to  err  is  human ; 
to  forgive  unusual.  Richard  Dix  at  the 
Famous  Players  Studios,  Astoria,  Long 
Island.  Where  is  the  stamp  you  said  you 
were  enclosing  ? 

Eva  C.  A.— See  all  the  Little  Evas. 
You  want  to  know  if  Jack  Mulhall  would 
bother  with  a  girl  like  you.  Well  now, 
Eva,  why  dont  you  write  to  him  at  First 
National  Studio,  807  E.  175th  Street,  New 
York  City.  Jack  Alulhall  played  opposite 
Blanche  Sweet  in  "The  Far  Cry."  Yes, 
Famous  Players-Lasky  paid  $40,000  for 
the  screen  rights  to  "Naughty  Cinderella" 
for  Pola  Negri.  It's  to  be  released  as 
"Good   and   Naughty." 

Yes,  Mary  and  Doug  are  really  going  to 
make  a  picture  and  I  understand  it  will 
be  in  eight  reels.  Each  player  is  to  have 
a  complete  story  for  four  reels  and  they 
will  then  meet  and  the  remaining  part 
of  the  film  will  be  with  the  famous  couple 
co-starring.     Yours   until   next  month ! 

A  Mule. — Take  care,  what  a  man  desires, 
he  usually  believes.  Yes,  H.  B.  Warner  is 
going  to  play  the  role  of  the  Saviour  in 
Cecil  De  Mille's  "Thirty  Pieces  of  Silver." 
Richard  Dix  was  born  July  18,  1894,  and 
he  is  not  married.  His  last  picture  is 
"The  Quarterback."  You  refer  to  Joe 
Cobb,  the  little  fat  boy  in  the  "Our  Gang 
Comedies,"  and  he  is  about  eight.  Tell 
your  Uncle  he  had  better  stay  in  Richirn  .nJ. 

Jos  H.  H. — That's  what  I  say,  a  ripple 
of  laughter  is  worth  a  flood  of  tears. 
Carlyle  Blackwell  is  playing  in  Europe 
righ  now.  I  dont  know  what  has  happened 
to  June  Elvidge.  Hoot  Gibson  is  playing 
in  "The  Texas  Streak." 

Pal. — So  you  like  William  Boyd.  He  is 
very  popular  right  now.  He  is  playing  in 
"Man  of  War."  Richard  Barthelmess  is 
playing  in  "The  Amateur  Gentleman"  with 
Dorothy  Dunbar  opposite. 

Grace  J. — You  refer  to  Arthur  Rankin 
as  J'asila  in  "The  Volga  Boatman."  You 
want  Theodore  Kosloff  to  have  larger 
parts.  You  will  have  to  write  to  Cecil  De 
Mille.  Belle  Bennett  is  playing  in  "The 
Fifth  Commandment."  Yes,  Gertrude  Olm- 
stead  and  Robert  Leonard  were  married, 
also  Elaine  Hammerstein  and  Walter  Hays. 

Josephine  D.  P. — Lionel  Barrymore  and 
Marceline  Day  will  play  in  "The  Mys- 
terious Island,"  by  Jules  Verne.  It  will 
be  done  entirely  in  technicolor,  the  action 
to  take  place  on  earth,  under  sea,  inside 
the  earth,  and  up  in  the  air.  Well,  I  can 
see  where  they  are  not  going  to  miss  a 
thing.  Lars  Hansen  in  "The  Scarlet 
Letter."  Lillian  Gish  was  born  in  1896. 
Renee  Adoree  is  playing  in  "The  Flaming 
Forest." 

John  Cail. — You  certainly  ask  about 
some  old  timers.  Kate  Lester  died  October 
12,  1924,  and  she  was  about  seventy.  Anna 
Q.  Nilsson  and  Lewis  Stone  are  playing  in 
"Midnight  Lovers"  with  John  Roche  and 
Chester  Conklin.  Herbert  Rawlinson  in 
"Conscience." 


90 


OPPORTUNITY    MARKU 


AGENTS  WANTID 

\(.l    N    I  - 

t,i     <  1 »■  • 

|i||al   ■■!    ■  v 

\\      ■  '   i.i  I      HAMl'l 

kgwiti — Im.     hundiHiine    pruBI     Mlllo| 

lioua     !••     Mol  lo.N      l-ii   i  i  1(1       m  Ui  \/l\i:     .ui.i 

MO'I  ION    rn   i  I  i:i     l'l   ISNU         So      ipttal 

inn-'  I        r.i.'  ■     I..M-,    mi. I    Ik 

r  ii.li.  iiii..n». 
173  hurti.  l,i  st  .    Brooklyn,    N 


Xiiiii/IiikIi     l.ir.;.'    .   i~l imlsslona    intn.ilii.liii; 

:  ml    f  i.u.'i     111  tn 
\   tnul     Haiii|iU*n     r 1 1 r ii i -. ti»— 1         Write 
rour    territory.       Style    Arch    Sbiw    Co..     Dept. 

I  |i>    i        I    III.  Illlllltl.      Kill.. 


HELP  WANTED 


HI      lu. null.        M     ii        vvnnicll     !>>     up. 

J..l«~.        St.'  i.l\  .        i  iitiillil  ii.  -     i  "ii.inil. 

Common    .Munition     sutttclonl  1 I»     uuil 

full      particulars      ftw.        Write      IMMIl'l  \  I  I  I  V 
Franklin    Institute,    Dept     W-84,    Rochester,    V    i 

HELP  WANTED— FEMALE 

1  \DIKS — Vim  can  easily  .urn  lota  ..f  extra  i"" 
rlptlom  to  Mti  l'li  in  PIC 
ri'RE  MACA/.INK.  I'.m  commission  nnil  bonus. 
Write  today  and  we'll  tell  you  how.  Brewster 
Publications,   Inc.,   17,".  Duffleld  St.,  Brooklyn,  N    ■> . 


PATENTS 


ln\eutlon»  commercialized  on  rnsh  nr  royalty 
basis.  Patented  or  unpatented,  in  business  24 
years.  Complete  facilities.  References.  Write 
Adam  Fisher  Mfg.  Co.,  512  ECnrlght  Ave,  St. 
Louis,    Mo.  


PERSONAL 


Wnnt    to    enrn    some    more    money?      Sell    sub- 
scriptions  to    "Motion    Picture    Magaatne."      Write 
pwster    Publications,    Inc.,    17.".    Duffleld    St.. 
Brooklyn,    N.    Y. 


PHOTOPLAYS 


Photopluv    I •  I »■ : i -   W  anted.      We  aw   riirlit   on   the 

f round  in  Hollywood,     We  know  the  market.  Book- 
et    free.      Universal    Scenario    Co..    208    Security 
Bids;.,   Western  &  Santa   Monica   Blvd.,  Hollv 
Galtt. 

Scenario  Plots  Wanted  by  IHr  Companies.  Our 
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Photoplays  sold  on  commission.  Free  Instruction 
course.     We  protect  your  Ideas.     Classic  Photoplay 

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SoO.OOO    for    one    successful    photoplay.       Lot    us 
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Hollywood  Scenario  &  Publishing  Co.,  Markham 
Bldg.,    Hollywood.    Oal 


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Brewster  Publications,  Inc..  175  Dullleltl 
Street,  Brooklyn,  N.  Y. 

SHORT   STORIES 

Stories  and  Photoplay  Ideas  Wanted  by  4H 
companies;  lug  pay.  Details  free  to  beginners. 
Producers'    League,    441,    St.    Louis.    Mo. 

STAMPING  NAMES 

Stamp  Names  On  Key  Checks.  Make  $20  per 
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be  done  at  home,  spare  time.  Send  2."ie  for  sample 
and    instructions.      M.    Keytag   Co.,    Cohoes,    N.    Y. 


VAUDEVILLE 


GET  ON  THE  STAGE.  I  tell  you  how!  Per- 
sonality, confidence,  skill  developed.  Experience 
unnecessary.  Send  (5c  postace  for  instructive 
illustrated  stage  Book  and  particulars.  O. 
LaDelle,    Box   557,    Los   Angeles,    Cal. 


They  Say— 

witnessing    certain    hapj 

pl.iv i      I  he  |s».i   revel  in  ihe  siglil  of  the 

little  |s.ni    girl   coming   into 

nighl  tin  11  some  i.niiiii  'it  ..I   tin 

tinniest    clerk    who  president    ol 

the    company    which    emploj  a    him       I  he 

swain  sns  IihiimIi   .is   the   pei  iei  i    I 

.mil  the  K-iukv   maiden  has  hopes  ..i 

il.n    becoming    an   equal   ol    the   beautiful 

heroine      I  hej  all  lee  them 

llli'lllelll     .it      le.ist,     .is     |  inui     who 

i  iscs  from  the  mil  i  ind  bettei 

place  m  the  world.     I  In  rise  ol  the  down 
trodden  and  the  happj  ending  still  remain 
the  ke)  to  populai  sue  i  esses. 

She  mentions  Th  ighan,  Milton 

Sills  and  Berl  1  >  tell  .is  playei  >  who 
the  public  what  thej   want.    Thai  is  prob 
abl)    Hue    in   .in   appreciable   degree,    bul 
can    I    be    expected    to    believe    thai    the 
of    Tli. mi. is    Meighan    are    tru 
Mosl  ,ii  them  thai  I  can  remei 
ami  t lu  s  are  few,  altho  I  have  seen  dozens 
of  them,  seem  iii  smack  ol   Hoi  ttio  Alger 
and   his   philosophy.     I    d"   not    deny    the 
success  ni"  these  players  from  a  box  office 
standpoint,    bul    I    do   deny    their   alleged 
reputations  as   realists. 

Miss  Smith  pictures  Meighan  as  a  gentle 
caveman  who  fights  and  makes  love  in  a 
forceful  and  natural  manner,  as  compared 
in  Valentino,  whom  she  brands  as  wishy- 
washy  and  describes  him  as  a  handsome 

lover  too  perfect  for  this  mundane  life, 
or  rather  that  his  strivings  toward  pi  I 
fection  m  love-making  make  for  exaggera- 
tion that  is  incompatible  with  everyday 
life.  To  me  the  comparison  is  odious.  It 
is  like  comparing  mules  with  race-horses. 
Valentino  has  more  natural  gentleness 
in  his  foot  than  Meighan  has  in  his  whole 
makeup.  lie  epitomizes  the  instincts  ..i  a 
gentleman.  As  for  red-bloodedness,  I  think 
that  he  possesses  as  much  in  quantity  and 
quality  as  Meighan,  but  simply  does  not 
make  public  exhibition  of  it  on  every 
slight  pretext.  Valentino  can  accomplish 
more  in  the  way  of  art  with  one  gesture 
than  Meighan  can  by  manipulating  his 
corporal  body  thru  eight  reels  of  film,  to 
my  notion.  I  wonder  if  Miss  Smith  could 
witness  a  performance  of  Valentino's 
"Beaucaire"  without  saying,  "Here  is  a  man 
who  is  an  artist ;  who  can  portray  a  red- 
blooded  fighting  man  who,  at  times,  is 
infinitely  gentle." 

Blakemore  Hughes, 

119-20   Union   Turnpike, 
Kew  Gardens,  Long  Island. 


Be  sure  to  read  the  highly 
absorbing  articles  about  Holly- 
wood's pel  extravagances — and 
the  Hollywood  of  France 
where  Rex  Ingram  lias  es- 
tablished a  studio  and  home. 
There  will  also  be  a  most 
striking  gallery  display  as  well 
a-  several  illuminating  inter- 
views— all  in  the  September 
Classic. 


(*\ 


SomethingDIF]  BR]  NT 
for  Bobbed  Hair 

Tin  i<i  is  a  tremendoua  cliff <-r- 

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while  others,  well — -which  kind 
is  yours? 

I  wish  you  could  picture  the 
becoming  kind  I  have  in  mind  — 
the  sort  that  makes  men  turn  to 
admire.  I  can't  tell  you  what  the 
color  is,  but  it's  full  of  those  tiny 
dancing  lights  that  somehow  sug- 
gest auburn,  yet  which  is  really  no 
more  actual  color  than  sunlight. 
It's  only  when  the  head  is  moved 
that  you  catch  the  auburn  sugges- 
tion —  the  fleeting  glint  of  gold. 

You  have  no  idea  how  much 
your  bob  can  be  improved  with  the 
"tiny  tint"  Golden  Glint  Shampoo 
will  give  it.  If  you  want  a  bob  like 
that  I  have  in  mind,  buy  a  package 
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91 


"It's   a  Real   Thrill!" 

"To  receive  a  letter  from  the  Answer  Man.  His  answers  in  Motion 
Picture  Magazine  are  so  witty — and  he  knows  everything  and  every 
body  in  pictures.  I  write  to  him  often — and  always  receive  a  wonderful  letter 
from  him.''''  Thousands  of  people  know  this  dear  old  fellow,  and  his  depart' 
ment  is  one  of  the  finest  in  any  magazine. 

For  over  fifteen  years  Motion  Picture  Magazine,  the  pioneer  and  the  oldest 
magazine  of  its  kind,  has  fearlessly,  accurately  and  authoritatively  presented 
the  news  of  the  great  motion  picture  industry  to  the  millions.  Under  the 
experienced  and  able  leadership  of  Eugene  V.  Brewster,  its  Editor-in- 
Chief,  it  has  become  a  powerful  influence  for  all  that  is  good  and  progressive 
on  the  screen.     The    editorial  staff  are  the   leaders   in  their  profession. 

A  clean,  wholesome  magazine  for  the  entire  family 

MOTION  PICTURE  MAGAZINE 


SEND  THIS  IN  TODAY 

Brewster  Publications,  Inc. 
175  Duffield  Street, 
Brooklyn,  N.  Y. 

Gentlemen: 

Please  enter  mv  subscription  to  Motion  Picture  Magazinb  for  the  next  twelve  issues.     I  enclose  $2.50 
(Canada,  $3.00;  Foreign,  $3.50). 


Name. 


Street. 


City. 


Begin  with issue. 


.State. 


SUBSCRIPTION  RATES 

For  Motion  Picture  Maga' 
zine,  $2.50  per  year  in  U.  S.  A., 
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Islands;  Canada,  $3.00;  For- 
eign, $3.50. 

(Subscription  Rates  for  Mo- 
tion Picture  Classic  are  the 
same  as  for  Motion  Picture 
Magazine.) 

Subscribe  now  and  be  sure  to 
receive  every  issue. 


92 


EDWARD  LANGER  PRINTING  CO.,  INC., 
JAMAICA,  NEW  IORK  CITT. 


.-J 


18  7  0 


G  O   L  D  1     N  \  N  N   1   V   1     k    S   A    K  Y 


—       I  g 


WORM)     FAMOUS 
CANDIES 


CRISPS    Diana  "Stuft"  Confections  arc  as  essential  to  the  picnic 
as  the  sandwiches  themselves.  They  are  the  perfect  summer 
canch     I  he  taste-tempting  deliciousness  of  these  thin  .  .  .  crispy  .  .  . 

Is  "Stuft"  .  .  .  with  pure  .  .  .  luscious  fruit-jams  .  .  .  nuts 
and  marmalades  .  .  .  has  never  been  equalled.  The  shells  arc  paper- 
thin,  to  hold  more  of  the  tempting  fruit  jams  we  make  ourselves. 

These  tidbits  arr  best  for  children— and  ijo  four  times  as  far.  Each 
pound  contains  160  pieces— 21  varieties     a  taste  for  everj  tongue. 

Have  Diana  "Stuft"  Confections  hand}  foi  even  summer  occasion. 
Keep  i  supph  at  home  always.  Sealed  in  air-tight  glass  jars,  2XA  oz., 
20c;  4  oz.,  30<  ;  9  oz.,  ?0c;   16  oz.,  7Si  -    or  in  2,  3  and   5  lb.  air- 
let  orated  tins.    Pacific  Coast  prices  arc  onl\  slight!}   higher. 

1  o<  k  foi  the  name  "Bunte" —  it  means  50  years  of  quality  candy- 
making.  Demand  the  genuine.  Choose  from  12(»0  Bunte  Candies. 


BUNTE    BROTHFRs 


I.H  I  ('A  (JO 


»  % 


MAN  \ 

- —    (  o  nfection  s 


*  % 


C    A    S    H     MERE 


b  o  u  a  U 


J^oiej — This  "hard-milled"  soap,  used  every  day 

. . .  keeps  skin  young  and  lovely 


There  is  radiant,  happy  beauty  in  a 
skin  that  has  the  fresh  satin'smooth' 
ness  that  Nature  gave  it — and 
tended  it  to  keep. 


But  so  many  skins  have  been  robbed 
of  their  fine^textured  loveliness.  So 
many  show  coarsened  pores,  and 
blemishes,  instead  of  the  clear,  smooth 
beauty  that  every  girl  longs  for. 
And,  Oh !  the  heartaches  and  the  dis' 
appointments  that  result  from  poor 
complexions.  Only  the  girl  who 
suffers,  knows. 

Soap,  of  Course — But 
the  Right  Soap 

All    up-to-date,    scientific    advice 


eeps  SKin  young  an 

the  care  of  the  s\in  urges  the  daily  use 
of  soap  and  water.  It  is  the  kind  of 
soap  you  use  that  ma\es  all  the  dif- 
ference between  safe  cleansing  and 
the  danger  of  coarsened,  blemished 
5 /(in. 


in' 


on 


A  Book  of  Beauty  Secrets 
This  unusual  booklet  has  been 
endorsed  by  an  authority  on 
beauty.  Every  statement  is 
approved  by  an  eminent  skin 
specialist.  Send  for  your  copy 
and  a  trial  cake  of  Cashmere 
Bouquet  Soap.  Fill  out  the 
coupon. 


*  enclose*-,,,  !        '  Ncw  York 


Name 
Address 
C">.  . 


State. 


Cashmere  Bouquet  is  made  espe' 
daily  for  the  face,  hands  and  tender 
skin  of  the  neck.  It  is  "hard' 
milled,"  which  means  that  it  is  put 
through  special  pressing  and  drying 
processes  that  give  each  cake  an 
almost  marble  firmness.  It  is  not 
the  least  bit  squdgy.  This  special 
hardness  is  what  makes  it  safe. 
Cashmere  Bouquet  lather  penetrates 
deep  into  the  pores,  searches  out 
dust  and  dirt  and  rinses 
away  instantly  and  com' 
pletely.  No  undissolved 
soap  remains  in  the 
pores  to  mix  with 
dirt  and  stifle  the 
tiny  openings.  That 
is  why  skins  cared 


The  peculiarly  entrancing  fragrance 
of  Cashmere  Bouquet  is  obtainable 
also  in  Colgate's  Talc,  Face  Powder, 
Perfume.  Toilet  Water,  Sachet,  Ban- 
doline and  Brillantine. 


Above — 
Close-up   of  a   velvet 
smooth  skin. 
No      "*age-line»"      or 
coarse  pores. 

for    with   Cashmere 
their  youthful 
beautiful. 


Bouquet 
texture  and  re 


Try  This  Treatment— 
Watch  Results 

Wet  the  face  with  warm  water.  W 
up  a  thick  Cashmere  Bouquet  lather 
the  hands.  A  wash  cloth  is  too  ha 
for  some  skins.  Massage  this  sooth 
lather  into  the  skin  with  the  fingert 
until  the  skin  feels  refreshed  and  all 
Rinse  in  warm  water,  in  order  to  rem< 
all  traces  of  soap  while  the  pores  are ! 
open.  Follow  with  a  dash  of  clear  o 
water.  Pat  the  face  dry  with  a 
towel.  If  the  skin  is  inclined  to 
naturally  dry,  rub  in  a  little  Colgat 
Charmis  Cold  Cream. 

Many    beauty    secrets    told 
booklet! 


■/C 


fl    Established  1 


Brett  lithe. 


7<qa 


rcn     r*««,«{l*l 


H.LMencke 

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on  th 

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Face  Pores  Give  Up  Their  Poisons 
To  New  Magic  Milk  Mask 


AN 


Men  and  Women  Amazed  as  New  Discovery 
Almost  Instantly  Reveals  a  Hidden  Beauty 

NYONE  can  now  have  a  fine-textured  skin,  radiant  with  the  fresh  coloring  of 
youth,  smooth  and  firm  as  a  child's.  In  only  15  minutes,  mind  you!  In 
this  amazingly  short  time  you  can  have  a  brand-new,  beautiful  complexion! 


It  seems  almost  magical.  Tired  lines,  enlarged  pores,  sallowness — all  vanish. 
Blackheads  and  pimpleheads  are  lifted  right  away.  Hidden  beauty  that  you  never 
dreamed  you  possessed  is  brought  to  the  surface. 

What  Is  This  New  Kind  of  Magic? 

It's  all  very  simply  explained.  The  face  is  covered  with  millions  of  tiny  pores, 
through  which  Nature  intended  impurities  to  be  expelled.  But  when  dust,  bits  of 
dead  skin,  and  other  harmful  accumulations  clog  these  tiny  pores,  the  impurities 
cannot  escape.  The  skin  becomes  dull,  coarse,  colorless.  Soon  poisons  form  in 
the  stifled  pores,  and  blackheads  and  pimples  make  their  appearance.  u 

Only  now,  after  years  of  research  and  experiment,  has  the  positive,  ^x "*f$  y 
natural  way  been  found  to  relieve  the  condition  of  clogged  pores  at  once. 
Certain  elements,  when  combined  in  just-right  proportions,  have  been 
found  to  possess  a  remarkable  potency  which  acts  on  the  face  pores  as  a 
magnet  acts  on  a  bit  of  steel.  These  elements  have  been  blended  into  a 
fragrant,  cream-like  compound,  which  is  as  easy  and  pleasant  to  use  as  a 
face  powder. 

When  you  apply  it  to  your  face,  it  seems  almost  as  though  millions 
of  tiny  magnets  were  drawing  the  pore-poisons  and  accumulations  to  the 
surface,  absorbing  them,  lifting  away  the  blackheads  and  eruptions. 
The  feeling  is  one  of  physical  relief — refreshing  and  invigorating. 


The  Magic  Muk  Mask 


1 


That's  what  it  is  called,  this  remarkable 
discovery — The  Magic  Milk  Mask.  It  is  ap- 
plied with  the  tips  of  the  fingers,  just  as  an 
ordinary  cream  would  be  applied.  You  may 
read  or  relax  while  this  fragrant  mask  is  doing 
its  wonderful  work.  There  will  be  a  cool, 
tingling  feeling  as  the  tiny  pores  awaken — as 
The  Magic  Milk  Mask  draws  the  clogged-up 
impurities  to  the  surface. 

In  fifteen  minutes,  simply  rinse  off  the 
mask.  With  it  you  will  remove  every  black- 
head and  pimplehead,  every  pore-poison  and 
impurity,  every  bit  of  dust,  dirt  and  dead 
skin.     Your  complexion  will  be  transformed! 

You  will  declare  that  a  fairy  must  have 
touched  your  face,  gently  removed  the  blem- 
ishes and  impurities,  and  revealed  a  new 
beauty ! 

SEND  NO  MONEY 

The  wonderful  beautifying  effects  of  milk  have  long  been  known. 
Many  famous  beauties  have  used  the  milk  treatment — among  them  the 
lovely  Lillian  Russell.  But  only  now  have  the  just  right  elements  been 
found  which,  when  combined  with  the  beautifying  properties  of  pure 
milk,  create  a  magic  compound — a  milk  mask  that  draws  the  impurities 
to  the  surface  and  lifts  them  away. 

To  enable  every  one  to  try  The  Magic  Milk  Mask,  we  are  making  a 
very  special  introductory  offer.  If  you  act  at  once,  a  full  size  package  of 
The  Magic  Milk  Mask  will  be  sent  you  direct  from  Maison  Madeleine,    jA 

t 


(Trade  Mark  applied  for) 

Read  This  Sensational 

GUARANTEE 

The  Magic   Milk   Mask   is   abso- 
lutely guaranteed  to  help: 

1 — to  give  a  lovely,  milk-white  skin 
in  15  minutes. 

2 — to  make  your  skin  look  younger. 

3 — to  lift  out  blackheads,  all  waste 
matter  and  impurities. 

4 — to  close  enlarged  pores  and  refine 
the  skin  texture. 

5 — to  absorb  the  outer,  dry,  with- 
ered dermis  and  reveal  the  beau- 
tiful, young  skin  beneath. 

6 — to  combat  wrinkles,  tone  sagging 
muscles  and  firm  the  tissues. 

7 — to  stimulate  the  capillary  action 
and  impart  a  radiant  rose-pink 
bloom  to  the  cheeks. 

8 — to  leave  the  skin  velvety  smooth, 
fresh  and  beautiful.  4 


V>/-L^      I     J     X  A    Regular 

Price  $5 

When  your  package  of  The  Magic  Milk  Mask 
arrives,  simply  give  the  postman  21.95  plus 
postage,  in  full  payment,  instead  of  35.00, 
which  is  the  regular  price.  If,  within  10  days, 
you  are  not  delighted  with  The  Magic  Milk 
Mask,  simply  return  what  is  left  of  it  and  your 
money  will  be  refunded  at  once. 

As  an  extra  inducement  for  promptness,  you 
will  also  receive,  FREE,  a  package  of  wonder- 
ful Lemon  Bleach,  the  new  discovery  that 
whitens,  softens  and  refines  the  skin. 

Mail  this  coupon  now.  Don't  miss  the  special  intro- 
ductory offer.  Tomorrow  may  be  too  late — ^do  it  today! 
The  Magic  Milk  Mask  will  be  sent  to  you  in  a  plain  sealed 
package— no  marks  to  indicate  contents. 

MAISON  MADELEINE,  Dept.  C-69 

Ninth  and  Spruce  Sts.,  Philadelphia,  Pa. 


without  any  money  in  advance.    Just  mail  the  coupon — no  money. 


I  j*Tj  C?  Lj1  A  package  of  marvelous  Lemon  Bleach  given  to  you 
r  XV  rV.12/  absolutely  free  if  you  mail  the  coupon  at  once.  Keeps 
the  skin  soft,  white  and  beautiful,  banishes  freckles  and  other  discolora- 
tions.  You  do  not  pay  a  penny  for  this  wonderful  Lemon  Bleach  now  or 
later.  It  is  included  FREE  with  The  Magic  Milk  Mask  if  you  act  quickly. 


THIS  COUPON  SAVES  YOU   $3.05 
j***<j^  f*s±  ^=sv  *^  Jtz*.  s*m  Jttyr 

Maison  Madeleine,  Dept.  C-69, 

9th  and  Spruce  Sts.,  Philadelphia,  Pa. 

You  may  send  me  a  $5.00  package  of  The  Magic  Milk  Mask,  for 
which  I  will  pay  the  postman  only  S1.95.  plus  postage.  Although  I 
am  benefitting  by  this  specially  reduced  introductory  price,  I  retain 
the  guaranteed  privilege  of  returning  the  package  within  10  days  and 
you  agree  to  return  my  money  if  I  am  not  delighted  with  results  in 
every  way.  I  am  to  be  the  sole  judge.  Also  include  the  Lemon 
Bleach  FREE. 


City State. 

If  you  wish,  you  may  send  S2  00  with  the  coupon  and  we  will  pay 

postage. 


^^g5^S*^^^^»^^ 


>="££* 


MOTION  /'/<'/,  'A'/ 


tL^y 


0<D 


Vol.  XXIV 


SEPTEMBER,   1926 


No.  1 


Notable  Features  in    This  Issue 


II     1      MENCKEN   BREAKS  THE   LONG  SILENCE 

rhe  moat  quoted  man  m  America  talk-,  foi  the  Ural  lime  on  the  movlei 
PICTURE,  PICTURE     WHO  STOLE  THE  PICTURE 

Charactei  playen  who  carry  ofl  the  hoaon  tad  worry  thi 
PAINTED  PEOPLE  

Beginnlni  i 
THE   HOLLYWOOD  OF  FRANCE 

Ret  Ingram'!  own  motion  picture  kingdom 
THE   RISE  OF  THE   LITTLE   CINEMA 

u  \  \  i'  i    I  beginning  ol  worth-while  picture! 
GREAT  ATHLETES  OF  THE  SCREEN 

St. us  who  .Hi'  breaking  record!  in  iporu  u  weB  as  i  ifflce 


B.  F.   Wilson  16 

Robert  Donaldson  22 

Fuith  Service  25 

Henry  Albert  Phillip*  32 

Matthew  Josephson  34 

Hal  K    Wells  40 


The  Classic  Gallery  11-15 

i  lee  Joy.  Harry  Langdon,  Marion  Daviea,  BUIii   Dove  and  Pauline  Starke 

Hollywood's  Pet   Extravagances  Richard  Coyle     18-19 

Favorite  bobbies  ol  the  Han 

Three  More  Writers   Indict   the  Films  Henry  Albert  Phillips     20 

The  Impn  I     V.  Lucas,  Baroness  Orcxy  and  Ford  Madox  Ford 

A   Yankee  Lass  on  a  Lark   in  London  24 

Dorothy  Gish  In  London,  the  city,  and  "London,"  the  picture 

Cella  Lloyd  Becomes  Pleasingly  Plump John  Held,  Jr.     28 

trthei  adventures  ol  Mr.  Held'!  bathing-girl  heroine 

Facing  Death   for  a  Laugh  Scott  Pierce     30 

How  the  comedians  n<k  their  lives  in  gathering  thrills  and  laughs 
Emotions  You  Have  Missed Taskey     36 

Ctric.it  lire*  showing  how  the  directors  make  them  emote 

The  Up-to-Date  Old  Timer  Dunham  Thorp     38 

An  interview  in  which  \V.  C.  Fields  tells  how  lie  does  his  stuff 

Lya  de  Putti  (Portrait) 42 

What   It   Costs  to  Be  a  Well-Dressed  Sheik j.1 John  Abbott     43 

The  equipment  ol  Rudolph  Valentino's  wardrobe 
Impressions  of  Hollywood Eugene  V.  Brewster     44 

Further  comments  on  the  activities  of  the  stars  on  the  Coast  by  the  Editor-in-Chief 
Reg  the  Regular Don  Eddy     48 

An  interview  with  Reginald  Denny 
Betty  Bronson  (Portrait) 52 

Adolphe  the  Elegant  Gladys  Hall     53 

At:  Impressionistic  i*n  picture  of  Mcnjou 
Horses,   Horses,   Crazy  Over  Horses 56 

The  w.  k.  Prince  and  some  film  actresses  on  their  noble  steeds 
Hale-Fellow-Well-Met Dunham  Thorp     58 

An  Interview  with  Georgia  Hale 
Tannings  and  Faust 62 

New  pictures  of  the  German  star  in  Goethe's  immortal  tragedy 
Fliv!  and  Let  Fliv' 63 

Some  comedy  conveyances  that  have  seen  belter  days 


The  CLASSIC'S  Famous  Departments 


Our  Own  News  Camera 

The  incidents  of  the  tih"  world  told  in  pictures 

The  Celluloid  Critic  

The  new  screen  plays  in  review 
Flash  Backs L    R. 


45 

Laurence  Reid     50 


54 


Comments  upon  screen  people  and  events 
The  Screen  Observer  Has  Her  Say Elizabeth  Greer     60 

Amusinc  gossip  of  celluloidia 

The  Answer  Man 64 

Cover  Portrait  of  Claire  Windsor  by  Leo  Kober,  from  a  Photograph  by  Ruth  Harriet  Louise 


LAURENCE  REID,  Editor 
Adele  Whitely  Fletcher,  Supervising  Editor 


Colin  Cruikshank,  Art  Director 


Classic  comes  out  on  the   12th  of  every  month,   Motion    1'ictuke  Magazine   the   1st 


Subscription    $2.50   per   year,    in   advance,    including    postage,    in   the   United    States.   Cuba.    Mexico  and  Philippine   Islands       In   Canada   $3.00;    Foreign 
Countries   $3.50    per    year.      Single   copies   25    cents    postage    prepaid.      United    States    Government    stamps    accepted.       Subscribers    must    notify    us    at 

once   of  any  change   in  address,  giving  both  old  and   new  address. 


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Entered  at  the  Post  Office  at  Jamaica,  <V.   Y.,  as  second-class  matter,   under  the  act  of  March  3rd,   1879.      Printed  in    U.  S.  A. 

Eugene    V.    Brewster.    President    and   Editor-in-Chief ;    Duncan    A.   Dobie.   Jr.,    Vice-President   and   Business    Manatfr; 

L.    G.    Conlon,     Treasurer;    E.    M.    Heinemann,    Secretary. 

EXECUTIVE    and    EDITORIAL    OFFICES,    173    DUFFIELD    ST.,    BROOKLYN,    N.    Y. 

Hollywood    Office,    6064    Selma    Avenue.      Phone    Gladstone    35''* 
Copyright.  1926,  by  Brewster  Publications,  Inc.,  in  the  United  States  and  Great  Britain. 


Classics  Late  News  Page 


TTTALLACE  BEERY  and  Raymond  Hatton, 
YY  who  contributed  so  much  mirth  to  ''Behind 
the  Front" — are  now  making  a  companion 
picture  to  the  army  story.  The  next  appearance 
of  the  character  comics  will  be  in  "We're  in  the 
Navy  Now." 

Ford  Sterling,  Lois  Wilson  and  Louise  Brooks 
pleased  their  sponsors  so  well  in  "The  Show  Off," 
that  they  have  been  cast  to  play  the  principal 
roles  in  "Love  'Em  and  Leave  'Em." 

Following  the  completion  of  "Flesh  and  the 
Devil,"  which  Clarence  Brown  is  directing,  John 
Gilbert  will  play  the  starring  role  in  "The  Day 
of  Souls." 

Renee  Adoree  has  returned  to  Hollywood  to 
play  the  leading  feminine  role  in  "The  Flaming 
Forest" — written,  as  you  might  expect,  by  James 
Oliver  Curwood. 

Beatrice  Lillie,  the  English  musical  comedy 
comedienne  and  late  star  of  "Chariot's  Revue," 
has  signed  on  the  dotted  line  for  Metro-Goldwyn. 
She  will  make  her  screen  debut  under  Sam  Tay- 
lor, the  man  who  helped  to  direct  Harold  Lloyd 
the  past  five  years. 

Roland  West  will  produce  a  screen  version  of 
"Two  Years  Before  the  Mast,"  by  Richard  H. 
Dana.  He  intends  to  encircle  the  globe  in  gath- 
ering the  necessary  backgrounds  and  atmosphere. 

Mary  Pickford  is  planning  at  least  four  more 
pictures — which  counteracts  the  impression  in 
certain  quarters  that  after  making  a  film  with 
Douglas  Fairbanks  she  would  go  into  retirement. 
The  star  plans  a  comedy  drama  entitled  "Cash," 
depicting  the  experiences  of  a  cash  girl  in  a  five- 
and-ten-cent  store. 

Larry  Semon 
has  given  up  star- 
dom to  become  a 
director.  He  has 
been  signed  by 
Mack  Sennett  to 
direct  two  -  reel 
comedies  —  i  n 
which  Alice  Day 
and  Eddie  Quillan 
will  be  featured. 

The  next  pic- 
ture in  which 
Shirley  Mason  will 
start  activities  is 
entitled  "U  p- 
stream."  Dolores 
Del  Rio,  the  Mex- 
ican star,  will  be 
in  the  cast. 

Corinne  Griffith 
has  purchased  the 
late  Thomas  Ince's 
famous  yacht, 
"Edris."  The  star 
is  having  the  vessel 
completely  over- 
hauled and  fur- 
nished, and  under 
its  new  appearance 
it  will  be  known  as 
"The  Wanderlust." 

Lewis  Stone, 
Doris  Kenyon   and 


LAST  MINUTE  REVIEW 


"Men  of  Steel" 

AGAINST  a  most  impressive  background  of  steel  mills — with 
.  molten  metal  serving  as  its  piece  de  resistance,  there  is 
revealed  a  compelling  picture  that  carries  sound  logic  in  it.  In 
reality  it  presents  a  character  study — a  broad  symbol  being  used 
which  projects  the  inarticulate,  but  forceful  steel  worker  de- 
termined to  go  thru  the  crucible  of  a  refining  process  of  his  own. 

The  picture  has  a  tremendous  fascination.  One  doesn't 
know  what  is  coming,  tho  it  is  easy  to  anticipate  many  significant 
dramatic  happenings.  It  builds  a  compact  narrative — which, 
while  involved,  is  followed  easily  enough  because  of  its  vivid 
drama  of  men — and  of  the  steel  that  molds  them  as  well.  The 
background  aids  in  emphasizing  the  characters  of  the  plot.  In 
this  background  the  eye  catches  giant  cranes,  roaring  furnaces, 
flaming  ore,  gigantic  buckets  and  shovels.  These  are  the 
properties  which  give  the  film  its  significance. 

The  film  gives  Milton  Sills  his  strongest  role — one  that  even 
eclipses  what  he  had  in  "The  Sea  Hawk."  And  the  actor  gives 
a  virile,  rugged  performance,  despite  the  fact  that  he  becomes 
too  immaculate  as  the  story  develops.  His  metamorphosis  is 
too  complete.     Thus  he  misses  the  realities  toward  the  finish. 

Sills,  however,  makes  you  feel  the  urge  in  him  to  rise  above 
his  surroundings.  He  performs  a  great  self-sacrifice  to  save 
the  brother  of  his  sweetheart — and  runs  away.  And  from  this 
point  the  narrative  grips  you  with  its  convincing  and  moving 
drama.  Its  vivid  quality  is  emphasized  thru  its  striking  back- 
grounds. 

True,  the  idea  becomes  involved  yet  it  is  easily  grasped — so 
definitely  drawn  are  the  characters  and  situations.  It  releases 
titanic  drama — not  only  in  the  picturesque  conquest  of  the 
molten  metal,  but  in  the  fires  which  burn  in  the  hearts  of  men. 
It  offers  life  in  the  raw — life  which  gives  much  and  takes  little. 
The  acting  is  of  a  high  caliber — with  Doris  Kenyon,  Victor 
McLaglen  and  George  Fawcett  doing  especially  well.        L.  R. 


Tully  Marshall  have  been  signed  for  "The  Blonde 
Saint,"  an  adaptation  of  Stephen  Whitman's 
novel,  "The  Isle  of  Life." 

Louise  Brooks  and  William  Collier,  Jr.,  have 
been  borrowed  by  First  National  from  Famous 
Players  so  as  they  might  play  two  important  roles 
in  "The  Charleston  Kid."  Dorothy  Mackaill  and 
Jack  Mulhall  will  have  the  featured  roles. 

Betty  Blythe  has  returned  to  New  York  from 
a  year's  sojourn  in  Europe.  While  over  there  she 
made  two  pictures,  one  being  "She,"  an  adapta- 
tion of  Sir  Rider  Haggard's  great  novel,  and 
"Jacob's  Well,"  from  Benoit's  famous  story.  Miss 
Blythe  will  continue  her  vaudeville  tour  until  she 
decides  upon  a  suitable  story  for  the  screen. 

By  special  arrangement  recently  made  with 
Warner  Brothers,  Patsy  Ruth  Miller  is  to  be 
limited  to  approximately  forty  weeks  of  screen 
work  during  the  coming  year.  Present  plans 
call  for  her  to  star  in  "The  Third  Degree"  and 
"What  Happened  to  Father." 

Buster  Keaton's  first  full-length  feature  com- 
edy under  the  stone-faced  comedian's  new  con- 
tract with  United  Artists,  "The  General,"  is  now 
being  made  in  the  open  spaces  of  Oregon.  Buster, 
as  usual,  is  directing  his  own  picture. 

The  cast  for  the  screen  version  of  Harold  Bell 
Wright's  best  seller  (2,000,000  copies — so  the 
statisticians  have  it),  "The  Winning  of  Barbara 
Worth,"  is  now  complete.  It  comprises  Ronald 
Colman,  Vilma  Banky,  Charles  Lane,  Clyde  Cook, 
Paul  McAllister,  E.  J.  Ratcliffe,  Gary  Cooper, 
Erwin  Connelly  and  Sam  Blum. 

Lois   Weber,   the   only   woman   director  of   the 

screen,  who  re- 
cently completed 
an  excellent  pic- 
ture cf  theatrical 
life,  "The  Mar- 
riage Clause,"  will 
take  the  job  of 
finishing  "Uncle 
Tom's  Cabin," 
work  upon  which 
was  held  up  thru 
the  illness  of  the 
former  director, 
Harry  Pollard. 

Richard  Dix  is 
tramping  over 
them  thar  hills  in 
Virginia  and  West 
■  Virginia — prepara- 
tory to  taking  up 
strenuous  work  in 
"The  Quarter- 
back" —  a  picture 
of  collegiate  life. 

Lloyd  Hamilton, 
the  comedian 
with  the  iron  face, 
is  making  eight 
new  comedies.  In 
the  first  he  will  be 

seen  as  a  seagoing 
if  _  _  u    >> 


gob."  Bobby 
Vernon  will  also 
make  eight  —  and 
so  will  Al  St,  John. 


6 


Di  Message 
From  E.  W.Ham  mons 
75  the  readers  of 
Motion  Picture  Classic 


IF  you  were  connected  with  the  great  motion 
picture  industry — if  you  were  a  star  or  a 
director  or  a  business  executive — what 
would  be  your  greatest  ambition?  Would  your 
fondest  dream  be  that  some  day  you  would  be 
responsible  for  the  "biggest  and  grandest" 
spectacle  the  screen  had  ever  produced? 

Perhaps  on  first  thought  you  will  quickly 
answer  "yes,  of  course."  But  that  isn't  my 
chief  ambition — and  it  never 
has  been.  I'd  like  to  tell 
you  why. 

*    *    * 


The  motion  picture  industry, 
in  my  opinion,  has  one  function 
to  perform  that  is  more  impor- 
tant than  any  other  consideration 
— to  provide  you  and  the  rest  of 
the  great  picture -loving  public 
with  consistently  fine,  wholesome 
entertainment  and  amusement. 
Of  course,  you  want  to  see  the 
fine  big  feature  spectacles.  But 
you  also  want  to  be  sure  that 
whenever  you  care  to  spend  an 
evening  at  the  "movies,"  you  can 
count  on  having  a  fine  evening's 
entertainment  all  through  the 
whole  show. 

And  that's  why  it  always  has 
been  my  chief  ambition  to  have 
Educa  tional  provide  for  you  the 
finest  possible  entertainment  in 
the  comedies,  novelties  and  other 


ROMANCE  PRODUCTIONS 

HAMILTON  COMEDIES 

LUPINO  LANE  COMEDIES 

BOBBY  VERNON  COMEDIES 

JIMMIE  ADAMS  COMEDIES 

BILLY  DOOLEY  COMEDIES 

CHRISTIE  COMEDIES 

MERMAID  COMEDIES 

(Jack  White  Productions) 

JUVENILE  COMEDIES 

TUXEDO  COMEDIES      CAMEO  COMEDIES 

LYMAN  H.  HOWE'S  HODGE-PODGE 

FELIX  THE  CAT  CARTOONS 

ROBERT  C.  BRUCE  SCENIC  NOVELTIES 

CURIOSITIES  LIFE 

The  Movie  Side-show        Cartoon   Comedies 

KINOGRAMS 

The  NEWS  REEL  Bu,lt  Like  a  Newspaper 


(T^cUu^vUartcd  (f^ctuA^D 


Short  Features  that  make  up  "The  Spice  of  the  Pro- 
gram." In  the  many  years  that  Educational  has 
played  a  part  in  the  motion  picture  industry,  it  has 
never  handled  a  long  feature  picture,  and  I'm  mighty 
proud  of  the  fact  that  it  has  grown  to  its  present 
position  among  the  leaders  of  the  industry  through 
specializing  in  the  briefer  pictures  that  go  to  balance 
the  ideal  picture  program  and  that  provide  such  a 
large  part  of  your  film  entertainment. 

You  have  shown  that  you  want — that  you  demand  — 
the  finest  entertainment  all  through  the  show ;  and 
that's  why  most  of  the  country's 
better  theatres  are  showing 
Educational  Pictures  today. 
That's  also  the  reason  why  the 
Greater  Movie  Season  that  ii 
just  beginning  will  bring  to  the 
screen  for  your  entertainment  a 
still  bigger  and  finer  group  cf 
Educational  Pictures. 


THE  SPICE  OFTHE  PROGRAM" 


EDUCATIONAL  FILM  EXCHANGES,  INC. 

E.  W.  Hammons,  President 
Executive  Offices,  370  Seventh  Ave..  New  York,  N.  Y. 


Your  favorite  theatres  can  tell 
you  what  Short  Features  they 
are  going  to  show  as  well  as 
which  longer  feature.  And  if 
you'll  consider  them  all  in  de- 
ciding "where  to  go,"  you'll  find 
that  you  get  more  consistent  en- 
joyment out  of  your  movie  eve- 
nings. Ycu'll  be  impressed  by  the 
beauty  and  story  value  of  the 
Romance  Productions  in  natural 
colore ,  such  as  "TheVision.  "You'll 
always  get  a  hearty  laugh  out  of 
any  of  Educational' s  comedies 
or  cartoons.  Any  program  is  a 
better  show  that  includes  some  of 
the  Short  Features  that  make 
up  "The  Spice  of  the  Program." 


THEY  SAY 


FIRST  PRIZE 
Fair  Play  for  "The  Big  Parade" 

EDITOR,    CLASSIC: 
I  am  English.     I  love  my  country. 
But,  above  all,  I  love  truth  and  fair 
play. 

I  went  to  the  premiere  of  "The  Big 
Parade"  in  London  on  May  21st,  and  never 
have  I  heard  anything  to  equal  the  spon- 
taneous and  enthusiastic  applause  which 
greeted  this  superb  masterpiece.  The  next 
day  a  large  section  of  the  most  widely 
read  newspapers  had  headlines  to  this 
effect : 

"America  wins  the  war — on  the    films." 

"Not  a  British  soldier  seen  in  America's 
version  of  the  war,"  etc.,  etc. 

These  criticisms  were  most  unfair  and 
prejudiced,  and  gave  a  totally  false  idea  of 
the  picture,  and  have  prevented  many 
people  going  to  see  it  and  judging  for 
themselves. 

There  arc  no  British  soldiers  in  the  pic- 
ture. Why  should  there  be?  It  is  an 
American  film ;  war  episodes  as  seen  thru 
the  eyes  of  an  American  doughboy.  It 
distinctly  states  in  the  foreword  that  his 
experiences  might  have  been  those  of  a 
soldier  of  any  other  nationality.  One  Eng- 
lish newspaper.  The  Daily  Sketch,  wrote 
of  it :  "It  is  an  international  picture,  no 
more  American  than  any  other  great  work 
of  art." 

The  following  is  an  extract  from  a 
letter  I  wrote  to  The  Sunday  Herald,  which, 
amongst  other  things,  had  criticised  the 
behavior  of  the  men  in  billets : 

"United   States  and  War  Films 

"With  reference  to  your  film  critic's 
comments  on  'The  Big  Parade,'  I  should 
like  to  state  that  during  the  last  eight 
years  I  have  seen  a  large  number  of  Brit- 
ish war  films  and  do  not  recollect  in  one 
of  them  that  American  troops  were  even 
remotely   referred  to. 

"In  two  plays  the  French  were  men- 
tioned. Had  America  seen  the  British 
film,  'The  Better  'Ole,'  they  would  have 
concluded  that  our  'Tommies'  were  a  set 
of  low  comedians,  whose  time 
was  entirely  taken  up  by  drink- 
ing and  kissing  French  girls, 
for  they  did  practically  nothing 
else.  This  film  was  not  re- 
deemed by  either  fine  direction 
or  acting. 

"D.  G.  Shore." 


because   the   producer   was   jealous   of   his 
own  country's  exploits." 

The  English  are  not  what  a  certain  sec- 
tion of  the  press  would  have  the  world 
believe.  We  are  a  generous  people,  and  I 
know  many  who  have  seen  "The  Big  Pa- 
rade" and  have  come  away  with  the  ten- 
derest  feelings  of  gratitude  and  affection 
for  the  happy-go-lucky  doughboys  who 
came  over  to  join  in  the  "great  adventure." 
A  British  Army  officer,  who  had  a  great 
deal  to  do  with  the  Americans  in  France 
during  the  war,  said  their  fearlessness 
was  wonderful. 

I  am  sure  that  the  abolition  of  war  and 
the  world's  peace  lie  in  the  hands  of 
America  and  Great  Britain,  and  I,  for  one, 
earnestly  desire  a  better  understanding  be- 
tween the  two  countries.  There  must  be 
mutual  generosity,  a  truce  to  petty  spite 
and  jealousy.  I  have  lived  in  America  and 
love  it  and  the  Americans,  and  I  found 
that  so  much  of  the  foolish  prejudices  that 
people  of  one  nationality  have  towards 
another  simply  arise  from  a  want  of 
proper   understanding. 

Owing  to  the  almost  moribund  condition 
of  the  film  industry  over  here,  it  has  not 
been  possible  for  Americans  to  see  pictures 
representing  real  English  life  and  charac- 
teristics (which  may  have  something  to 
do  with  the  constant  re-appearance  on  the 
American  screen,  of  that  curious  creature 
— the  monocled,  mincing  Englishman — in 
spite  of   Ronald  Colman!). 

A  big  movement  has  now  started  in 
order  to  better  conditions  and  revive  the 
industry,  and  huge  studios  are  being  built. 

I  hope  America  will  give  our  pictures 
of  English  life  a  fair  showing. 

All  art,  all  beauty  should  be  interna- 
tional— universal.  Each  country  should 
give  of  her  best.  The  great  new  art  of 
living  pictures  ought  to  be  the  means  of 
uniting,  not  of  disuniting  nations.  The 
movies  should  be  the  "entente  cordiale"  of 
the  world. 

Dorothy  Grace  Shore, 
11,  Drayton  Gardens, 

So.   Kensington, 
London,   S.  W.,  England. 


"The  Big  Parade"  is  a  su- 
preme work  of  art,  in  spite  of 
the  extremely  simple  and  con- 
ventional story  and  certain  "he- 
roics" which,  perhaps,  slightly 
mar  the  latter  half  of  the  pic- 
ture. 

I  have  seen  hundreds  of 
moz'ing  pictures,  but  this  is  the 
first  living  picture.  The  acting- 
reaches  such  heights  that  it 
ceases  to  be  acting ;  it  becomes 
life,   real,   surging,    pulsating. 

The  film  critic  in  The  Morn- 
ing Post  wrote,  with  justice : 
"We  should  not  condemn  a 
wonderful    piece    of    stagecraft 


The  MOTION  PICTURE  CLASSIC  is  devot- 
ing a  page  each  month  to  the  best  letters  from 
its  readers.  The  prize-winning  letters  for  the 
August  number  are  reproduced  on  this  page. 

Fifteen  dollars  will  be  paid  each  month  for 
the  best  letter,  ten  dollars  for  the  second  and 
five  dollars  for  the  third.  If  two  or  more  let- 
ters are  found  of  equal  merit,  the  full  prize 
will  go  to  each  writer. 

Letters  must  be  constructive  and  interest- 
ing. They  must  deal  with  pictures  or  screen 
personalities.  And — please  note — they  should 
be  typewritten. 


SECOND  PRIZE 
For  the  Foreign   Girls  and  the  Native 

Sons 
Editor,  Classic  : 

Since  this  department  is  for  the  benefit 
of  Classic  readers  in  which  to  expnss 
their  opinions,  I  cant  refrain  from  having 
my  little  "say  so." 

Being  first  and  foremost  for  all  things 
American,  it  is  hard  for  me  to  feel  com- 
pelled to  say  that  the  foreign  actresses 
have  it  all  over  our  own  players.  Unde- 
niably our  leading  ladies  are  the  more 
beautiful,  but  who  among  them  can  com- 
pare with  the  Pola  Xegri  of  "Passion"  and 
"Gypsy  Blood."  Mme.  Xegri  has  never 
been  given  an  opportunity  by  American 
directors,  or  by  Famous  Players.  She 
was  interesting  in  "Good  and  Xaughty," 
but  Pola  Xegri  is  in  no  wise  the  come- 
dienne. I  should  like  to  see  her,  not 
Raquel  Meller,  as  the  Empress  Josephine 
to  Charles  Chaplin's  Xapoleon. 

Then  there  is  Greta  Garbo,  who,  because 
of  her  interesting  and  colorful  portrayal 
in  "The  Torrent,"  should  be  among  the 
most  popular  players.  Xot  one  of  our 
American  leading  ladies  could  so  subtly 
express  the  various  emotions  as  Greta 
does.  And  it  is  gratifying  to  know  that 
she  has  so  able  a  director  as  Xiblo  for 
her  second  American  picture  and  so  charm- 
ing and  romantic  a  leading  man  as  Antonio 
Moreno. 

I  must  not  forget  to  mention  Greta  Xis- 
sen  here.  She  has  had  but  one  real  op- 
portunity, in  "The  Wanderer,"  a  part  so 
unsympathetic  as  to  cause  her  to  lose, 
rather  than  gain,  admirers,  so  set  are  we 
on  having  all  our  heroines  of  the  saccha- 
rine variety,  in  sugar-coated  roles.  It  is 
no  wonder  that  Greta  Xissen  has  deserted 
us  for  Ziegfeld  and  the  stage. 

Perhaps  I've  seemed  too  partial  to  the 
European  players,  but  the  readers  of  this 
letter  who  do  not  agree  with  me  will 
forgive  me  when  I  say  that  my  vote  goes 
to  the  American  leading  men,  unanimously, 
as  against  the  Xovarros,  Valentinos  and 
De  Roches.  They  are  not  to  be  compared 
with  Gilbert.  Dix,  Haines, 
Lloyd  and  the  incomparable 
Wally   Reid. 

Who  on  the  screen  today  is 
there  to  take  Wally's  place,  and 
who  ever  will?  His  death  left 
a  void  in  all  our  hearts,  one  that 
will  never  be  filled. 

John  Gilbert  deserves  a  place 
in  the  Hall  of  Fame  for  his 
James  Appcrson  in  "The  Big 
Parade"  and  his  Danilo  in 
"The  Merry  Widow."  Who 
can  deny  Gilbert's  ability  after 
seeing  him  so  ably  portray  two 
so  diversified  roles?  I  was 
very  happy  when  I  learned  that 
Jack  and  Greta  Garbo  will  play- 
together — that  should  be  a  pic- 
ture, and  Von  Stroheim  should 
direct  it. 

Richard  Dix's  Indian  of  "The 

Vanishing   American"  was  fine. 

but  I  like  him  best  in  his  lighter 

type    of    picture — "Take    a 

{Continued  on  page  90) 


8 


On  the  screen  or  off,  there's  a  healthy,  robust 
charm  about  Leatrice  Joy.  Hers  is  a  frank, 
friendly  nature  which  makes  her  personality 
glow.  With  quick,  flashing  eyes  and  warm, 
readv  smile  she  fans  the  embers  of  romance 
in  us  all 


MOTION  PICTURE 


(^LASSIC 

SEPTEMBER.   1926 

- v  I*   ' '  1  ■  ' 


HARRY   LANGDON 

He's  traveled  many  roads — has   Harry   Langdon,   roads  that   led   from  Nowhere  into 

Nowhere.     But  while  he  traveled  he  observed  and  jotted  down  the  impressions  in  his 

mental  note-book.    That's  why  he  has  arrived  with  a  thoro  knowledge  of  pantomime — 

and  that's  why  he  is  easily  one  of  the  finished  artists  of  the  screen 


MARION  DAVIES 

It  took  a  gay  masquerade — a  bit  of  blarney  as  a  broth  of  a  boy  to  bring  out  the  best 

in  Marion  Davies.     She  conquered  so  easily  and  surely  with  her  hoydenish  whims  that 

all  the  wiseacres  and  makers  of  stars  proclaimed  "it's  a  gift" 


. Ml  ,-^-      -.   ■  ■■  ■MHRBM  ■  I 


BILLIE   DOVE 

The  mistress  of  the  close-up — that's  Billie  Dove.  Some  cameras  come  too  close  to 
several  stars,  but  Billie's  beauty  is  the  photographer's  delight.  When  you  see  "The 
Marriage  Clause,"  you  will   appreciate  not  only  the  close-ups,  but   also   the   emotional 

triumph  of  her  career 


Mull 


PAULINE    STARKE 

The  perils  of  Pauline  are  over.  Time  was  a  few  seasons  ago  when  the  assurance  that 
comes  with  experience  and  success  was  missing.  Now  she  has  blqssomed  into  one  of 
the    most    beautiful    buds    of    the    Hollywood    garden — and    she    has'  perfect    poise    and 

eloquent  emotions,  to  boot 


H.  L.  MENCKEN 

The  Most  Quoted  Man  in  America 


LARGE,  bitter  and 
copious  were  the 
tears  shed  by  the 
writer  during  the  en- 
tire time  spent  in 
listening  to  Mr. 
Mencken  the  other 
afternoon.  This  is  not 
a  sob  story,  but  we 
fairly  groaned  for  a 
dictophone  to  record 
what  he  said  ver- 
batim, for  only  in  this 
manner  could  full 
justice  be  given  to  the 
interview. 

No  other  man  of 
our  acquaintance  or 
hearsay  can  even  ap- 
proach him  in  bril- 
liancy of  conversa- 
tion. The  picturesque 
phraseology,  the 
glancing,  gleaming 
flashes  of  wit,  the 
originality  of  thought 
and  word,  and  the 
deep,  underlying  cur- 
rent of  humor  fas- 
cinate the  listener  to 
the  point  of  hypnosis. 
The  customary  grave 
expression  of  his  face, 
belied  by  the  twinkle 
of  the  bright  blue  eye, 
completely  puzzles  you 
as  to  whether,  or 
when,  he  is  speaking 
seriously.  When  he 
finally  gets  launched 
on  a  subject,  he 
handles  it  in  the  same 
fashion  a  fox-terrier 
plays  with  a  bone :  he 
harries,  he  worries  it ; 
tosses  it  up  in  the  air, 
and  catches  it  deftly 
on  the  rebound  ; 
gnaws  it,  and  tears  it 

at  the  end  into  such  minute  pieces  that  not  the  faintest 
suspicion  of  the  original  idea  remains. 

Breaks  the  Long  Silence 

hen  he  got  thru  talking  about  the  movies,  we  felt 
as  tho  no  one  had  ever  even  thought  of  the  subject 
before.  Not  that  it  was  easy  to  make  him  discuss  the 
motion  picture  question.  Far  from  it !  For  some  reason 
or  other  he  has  always  carefully  avoided  giving  voice  to 
his  opinions  on  the  subject.  We  have  had  Mencken  on 
Music ;  Mencken  on  Art ;  Mencken  on  Prohibition ;  on 
Politics ;  on  Women,  Wine  and  Song ;  Mencken  on  Evo- 
lution (will  you  ever  forget  it?)  ;  Mencken  on  War.  and 

16 


By  B.  F.  Wilson 


Caricature  of  Mencken  by  Leo  Kober 


w 


on  Peace ;  Mencken 
on  Freedom  of 
Speech  and  Deed — 
and  of  course 
Mencken  on  Litera- 
ture, but  never,  des- 
pite golden  offers 
from  eager  editors, 
has  he  uttered  or  ex- 
pressed a  word  about 
the  movies. 

When  I  mentioned 
the  subject : 

"Flapdoodlery,"  he 
replied. 

I  had  to  use  tactics 
which  would  have 
made  Ambassador 
Hughes  bow  his  head 
in  homage,  or  Peggy 
Hopkins  squirm  with 
envy,  before  he  would 
pay  attention  to  the 
sincerity  of  my  re- 
quest. 

"Have  you  ever 
been  to  a  movie?"  I 
demanded. 

"How's  the  weather 
in  Atlantic  City?"  he 
replied. 

"Will  you  please 
answer  my  question?" 
I  was  stern. 

"Did  you  know  that 
Cleopatra  was  knock- 
kneed  ;  that  Homer 
was  cock-eyed,  and 
that  Caesar  suffered 
from  stomach 
trouble?"  he  queried 
with  great  interest. 

I  grew  subtle. 

"Nize    Baby,"    I 
purred.   "Tell  momma 
about  de  movies,  and 
momma  will  give  you 
some    nize    beer    mit 
pretzels." 
I  had  him.    I  could  tell  by  the  rapt  look  on  his  face. 
"Whatthehell  do  you  want  to  know  ?"  he  inquired  gently. 
"Have  you  ever  been  to  a  movie?"  I  repeated,  and  he 
could  tell  from  my  expression  that  the  "No  Fooling"  sign 
was  out. 

Recalls  Two  Masterpieces 

"T  have  been  to  a  few,"  he  replied.  "Perhaps  half  a 
dozen  in  all.  I  can  recall  from  them  only  two — 'The 
Last  Laugh'  and  'The  Big  Parade.'  I  thought  them  both 
very  entertaining.  I  know  nothing  of  the  ordinary  run  of 
romantic  movies,  made  for  the  rabble." 

He  sank  back  into  his  chair  with  the  well-known  "clos- 


Breaks  the  Long  Silence 

Talks  for  the  First  Time  on  the  Movies 


ing  the  interview"  look  on  his  face.  He  was  polite,  l>ut  I 
had  known  him  long  enough  to  ^r«'t  over  that,  bo  1  hinted 
that  he  had  merely  started  to  talk,  nol  finished. 

"What  do  you  think  of  the  movies  as  an  uplifting  in- 
fluence oh  the  rabble,  as  you  bo  sweetly  put  it'"  I 
demanded. 

"Win  should  they  be  uplifted?"  he  asked  with  the 
slightest  elevation  OX  his  left  eyebrow.  You  know,  the 
"What  are  Yonkers?"  expression. 

"If    the    rabble    likes    them    as    they    are.    why    change 

them?"    He  questioned,  and  I  could  see  that  his  point 

w  a>  a  good  one. 

"I  believe  that  people  have  a  right  to  ainuse  themselves 
as  they  please,"  he  added. 

"How  do  you  like  my  suit?  Pretty  good,  eh,  for 
seventeen-fifty ?  I  buy  all  my  clothes  ready-made;  order 
as  many  as  three  suits  at  a  time  thru  the  Sears  and  Roe- 
buck catalog:  you  know,  one  for  each  season  so  when  I 
get  them  all  at  once,  I  dont  have  to  worry  about  them 
when  the  time  comes  to  change." 

"Wait  a  minute,"  I  interrupted.  "Please  now!  Stop 
your  nonsense.  This  is  serious.  I  want  you  to  talk  and 
say  something  when  you  talk,  that  I  can  write  up  as  com- 
ing from  you  on  a  subject  of  vast  importance.  Please  be 
serious  for  a  few  moments.  After  that,  we'll  talk  on 
anything  you  like." 

"All  right."  he  said  contritely.  "I  know  what  this 
means  to  you.  what  else  do  you  want  to  know?" 

Why  Look  for  Literature? 

"Pvo  you  see  the  importance  of  literature  in  the  movies?' 
"No.     I  dont  see  any  necessary  conne 


the  movies  and  literature, 
movie  may  have  some  liter- 
ary quality,  but  it  is  surely 
not  likely.  But  why  should 
it  have?"  He  was  quite  in 
earnest  now.  and  as  I  knew 
from  past  experience,  the 
symptoms  of  his  being 
fairly  launched.  I  carefully 
restrained  the  sigh  of  relief 
which  begged  for  utterance. 

"Some  of  the  most  amus- 
ing plays  that  are  acted  on 
the  stage  have  no  literary 
quality  whatsoever."  he 
continued.  "I  am  strongly 
against  the  doctrine  that 
anything  that  is  not  literary 
should  be  put  down  by  the 
police.  Let  the  police  at- 
tend to  their  proper  busi- 
ness of  protecting  saloon- 
keepers against  prohibition 
agents." 

Most  of  my  readers  will 
recall  the  recent  run-in  Mr. 
Mencken  .  had  with  the 
police  on  this  very  subject 
up  in  Boston.  The  press 
made  a  six-foot  head-liner 


connection  between 
It  is  conceivable  that  a  given 


Says  Mr.  Mencken: 

"As  most  of  us  know,  the  ordi- 
nary run  of  romantic  movies  are 
made  for  the  rabble. 

"If  the  rabble  likes  them  as 
they  are,  why  change  them?  I 
believe  that  people  have  a  right 
to  amuse  themselves  as  they 
please. 

"I    don't    see    any    connection 
between   the    movies   and    literature.      It   is 
conceivable   that   a   given   movie   may   have 
some   literary  quality,   but   it  is  surely  not 
likely. 

"Most  of  the  complaints  about  the  morals 
of  the  movies  come  from  professional  smut- 
snufflers — who  are  looking  for  jobs." 

"Some  of  the  movie  people  get  too  much 
money  and  carry  on  like  American  business 
men  at  a  trade  convention,  but  the  majority 
of  them  are  hard-working  people,  and  take 
their  work  very  seriously. 

"An  actor,  like  any  other  man,  is  worth 
whatever  he  can  earn  for  his  employer." 


of  the  story  for  days.     As  1 1  it-  editor  of   I  he  American 

MtTCUry,  the  sale  of   which  had  In  en  prohibited,  he  went 
Up  to   Boston  and  personally  sold  a  Cbpy.       I  I  -mie 

up  in  COUrt,  and  01  COUrse,  was  dismissed  :  the  jud^'e  find 
ing  no  reason  for  the  suppression  of  tin-  magazine.  It  was 
afterwards  disclosed  that  because  Mr.  Mem.  ken  had  pub- 
lished an  article  on  the  self-appointed  vice-crusader*. 
seeking  notoriety  by  supposedly  Cleaning  up  American 
literature,  and  in  the  article  naming  the  chief  n 
that  it  was  this  self  same  reformer  who  had  ordered  the 
sale  of  the  magazine  stopped. 

But  to  get  hack  to  our  subject. 

"What  do  you  think  of  the  morals  of  the  movies?"  I 
asked,  knowing  how  he  felt  on  all  bigotry  and  ignorant 
reformation. 

"I  dont  know,  anything  about  them."  he  answered.  "Put 
I  do  know  many  intelligent  and  decent  people  who  go  to 
see  them  often,  and  from  these  people  I  have  never  heard 
any  complaint  about  their  immorality." 

He  chewed  the  end  of  his  cigar  reflectively. 

Loose  Leeches  of  Lewdness 

"Vou  know,  dont  you,  that  such  complaints  come  only 
from  professional  Suiut-snnfflers,  most  of  them  look 
ing  for  jobs.  The  fact  makes  me  suspicious.  I  find  it 
hard  to  take  such  Snuit-snuffiers  seriously.  They  are  the 
ones  that  are  always  raising  a  hullabaloo  about  nothing. 
These  doodlesockers  are  constantly  making  it  known  thru 
the  yellow  sheets  that  seeing  a  young  fellow  kiss  his  gal 
tills  them  with  an  uncontrollable  sexual  libido.     I  can  only 

say  that  the  spec- 
tacle has  no  such 
effect  upon  me, 
nor  upon  anyone 
I  know. 

"All  the  people 
that     read     these 
yellow    sheets   get 
het    up    over    the 
fact  that  they  are 
being    tempted, 
altho    they    would 
never  have  known 
it    unless    it    had 
been    pointed    out 
to   them.      The   poor   dam- 
fools      haven't      got      sense 
enough  to  give  these  rotters 
a  good  swift  kick  in  their 
little  August.     But  anybody 
with  any  intelligence  what- 
soever,   would    laugh    him- 
self sick  at  the  idea  of  five 
feet  or  twenty-five  feet,  or 
whatever  it  is,  of  celluloid 
film   showing  a  gal   and   a 
man   in   a  clinch,   affecting 
him  to  the  point  of  indecent 
desire." 

"What  do  you   think   of 
all  this  Hollywood  business  ? 
(  Continued  on  page  81  ) 


17 


Hollywood's     Pet 


The  So- Called  Human  Race  Has  Its  Little 
Weaknesses.  All  of  Us  Are  Faithful  to 
Our  Foibles — and  Among  the  Most  Faith- 
ful Is  the  Celluloid  Circle  On  the  Coast. 
So  It's  Everyone  to  His  Taste  In  Riding 
a  Favorite  Hobby 

By  Richard  Coyle 


EVERY   human   being   who   is   old 
enough  to  have  learned  that  the 
thumb  is  not  really  to  be  taken 
seriously  as  an  article  of  food  has 
a  pet  foible,  an  amiable  little  weak- 
ness,  a  bizarre   little   trait   in   an 
otherwise  perfectly  safe-and-sane 
character — or,    in    short,    a    pet 
extravagance. 


Elmer  Fryer 


On  th%  left  is  Syd  Chaplin 
who  has  a  weakness  for  avia- 
tion. Having  been  a  veteran 
pilot,  he  is  deeply  interested 
in  intricate  little  model  planes 
and  their  big  brothers.  Below 
is  Ruth  Clifford  keeping 
company  with  three  of  her 
forty-seven  dolls.  It's  her 
pet  extravagance 


?.,hn  Ellis 


This  pet  extravagance  is  not  neces 
sarily  a  hobby  or  a  recreation,  tho  it 
may  be  closely  allied  with  either 
or  both.     Nor  does  it   neces- 
sarily demand  extravagance 
in  a   financial   way.     It 
is  a  foible  that  even 
the     Scotch     may 
have,  and  usu- 
ally   do. 


John  Ellis 

John  Barrymore  has  an  expensive 
craving  for  books.  In  his  library  is 
a  really  fine  collection  of  rare  old 
first  editions — and  he  burns  much 
midnight  oil  in  reading  them.  One 
of  the  pet  "hobbyists '  is  Priscilla 
Dean,  on  the  left — who  goes  in  for 
all  types  of  dolls 


For  its  extravagance  may  consist 
merely  in  its  lavish  demands 
upon  the  time  and  attention  of 
its  owner. 

It  manifests  itself  in  as  many 
different  ways  as  there  are  dif- 
ferent quirks  of  personality  in 
mankind.  With  one  individual 
it  may  consist  of  a  passionate 
fondness  for  highly  expensive 
silk  neckties  of  a  general  color 
scheme  that  would  drive  a 
Siwash  Indian  into  a  delirious 
ecstacy  of  envy.  With  another, 
it  may  be  a  fatal  weakness  for 
the  ghastly  hodge-podge  of  an  auction 
sale. 

Its  manifestations  may  be  as  weirdly 
incongruous  as  an  Eskimo  in  a  straw  hat. 
A  meekly  inoffensive  little  mouse 
of  a  man  may  go  without  his  lunch 
in  order  to  satisfy  his  yearning  for 
lurid  volumes  of  piratical  lore, 
while,  on  the  other  hand,  Horrible 
Harvey  of  the  Gashouse  Gang  may 


18 


EXTRAVAGANCES 


have  an  insatiable  secret  craving  foi 
chocolat<  covered  peanut  bai  i 

Being  Human,  They  Have  Hobbies 

i_i  "M  \  w  ood,  being  full  of  reason 
n  ably  normal  human  beings,  in  spite 
ot  occasional  propaganda  oi  the  yel- 
low press  to  the  contrary,  it  naturally 
follows  that  Hollywood  is  full  of  pet 
extravagances.  And,  players  usually 
being  rather  colorful  folk,  it  is  only 
natural   that   their   |x.-t    foibles   should 

be  colorful  above  the  average. 

Not  that  these   foibles  are  quite  SO 

bizarre  as  they  have  sometimes  been 
painted  by  over-zealous  press-agents. 
If  half  the  publicity  yarns  along  this 
line  were  true,  Hollywood  would  of 
necessity  he  peopled  with  equal  parts 
of  lunatics,  kleptomaniacs,  and  zoo 
keepers.  I  have  heard  it 
claimed  that  various  pla) 
ers  had  weaknesses  for 
everything  from 
original  Rem- 
brandts  to  blue- 
nosed  baboons. 
(  me  hard-work- 
ing press-agent 
even  spent  half 
an  afternoon 
once  trying  to 
convince  me 
that  the  favorite 
recreation  of  one 
of  his  clients  was 
putting  a  small  herd 
of  trained  eels  thru 
their  tricks. 

All  of  which  is  not  only 
a     finely     assorted     lot     of 
bunk,  but  rather  foolish  as 
well.     Because  the  real  pet 
foibles  of  some  of  our  lead- 
ing  players   are   interesting 
enough  in  actuality  without 
adding    any    imaginative    gar- 
nishes.     Giving    as    they    do, 
such  unique  and  intimate  side- 
lights upon  the  real  tastes  and 
characters  of  screen  favorites, 
to  me  these  little  pet  extrava- 
gances have  always  been  one 
of  the  most  interesting  minor 
phases    of    life    in    the    Film 
Colony. 

They  range  literally  from 
patent  cigaret-lighters  to  fleets 
of  high-powered  and  equally 
high-priced  automobiles. 


Another  Hollywood  doll  devo- 
tee is  Claire  Windsor — who  has 
a  really  exquisite  collection 
from  all  nations.  She  dresses 
them  up  in  bizarre  costumes 
and  whiles  away  rainy  days  in 
showing  them  a  good  time 


111    !MH 

ir  ii " 


At  the  top  is  a  corner  of  Louise  Fazenda's  library.  She 
is  a  genuine  book-collector,  and  is  an  inveterate  follower 
of  all  the  auctions  in  the  book-shops.  In  the  circles  from 
left  to  right  are  Lilyan  Tashman  and  Helene  Chadwick. 
Lilyan  admits  a  weakness  for  French  perfumes — and 
Helene's  hobby  is  fur  coats.  She  boasts  an  expensive 
collection 


Among  the  Collections 

\x/ii  li am  Boyd  i-  the  of 

*"  the  cigaret-lighter  complex      At 

a    consei  vative    estimate,     Bill    has 

bought    at    least    forty    of    the    p 

things  so   far  this  year 

si/e.  ever)   material,  and  •  ape, 

the)  have  had  just  one  tiling  in  com 
niou,  an  utter  failure  to  continue 
functioning  after  the  second  day. 
Bill  is  --till  hoping,  however,  and  still 
searching  for  his  goal,  a  cigaret- 
lighter  that  will  really  light,  and  keep 
on  lighting. 

Automobiles  are  Tom  Mix's  pet 
extravagance.  Ami  Tom's  present 
fleet  of  aristocratic  cars  is  one  to 
stitute  a  real  extravagance,  even  to  a 
gentleman  whose  monthly  pay  check 
reads  like  the  national  debt 
of  Nicaragua. 
Here  is  the  list, 
as  nearly  as  I 
can  remember  it 
offhand  :  —  one 
Dusenberg  road- 
ster, one  Rolls- 
Royce  touring 
car,  one  Loco- 
mobile limou- 
sine, one  Buick 
sedan,  and  two 
Packard  limou- 
sines. Consider- 
ing that  the  com- 
bined list  price-  of 
these  cars  approximate 
the  fort  v-thousand-dollar 
mark,  it  will  readily  be 
granted  that  Tom's  pet  ex- 
travagance is  one  worthy 
the  name.  At 
that,  I  may 
(Continued    on 


19 


Three  More  Writers 


Brown  Bros. 


E.   V.   Lucas 


Baroness  Orczy 


Courtesy  of  Ceo.  H.  Doran 


By  Henry  Albert  Phillips 


C7  V.  LUCAS,  one  of  the  editors  of  Punch,  the 
humorous  weekly,  is  an  author  easy  to 
know.  And  you  can  see  the  man  just  as  he  is  if 
you  will  read  any  one  of  the  many  books  he  has 
written — some  of  his  "Wanderer"  books,  for 
instance :  "A  Wanderer  in  Paris,"  "A  Wan- 
derer in  Rome,"  and  so  on. 

If  you  dont  know  Punch,  then  you  should 
meet  him,  too,  at  any  cosmopolitan  news-stand 
and  take  him  home,  for  a  quarter,  I  think  it  is  in 
America.    His  pages  reflect  Mr.  Lucas  perfectly. 

Finally,  Mr.  Lucas  is  managing  director  of 
one  of  London's  biggest  and  oldest  publishing 
houses,  Methuen   &  Co.,   and  there   I   met  him. 

"I  write  because  I  like  writing  and  I  never 
write  about  anything  I  am  not  enthusiastic 
about,"  said  Mr.  Lucas  somewhere  along  in  the 
conversation. 

I  think  those  few  words  express  more  nearly 
what  should  be  a  writers  creed  than  any  others 
I  have  ever  read  or  heard. 

"I  never  pretend  to  be  exhaustive,  but  I  make 
it  a  point  never  to  become  exhausting." 

But  you  get  the  idea  from  those  two  expres- 
sions of  the  sort  of  man  Lucas  is  and  the  kind 
of  thing  he  writes. 

(Continued 

20 


T>ARONESS  ORCZY  (pronounced  Ortsee) 
-L^  is  the  author  of  "The  Scarlet  Pimpernel" — 
considered  one  of  the  best  sellers  in  the  world, 
a  book  that  has  sold  five  million  copies  in  about 
twenty  years — at  the  rate  of  two  hundred  and 
fifty  thousand  copies  a  year ! 

Here  is  an  ideal  story  for  the  motion  pictures 
and  yet  it  has  never  been  presented  in  the  films. 
And  the  reason,  in  part,  for  its  non-production 
and  thus  denying  to  the  cinema  world  one  of 
the  most  intriguing,  thrilling  and  picturesque 
stories,  is  to  be  found  in  my  preamble.  Among 
other  things,  the  Baroness  feels  a  lack  of  confi- 
dence in  the  ability  of  scenarist  and  director 
to  render  with  perfect  fidelity  the  story  that  is  so 
near  her  heart.  She  acknowledges  her  own  in- 
ability to  aid  them  further  than  submitting  the 
story    *as  is. 

"We  have  been  offered  all  sorts  of  money  for 
The  Scarlet  Pimpernel,'  "  she  told  me.  "Peri- 
odically, someone  from  the  films  comes  along 
with  a  new  offer.  I  have  my  ideas  why  I  would 
not  yet  perhaps  sell  it,  but  I  am  not  the  sole 
owner  of  the  rights,  outside  book  rights.  Fred 
Terry,  the  actor,  is  my  partner  in  dramatic  and 
other  rights  and  has  the  idea  that  a  film  presen- 
on  j>age  11} 


Indict    the    Films 


r- 


"The  films  are  not  good  enough.  With 
all  the  money  and  other  kind  of  wealth 
expended  on  them  they  should  be  in- 
finitely better.  The  best  thing  they  do  is 
the  supernatural — they  are  the  link  be- 
tween poor  inadequate  human  nature  and 
magic." — E.  V.  Lucas. 


"I  have  my  own  ideas  why  I  would 
not  sell  'The  Scarlet  Pimpernel'  to  the 
movies.  My  partner  has  the  idea  that 
film  presentation  would  smash  the  play. 
The  plot  is  so  complicated  and  the  at- 
mosphere so  essential." — Baroness 
Orczy.  

"I  just  haven't  any  ideas  on  the  films. 
I  find  most  of  them  extraordinarily  non- 
sensical— and  still  go  to  see  them  some- 
times."— Ford  Madox  Ford. 


Courtesy  of  Albert  and  Charln  Bom 
Ford    Madox    Ford 


The  Fifth  of  a  Series  of  Talks   About  Motion   Pictures 
With  Famous  English  and  Continental  Writers 


TT  is  a  wise  fiction  father  who  knows  his  own 
•*"     movie  child. 

And  the  more  I  see  of  Great  Writers  and  hear 
them  talk  about  the  terrible  things  that  happen 
to  their  brain  children,  in  the  cruel  screen  world, 
the  more  I  wonder  why  they  trust  their  sacred 
things  to  the  care'  of  roving  bands  of  gypsies — 
as  they  seem. to  consider  the  cinema  in  general. 
They  are  like  those  mothers  who  desert  their 
babies  in  dark  hallways  and  then  turn  up  to 
claim  them  and  wail  over  them  when  they  have 
been  adopted  by  wealthy  persons  who  shower  a 
fortune  on  them. 

One  of  the  bitterest  defamers  of  the  movies 
that  I  know,  and  their  ill-treatment  of  the  novel- 
ist is  one  whose  book  did  not  go  at  all  well,  net- 
ting him  not  more  than  $4,000.  A  motion  pic; 
ture  company  paid'  him  $20,000  for  the  picture 
rights.  A  clever  scenarist  made  a  silk  purse 
out  of  a  sow  s  ear,  literally,  for  the  story  on  the 
screen  was  infinitely  better  than  that  in  the 
book  from  which  it  had  been  taken — and  was 
different,  of  course.  Hence  the  wail  of  the 
novelist. 

In  the  great  majority  of  cases,  the  novelist 
makes  more  from  his  picture  rights  than  he  does 

(Continued 


TJORD  MADOX  FORD  is  the  author  of  that 
remarkable  book,  "No  More  Parades,  which 
was  adjudged  the  finest  novel  of  the  year  by 
several  of  the  leading  book  reviews. 

He  lives  in  Paris  in  a  quaint  studio  on  Rue 
Notre  Dame  des  Champs,  just  behind  the  house 
in  which  Balzac  once  lived  and  wrote.  By  good 
fortune,  my  pension  happened  to  be  almost 
opposite  his  studio,  so  it  was  an  easy  matter  to 
drop  in.  He  took  me  up  a  rickety  stair  to  a 
cubby-hole  where  he  said  he  did  most  of  his 
writing. 

"No,"  he  smiled,  when  I  asked  him,  I  just 
haven't  any  ideas  on  the  films.  I  find  most  of 
them  extraordinarily  nonsensical. 

"But  you  do  go  to  see  them?'  I  persisted  on 
top  of  his  condemnation. 

"Yes.  I  suppose  everyone  must  go  to  see 
them  sometimes.  Oh,  yes,  I  did  go  to  three 
bull-fights  and  two  films  in  one  week  down  in  the 
south  of  France  last  summer. 

Bull-fights  and  films!  There  s  a  new  one. 
Ford  Madox  Ford  puts  them  on  a  par,  only  he 
places  bull-fights  first. 

We  talked  all  around  the  films  after  that,  for 
he  did  not  want  to  be  caught  associating  with 
on  fiage  77) 

21 


PICTURE,  PICTURE 


By 

Robert 
Donaldson 


Jean  Hersholt  and  Ernest 
Torrence  walked  away  with 
the  acting  honors  in  "Greed" 
and   "The    Covered    Wagon" 


THE  question  is — how  do  they  steal  it  ? 
Picture-stealing  is  rapidly  becoming  an  eighth  art, 
and  one  which  adds  spice  to  the  business  of  going  to 
the  movies.     Frequently  it  is  the  method  by  which  a  new 
star  is  whirled  into  the  firmament  of  filmdom. 

Picture-stealing  is  always  eagerly  watched  both  by 
critics  and  theatergoers  because  it  partakes  of  the  element 
of  chance,  of  the  unexpected. 

One  reads  the  advance  notices  and  advertisements  of 
a  movie.  Various  well-known  players  are  featured,  and 
everything  seems  according  to  Hoyle  thruout.  Yet  when 
one  attends  the  picture,  it  is  obvious — obvious  to  the  veriest 
dub  in  the  audience — that  some  unknown,  or  some  minor 
player,  whose  name  is  frequently  not  even  mentioned  in 
the  billing — has  walked  away  with  the  show,  has  made 
the  impression  which  is  the  most  lasting  on  the  minds  of 
the  audience.  Not  always  is  it  a  newcomer  who  steals  a 
picture.  Often  it  is  a  character  actor  with  a  relatively 
small  part  compared  to  that  of  tbe  hero  and  the  heroine. 

Such  a  player  very  frequently  (in  the  parlance  of  the 
film  business)  just  "rolls  up  the  picture  and  puts  it  in  his 
vest  pocket." 

How  do  they  do  it  ?    How  is  a  picture  stolen  ? 

The  writer  decided  that  the  best  way  to  discover  the 


technique  was  to  go  to  some  of  the  notorious   picture- 
stealers  in  the  business. 

Not  infrequently  producers  put  a  confirmed  picture- 
stealer  in  a  cast  just  to  pep  things  up  and  spur  the  other 
members  of  the  cast  to  greater  effort. 

His  Back  to  the  Camera ! 

One  of  the  classics  of  Hollywood  is  the  tale  of  how 
Andre  de  Beranger,  with  his  back  to  the  camera,  stole 
trie  final  scene  of  "Grounds  for  Divorce"  from  Owen 
Moore  and  Harry  Myers,  to  whom  (the  latter  two)  the 
scene  was  supposed  to  go,  and  who  dont  love  a  camera 
lens  any  more  than  they  love  their  own  mothers. 

The  final  scene  of  the  picture  featured  Beranger,  Myers 
and  Moore.  Each  of  the  three  was  trying  to  take  this 
scene  by  sheer  force  of  acting,  and  the  battle  was  one  of 
wit,  cleverness,  and  quick-thinking. 

When  the  fade-out  scene  came,  the  honors  were  about 
even.  Paul  Bern,  the  director,  arranged  the  grouping  for 
the  fade-out.  And  he  placed  Beranger  with  his  back  to 
the  camera ! 

Moore  and  Myers  chuckled.  Beranger,  they  figured, 
was  out  of  it.  But  they  reckoned  without  the  swift- 
thinking  cleverness  of  a  real  trouper. 


Andre    de    Beranger    stole 
"Grounds  for  Divorce" 


Roy     D'Arcy     stole     "The 
Merry   Widow" 


Adolphe     Menjou    stole     "A 
Woman  of  Paris" 


22 


Who  Stole  the  Picture? 


The  Pastime  of  Stealing  the 
Picture  Is  Indulged  In  On 
Many  Occasions.  While  the 
Star  Has  the  Principal  Role, 
It  Is  Often  a  Minor  Player  or 
Some  Gifted  Character  Actor 
Who  Makes  the  Most  Last- 
ing Impression  and  Walks 
Away  With  the  Show 

Drawings  by 
George  Annand 


W.ilUi.e  Beery  almost  stole 

"Robin    Hood"    away    from 

Douglas  Fairbanks 


Vs  the  cameras  started  to  grind,  Moore  tugged  at  his 
coat  lapel  and  Myers  tugged  at  his  mustache.  And 
Beranger  was  left  the  opportunity  to  "emote"  with  the 
broad  of  his  hack  ! 

But  Beranger  had  a  pair  of  white  gloves.  He  clasped 
these  hehind  his  back,  and  as  the  scene  began  to  fade  out 
he  waved  them  up  and  down. 

And  because  they  were  the  whitest  thing  in  the  scene, 
they  remained  visible  longer  than  anything  else — after 
Myers1  mustache  and  Moore's  lapel  had  been  obliterated 
by  the  encircling  darkness ! 

An  Old  Timer  At  It 

Qne  of  the  most  brilliant  attempts  at  picture-stealing  in 
^  recent  years  occurred  in  "Robin  Hood.'-  This  was  a 
Douglas  Fairbanks  production  from  start  to  finish.  All 
the  other  characters  were  supposed  to  he  incidental. 

And  yet — who  doesn't  remember  Wallace  Beery  as 
King  Richard  I? — Richard  the  Lion-Hearted,  seated  in 
his  immense  palace  gnawing  lustily  on  a  leg  of  mutton, 
and  hurling  the  bone  to  his  henchmen? 

It  was  a  great  performance,  one  that  will  be  long  re- 
membered.    And  yet  Beery 's   footage  in  "Robin  Hood" 


was  very  small  compared  to  Doug's      Beer)   worked 

and  cleverly,  hut  he  didn't  quite  make  the  grade,  largely 
for  the  reason  that  Doug  held  the  final  scissors  on  the 
negative  when  it  went  to  the  cutting-room. 

"The  part  of  King  Richard  was  the  easiest  one  I  have 
ever  played."  Wallace  told  me.  "It  was  a  cinch.  It  sim- 
ply couldn't  fail.  1  have  played  much  harder  parts,  put  a 
good  deal  more  into  them,  and  made  a  great  deal  smaller 
impression  when  it  was  all  over  with."  And  yet  one  can- 
not imagine  anyone  but  Beery  in  the  part ! 

There  Are  Women  in  the  Game 

A  mo.nc.  the  women,  picture-stealing  seems  to  be  less  fre- 
quent.  Yet  it  does  occur. 
For  instance,  Louise  Dresser  very  nearly  walk-  off  with 
every  picture  in  which  she  appears.  Very  little  grass  has 
grown  under  her  feet  of  late  in  the  picture  world.  <  )ne 
recalls  "The  Goose  Woman"  especially.  And  her  work 
in  Victor  Fleming's  "The  Blind  Goddess"  and  Allan 
Dwan's  "Padlocked"  is  superb.  In  both  pictures  she  very 
nearly  "wraps  up  the  show  and  puts  it  in  her  pocket" — 
presuming  that  women  at  least  have  pockets  for  this 
purpose.  {Continued   on    page   65  i 


\ 


Paul  Kelly  stole   "The   New 
Klondyke" 


Louise    Dresser    stole    "The 
Blind  Goddess" 


George   Bancroft   stole  "The 
Pony  Express" 


23 


A  Yankee  Lass 

on  a  Lark  in 

LONDON 


The  younger  Gish,  whom 
we  all  know  as  Dorothy, 
is  back  in  London  hav- 
ing the  time  of  her 
young  life.  The  English 
countryside  can  be  en- 
joyed even  in  the  big, 
bustling  city — which  ac- 
counts for  Dorothy  reg- 
istering 'igh  'appiness 
while  punting  on  the 
Thames 


Dorothy  went  over  to  London  town  to  make 
"Nell  Gwyn" — and  she  sold  her  personality  so 
well  to  the  Britishers  that  they  asked  her  to 
visit  them  again.  Hence  her  return  to  the 
snug  little  isle.  When  Dorothy  is  not  in  the 
studio  where  she  is  busy  making  "London" — 
a  story  of  Limehouse  by  Thomas  Burke — in 
which  Adelqui  Miller,  a  Chilean  actor,  is  her 
leading  man,  she  is  usually  boating  or  strolling 
around  a  bit  with  her  wire-haired  terriers 


Photos  Abbe,  London 


24 


Jonquil  had  among  her  hazier  memories  of  her  mother,  visions  of  her  tulle  and  butterfly  wings,  a  golden  Columbine,  or 
again  as  a  languid  Juliet — or  as  the  dismal  Camille  dismally  expiring  in  her  best  nightgown 

PAINTED   PEOPLE 

-     By  Faith  Service 


Illustrated  by  Douglas  Ryan 


SHE  hated  it !  She 
loathed  and  de- 
tested it  !  She 
shrank  -from  it  as  tho 
it  were  some  actual, 
tangible  thing  afflicting 
her  very  flesh. 

She   felt  that  it  had 
ruined  her  mother's 


With  this  issue,  Classic  introduces  its  new  serial  in  six 
parts.  Faith  Service,  the  author,  has  written  a  fascinating 
romance  of  the  stage  and  screen — the  make-believe  world 
that  conquers  its  people  with  hopes  and  illusions.  With 
a  keen  knowledge  of  the  background  of  theatrical  life, 
the  author  places  her  young  heroine  against  it — and  makes 
her  shift  for  herself. 


life,  sullied  her  father- 
life,  crushed  and  de- 
prived her  own  life. 

Grease  paint  and  all 
that  it  stood  for  .  .  . 
tawdry  painted  scenes 
and  tawdry,  painted 
people  .  .  .  sick  am- 
bitions and  fainting 

25 


A  Story  of  the  Footlights  and  Kleigs 


hopes   .   .   .  dreary  little  towns  and  being  "stranded"  .   .   . 
Grease  paint! 

The  smell  of  it  .  .  .  the  stench  .  .  .  the  cheap  people 
.  .  .  the  silly  simulations  .  .  .  the  gritty  hotels  .  .  .  the 
unrinsed  bed  linen  .  .  .  the  rough-dried  wash  .  .  .  the 
homelcssness.  .  .   . 

Oh,  how  could  anyone  say  they  "loved"  it?  How  could 
old  actresses,  cracked  and  bent-looking,  come  back-stage 
to  revisit  scenes  that  now  seemed  to  them  scenes  of  van- 
ished triumphs?  How  could  they  stand  in  the  dusty 
malodorous  wings  and  seem  to  grow  young  again  before 
your  very  eyes.  You  could  actually  see  them  do  it.  You 
could  see  their  shriveled  shoulders,  their  lean  breasts 
swell  into  fluence,  their  lack-lustre  eyes  sparkle  and  shine 
.  .  .  before  your  watching,  fascinated  eyes  they  were 
Camille  again  .  .  .  they  were  Rosalind  .  .  .  Trina  .  .  . 
Fragoletta  .  .  .  women  ravishing  and  real  ...  They 
breathed  in  the  grease  paint  and  lo,  from  their  shriveled 
bodies  there  stepped  a  galaxy  of 
fair  forgotten  women.   .  .  . 

She    would    never    be   like   that 
.  .  .  never    be    one    of    them  . 
she  hated  it  .  .   .  all  of  it  .  . 
had  poisoned  her.  .  .  . 

Old  men,  too  .  .  .  she 
had  seen  and  heard  old 
men  .  .  .  watched  them 
straighten  their  autumn- 
leaf  shoulders,  tell  hoarse 
bravado  stories  about 
"the  days  when  I  was 
young"  .  .  .  they,  too, 
were  Ronieos,  Orlandos, 
Don  Juans.  ... 

It  was  funny  .  .  .  Jon- 
quil didn't  understand. 
She  felt  that  she  never 
would. 


So  far  back  as  she 
could' drive  her  mind. 
Jonquil  had  been  unhappy. 
And  she  felt  that  she 
could  remember  very  far 
back  indeed.  There  were 
things  to  make  her  re- 
member. Terrible  things. 
Scourges.  Signposts  of 
sadness. 

There  was,  for  instance, 
her  mother.  Of  course, 
most  girls  remember  their 
mothers,  but  not  in  just 
the  way  nor  for  just  the 
reasons   that   Jonquil   did. 

Most  children  are  made 
comfortable  by  their 
mothers.  Soothingly, 
drowsingly  comfortable. 
And  in  the  blanketing  lap 
of  such  warm  comfort 
things  become  blurred 
into  a  pleasant  whole. 
Things  melt  in  a  comfort- 
able reminiscence  of  sweet 
sachets  and  cuddly  arms 
and  fragrant  kitchens  and 
a     lullabying     sort     of 

26 


voice.    All  these  things  compound  and  become  one's  mother. 

Not  so  with  Jonquil.  She  associated  no  comfort  with 
her  mother,  no  fragrant  baking  days  when  she  had  been 
allowed  to  make  gingerbread  men  with  raisin  eyes,  no 
lullabying  voice. 

Jonquil  had  been  uncomfortable.  She  had  been  uncom- 
fortable twenty-four  hours  out  of  the  twenty-four.  Even 
when  she  had  slept- she  had  beeji  aware  of  discomfort,  of 
the  fact  that  the  bed  was  gritty  and  lumpy,  that  her 
mother  was  sighing  and  making  moany  little  noises  in  her 
sleep,  that  her  father  was  snorting  and  sniffling,  and  that 
they  would  have  to  be  up  in  the  pallid  dawn  hustling  thru 
dim  chill  streets  to  another  train  bound  for  another  dreary 
town. 

Jonquil  had  had  long,  head-drooping  hours  behind  the 
scenes  waiting  for  her  mother  to  make  her  final  dying 
appearance  as  Camille  or  whatever  highly  flavored  role 
she   happened   to   be   enacting   on    that    particular    night. 


The  character  woman  had  come  into  their  room 
and   shrieked  dreadful  things  at   her   father   and 
ather.     She  had  seemed  to  put  herself  in   the 
place    with    them   and    called    them    "poor 
dupes"  and  other  hideous  names 


■^<1 


And  a  Girl's  Escape  From  Herself 


|iiil  had  had  scene  shifters  01   juveniles  01  charactei 
men  .is  tem|>oran  and  evei   shifting  nursemaids.     Ton 
.jtiil  hail  subsisted  upon   fried   food,  skim  milk  and  folli 
-  m  order  to  attain  to  that  creature  comfort  known  as 
"l  full  stomach." 
It  was  in  the  role  of   Camille  that   Jonquil   best     01 
-t     remembered  her  mother.    It  had  been  hei  mother's 
rite  part      "1   understand,  Catnillc,"  her  mother  had 
I    "I   become  one  with  her  it   i ^  my  hope  thai    I 

•.hall  some  da)   be  recognized  as  having  given  one  <>t  the 
world's  greatest  Cainilles  to  the  theater." 

Jonquil  remembered  sitting  one  night  in  the  scant  audi 
.  yawning  awa\  the  time  until  her  mother  should  have 
■1  Comities  highly  emotional  departure  from  the  flesh. 
\  man  next  to  her  smiled  at  her  unabashed  yawns  and 
said,  "Dont   blame  you  .  .  .  that   woman  is  the  world's 
worst  Camille  ...  1  congratulate  her.     I  thought  I  had 
the  gamut." 
Jonquil  had  felt  like  crying.     Her  mother  would  have 
l>een  so  hurt.    Still,  he  had  said  that  he  congratulated  her, 
too.     Grown-ups   said   such  mixy   things.     Congratulate 
meant  something  nice.     A  more  prominent  part,  a  raise 
in  salary,  a  week's  stand.     Something  like  that. 


Lillian  and  I'ercival  f)e 
\  ere  were  the  owners  and 
proprietors    of    a    second-rate 


stock    compan)    playing    two-night    stands    in    thud  1 
towns,     Now  and  then  the)   had  a  lummei   engi 

but    it    Was  Onl)    now    and   then 

Thej   played  a  catholii    and  comprehensive  repertoire 

I  heir  repertoire  was  a  great  point  of  pride  with  them 

Jonquil  had,  among  her  hazier  memories  of  her  mother, 

visions    ot     her    m    tulle    and    butterfly    wings,    a    golden 

(  olumbint;  or  again  as  a  languid  Juliet  lying  in  a  stiffly 
composed  nightdress  upon  a  nightmarish  catafalque  made 
of  papier  mache.     (  >r,  again,  as  the  dismal  (  amilh   dis 
mails  expiring  in  her  best  nightgown  which  had  been  dul) 

washed  and  hjMg  to  *  1 1  >    in  their  hedroom  each  night   be 
tore  the  performance  of  Camille, 

Perhaps,  after  all.  Jonquil's  most  potent  memory  of 
mother  was  the  last  one.     She  never  seemed  able  '"in 

pletly  to  efface  it.  Years  later,  in  the  shadow  w  >rld,  this 
memory  would  recur  to  her.  the  realest  thing  in  the  unreal 
world.  And  yet  she  was  never  quite  able  to  distinguish 
as  to  whether  it  had  actually  happened  in  one  of  their 
hotel  rooms  or  whether  it  had  been  a  singularly  poignant 
performance  on  the  stage.  Possibly  it  had  been  another 
one  of  those  times  in  the  best  nightgown  or  on  the  papier 
mache  catafalque. 

She  felt  sure  of  the  best  nightgown,  at  any  rate 
And  it  must  have  been  in  the  hotel  room  because  her 
memory  did  not  conjure  up  any  footlights,  but  merely  the 
dirty  gray  wash  of  early  mouning.  Anyway,  her  mother 
had  been  lying  on  something  or  other  clad  in  the  best 
nightgown  and  breathing  more  and  more  heavily  with 
every  difficult  breath.  Jonquil  had  called  her  and  she 
hadn't  answered— only  breathed  harder  than  ever — and 
then,  all  at  once,  she  hadn't  breathed  at  all.  She  had  been 
terribly  still.  The  lace  on  her  breast  hadn't  stirred  even 
when  a  puff  of  icy  wind  came  from  nowhere  at  all  and 
played  about  the  bed. 

Jonquil  had  supposed  her  sleeping  and  had  slipped  out 
of  the  room  and  had  gone  downstairs  to  breakfast.     She 
remembered  thinking  that  she  would  bring  her  mother 
something   on   a   tray.      Her    mother    loved    to   have 
breakfast  brought  to  her  on  a  tray.     She  had   said 
that  it   made   her    feel   "refined."      And   then   they 
could  'still  catch  the  train.   .   .   . 
Papa  had  not  been  in  their  room  all  night  but  he 
came  in  to  breakfast  while  Jonquil  was  having 
hers.      Jonquil   had   known   that    he   would    he 
"mad"  because  mama  wasn't  up  and  had  has- 
tily told  him  that  mama  would  surely  make  the 
train  but  that  she  was  so  tired  she  hadn't  even 
breathed  and  that  she   was  going  to  take  her 
some  breakfast  on  a  tray.  .   .  . 

Papa  had  glared  at  her  and  she  had  noticed 
that  his  eyes  were  redder  than  usual  and  had 
thought  how  horridly  his  lower  lip  hung  down, 
almost  as  tho  it  were  going  to  drop  sloppily  off. 
But  it  had  never  hung  so  low  as  when  she  had 
said  that  mama  wasn't  breathing.  Papa  had 
turned  and  left  the  room  when  she  said  that, 
which  was  strange,  because  he  never  did  any- 
thing, certainly  nothing  for  mama,  until  he  had 
eaten  himself.  She  supposed  that  mama  was 
going  to  "get  it"  harder  than  ever  and 
the  thought  took  away  whatever  flavor  there 
might    have   been   to   the   cold    bacon    ami    storage    eg 


Jonquil  never  saw  her  mother  again.     They  had  wanted 
her  to  look  at  her  when  she  was  lying  in  her  coffin  but  she 
had  cried  and  begged  them  not  to  make  her.     She  had  felt 
(Continued  on  page  68) 


27 


CELLA  LLOYD  BECOMES 


By 

John  Held,  Jr. 


28 


PLEASINGLY   PLUMP 


WHAT'S    GONE    ON 
BEFORE 

With  Cella  Lloyd  safe- 
ly over  with  her  public, 
even  tho  her  personal  ap- 
pearance wasn't  very  suc- 
cessful, she,  nevertheless, 
feels  so  secure  at  the  top 
that  she  has  forgotten 
her  slender  waist-line. 
Knowing  that  her  days 
are  numbered  unless  she 
keeps  in  trim,  Cella  starts 
reducing  thru  a  course  of 
physical  and  Brussels 
sprouts.      Now    read    on! 


Scene  III 
No  matter  how  strenuous  the  stunt,  Cella  thoroly  believes  in 
trying  it  out.  She  claims  to  have  invented  this"  exercise,  but 
her  bitter  rival,  Hebe  Jebie,  knows  better.  Hebe  saw  her  at 
a  vaudeville  show  intently  watching  the  Japanese  acrobats 
juggle  the  barrel.  As  for  Cella,  she  has  juggled  the  barrel 
right  out  of  the  picture 


Scene  IV 
To  continue  the  painful  pastime  of  reducing 
Cella  knows  she  must  diet  as  well  as  exercise. 
Accordingly  she  gives  up  spinach  and  pine- 
apple and  orders  a  light  luncheon  of  fried 
chicken  and  a  tureen  of  clam  chowder.  Enters 
the     mysterious     stranger.     Can     he     be     the 

producer? 


29 


Facing  Death 


By  Scott  Pierce 


As  a  result  of  this  insatiable  demant 
for  thrills,  nerves  of  chilled  steel  art^ 
as     indispensable     an     adjunct     to     a 
modern  film  comedian  as  freckles  are! 
to    a    dill    pickle.      Disregarding    the 
ever-imminent     rustle     of     the     (mm 


■■■  & 


HOLLYWOOD  has  a  num- 
ber of  workers  who 
would  never  be  rated  as 
good  risks  by  any  insurance 
company  that  was  in  its  right 
mind,  but,  taken  as  a  class, 
there  is  no  single  group  in  the 
Film  Colony  that  flirts  more 
consistently  with  death,  havoc, 
and  destruction  in  the  course 
of  its  daily  labors  before  the 
camera  than  do   the  movie  comedians 

In  fact,  in  order  for  a  film  come- 
dian to  get  his  name  in  electric  lights 
over  a  theater,  it  is  apparently  first 
necessary  for  him  to  run  imminent 
chances  of  getting  that  same  name 
on    a   marble   slab    over   a    neat, 
grassy    mound. 

For  reasons  known  entirely  to 
itself,  an  American  picture  audi- 
ence wishes  its  hair  to  stand  on 
end  at  the  same  time  its   funny- 
bone  is  being  tickled.     The  nearer 
a  comedian  can  come  to  a  violent 
and  spectacular  exit  from  this  vale 
of  tears,  the   funnier  that  comedian 
apparently  is. 

If  it  is  funny  to  see  a  comedian 
nearly  fall  ten  feet,  it  seems  to  follow 
necessarily  that  if  the  comedian 
nearly  falls  a  hundred  feet  it  is  ten 
times  as  funny.  A  situation  that  is 
only  mildly  mirthful  when  a  comic 
is  being  chased  by  a  hungry  bulldog 
becomes  really  sidesplitting  when  the 
pursuer  is  a.  man-eating  lion, 

Chills  are  an  essential  running 
mate  to  chuckles.  Custard  pies  nave 
given  way  to  boiler  explosions,  street 
scenes  to  skyscraper  roof-tops,  trick 
flivvers  to  racing  airplanes,  and 
banana  skins  to  landslides. 


Jimrrue  Adams  made  them 
shudder  in  the  above 
scene  when  he  reposed 
flat  on  his  back  on  a 
slanting  board  that  pro- 
jected from  the  top  of  an 
oil  derrick.  Harold  Lloyd 
surely  risked  his  life  in 
the  scene  on  the  right — 
taken  from  "Safety  Last." 
The  spectators  gasped  for 
breath  when  he  did  his 
stuff    on    the     skyscraper 


Reaper's  black  robes  in  the  near 
distance,  the  successful  come- 
dian must  not  only  laugh  at 
Death,  but  must  win  still  greater 
laughs  in  SO  doing. 
It   is   doubtful    if   anv    comedian 


Above  is  Buster  Keaton 
being  propelled  by  the  busi- 
ness end  of  a  boot  from  the 
train.  He  doesn't  allow  ac- 
cidents to  shatter  his  non- 
chalance or  nerve.  It  takes 
a  deal  of  pluck  to  face  a  lion 
— even  one  of  the  Hollywood 
brand.  The  girl  who  is  be- 
ing used  for  a  cushion  hopes 
the    big    brute    is    on    a    diet 


.^••• 


30 


For  a  LAUGH 


The  American  Picture  Au- 
dience Wishes  Its  Hair  to 
Stand  on  End  at  the  Same 
Time  Its  Funny-Bone  is  be- 
ing Tickled.  That's  Why 
the  Comedians  Must  Risk 
Their  Lives  in  Gathering 
Thrills  and  Laughs 


00  the  screen  has  equalled 
Harold  Lloyd  in  number  of 
thrills  per  foot  of  celluloid 
during  the  last  few  years. 
And  the  thrills  have  all  been 
legitimate  ones.  In  common 
with  Keaton,  Denny,  and  other 
big-time  laughmakers,  Lloyd 
absolutely  refuses  to  use  a 
double,  and  relies  almost  solely 
upon  his  own  physical  ability, 
and  careful  planning  and  tim- 
ing of  the  various  stunts 
beforehand. 

Lloyd's  Thrills 

A  typical  Llovd  thrill  was 
n  filmed  in  '"Girl  Shy." 
Standing  on  the  top  of  a 
runaway  street-car  which  was 
speeding  downhill  at  the  rate 
of  nearly  thirty  miles  an  hour. 
Harold  grasped  the  tip  of  the 
trolley-pole  and  was  swung 
clear,  dangling  over  the  edge 
of  the  car  for  an  instant,  then 
dropping  like  a  plummet  into 


of  sheer  luck,  the  feat  went  off  like  clock- 
work, and  the  comedian  did  not  even 
receive  a  scratch. 

In  "Safety  Last,"  Lloyd  piled  thrill 
upon  thrill  until  the  spectator  was  fairly 
left  gasping  for  breath.  ( )nly  an  absolute 
fearlessness  of  height  upon  Lloyd's  part 
made  the  various  stunts  even  possible. 
Incidentally,  it  was  in  this  picture  that 
{Continued  on  page 


Earle  Foxe,  on  the  left,  has  had  all  kinds 
of  luck  in  avoiding  the  hospital  or  the 
cemetery  while  making  the  "Van  Bibber" 
stories.  Here  he  is  telephoning  for  help 
while  dancing  on  the  air  a  few  hundred 
feet  from  the  baking  asphalt 


The  HOLLYWOOD 

of  France 


I  HAVE  met — worked  with,  alas! — many,  many  mo- 
tion picture  directors,  but  not  one  of  them  bears  the 
slightest  resemblance  to  Rex  Ingram,  his  manner  and 
his  methods.  Rex  Ingram  is  unique.  Where  I  have  seen 
directors  —  not  all 
of  the  m — w  ear 
their  caps  with  the 
visors  down  the 
back  of  their 
necks,  array  them- 
selves in  riding 
breeches  and  put- 
tees, bellow  thru 
megaphones,  and 
go  striding  and 
swearing  all  over 
the  lot  —  Rex 
doesn't. 

Rex  Ingram  is 
the  quietes  t — 
silentest  might  be 
the  better  word — 
man  I  met  on  the 
whole  Riviera. 
His  quiet  and 
silence,  however, 
are  impressive. 
You  feel  that 
there  is  so  much 
he  might  say,  if 
he  chose ;  so  many 
interesting  things 
he  is  constantly 
holding  in  reserve. 

32 


At  the  top  of  the  page  is  a  bird's-eye  view  of  Rex  Ingram's  studios  at 
Nice.  The  imposing  edifice  at  the  right  is  the  Administration  Building — 
which  houses  the  offices  of  the  director  and  the  various  heads  of  depart- 
ments.    The  interior. above  represents  the  modeling  room  where  sets  and 

details  are  designed 


As  he  sits  opposite  you,  you  become  conscious  of  vast 
potential  activities  constantly  going  on  in  his  mind.  I 
have  never  yet  seen  him  when  he  was  not  looking  with 
a  far-away  gaze  at  something  beyond  the  problem  that  was 

directly  in  front  of 
him.  He  has  de- 
veloped a  deep 
crease  running 
down  almost  into 
his  left  eyebrow 
from  peering  into 
space  this  way. 

Rex  has  a  fac- 
ulty of  bringing 
silence  with  him 
wherever  he  goes. 
No  matter  how 
noisy  the  studio 
may  be,  you  can 
always  tell  when 
Rex  has  entered, 
for  a  hush  falls,  on 
his  presence.  If 
the  whole  place  is 
not  quiet,  you  will 
always  find  a  little 
spot  surrounding 
him  that  is.  I  re- 
mark this  in  way 
of  contrast  to 
most  directors  I 
have  worked  with 
who  were  the  Big 
Noise  itself. 


. 


Rex  Ingram  Has  Found  a  Paradise  — 
a  Perfect  Arcadia  by  the  Sea.  The 
Riviera  Beckoned  Him  with  Its  Ro- 
mance— and  at  Nice  with  Its  Beautiful 
Environs  the  Idealist  Among  Directors 
Is  Living  in  a  Motion  Picture  King- 
dom of  His  Own 

By  Henry  Albert  Phillips 

Rex    the    Idealist 


|  rave  heard  it 
*  s;iul  that  Ingram 
is  a  poseur,  but  I 
do  not  believe  he 
is.  We  must  all 
bear  in  mind  that 
Fame  puts  one  on 
a  pedestal  and, 
once  famous,  we 
have  to  pose  a  bit 
to  keep  the  gaping 
world  satisfied. 
On  the  contrary, 
Rex  Ingram  cre- 
ates the  impres- 
s  i  o  n  that  he 
doesn't  give  a 
whoop  about  any- 
body or  anything. 
Vet,  on  second 
thought,  that  sur- 
mise does  not  hold 
water    for    a    mo- 


Lachruan,  Paris 


Laihman,  Pari* 

Above  is  a  "dis- 
covery" of  Ingram's. 
He  is  a  Russian  who 
answers  to  the  name 
of  John  Petrovitch — 
and  he  plays  one  of 
the  principal  roles 
in  the  director's  new 
picture,  "The  Magi- 
cian." On  the  left 
are  the  three  large 
studios  at  St. 
Augustin  —  which  is 
three  miles  from 
Nice 


ment.    There  prob- 
ably  is  not  a  man 
in   the  business  of 
directing   and   pro- 
ducing    motion 
pictures  who  cares 
more    for   every- 
body and  everything  than  this  same  Ingram.     I  offer  as  proof  of 
this  conclusion  everything  that  he  does — and  I   may  say  that  he 
does  everything.     A   Rex    Ingram   picture  is  Rex   Ingram.      No, 
there  is  no  one  who  thinks  more  of  and  works  more  for  the  public 
picture-goer  than  Rex   Ingram.     So,  this  not  seeming  to  care  a 
whoop  may  be  a  pose.     If  it  is,  it  is  like  everything  else  he  does, 
artistic ! 

There  are  other  ways  in  which  Rex  Ingram  reminds  me  ot 
Xapoleon.  One  is  the  manner  in  which  he  always  dresses  in  a 
subdued,  quiet  costume,  while  his  generals  are  usually  arrayed  in 
gaudy  uniforms.  Again,  he  becomes  conspicuous  because  of  hi> 
marked  inconspicuousness.  There  are  only  two  things  that  are 
unusual.  One  is  a  little  French  tight  student  tam-o'-shanter  that 
he  wears.  The  other  is  a  gold-chain  bracelet  affected  by  the 
young  Frenchman  of  today.  Neither  seems  so  extraordinary 
viewed  in  France  when  one  has  been  there  for  a  long  while. 

If  you  should  ask  me  what  I 
think  is  the  most  remarkable 
If  you  saw  the  German  picture,  thing  about  Rex  Ingram,  I 
"The  Golem,"  which  was  pre-  should  sav  it  is  the  fact  that  he 
sented  here  j  few  years  ago,  has  not  become  insufferable, 
you    remember    Paul    Wegener.         -,,     .    »     ..  .      r  ... 

The  Teuton  actor  has  the  lead-         ^  hat  ,s   the   miracle   for  which 
ing  part  in  "The  Magician"  (Continued  on  page  66) 


33 


Like  the  Little  Theater  Movement — the 
Little  Cinema  Idea  is  Spreading  Rapidly. 
Film  Guilds  Are  Sprouting  Every- 
where and  Picture  Patrons  Are  Taking 
Up  the  New  Art  of  the  Future 

By  Matthew  Josephson 


The  Rise 
LITTLE 


UNDER  the  surface,  one  of  the 
most  exciting  events  of  the 
year  in  motion  pictures  has  been 
the  spread  of  the  "little  cinema"  idea. 
We  have  had  our  art  theaters  and 
theater  guilds ;  now  we  are  to  have 
Film  Guilds  and  "salons  of  the 
cinema." 

"A  little  theater  for  the  films  in 
every  community,  reviving  and  intro- 
ducing only  the  best  American  and 
foreign  pictures.  Minority  of  true 
screen  devotees  to  be  organized.  Skep- 
tics to  be  converted."  So  run  the 
manifestoes  of  these  new  film-phobes 
and  pioneers. 

The  intelligentsia  is  taking  up  the 
films.     Society  is  taking  them  up  too — 


Decla  Bioscop 

Here  is  a  scene  from  the  German  production  of  "Cinderella,"  made 

by  Ufa.     The  actress  playing  the  title-role  is  Helga  Thomas.     The 

picture  was  first  shown  in  America  by  Film  Associates 

34 


not  as  a  secret  sin,  but  frankly 
avowedly,  as  the  New  Art  of  tht 
Future ! 

Invited  to  one  of  these  "film 
art  evenings,"  I  elbowed  my  waj 
into  a  pretentious  theater  lobby 
thru  a  cultured  mob  in  evening 
dress  and  eight-cylinder  cars,    b 
was  more  like  Carnegie  Hall  or 
Russian     Ballet     night     at     the 
Metropolitan  Opera:  artists,  pro- 
fessors, all  the  younger  genera- 
tion   and    the    smart    "New 
Yorkers"    were  there  talking  at 
the  top  of  their  voices.     As  the 
great    foreign    film    with   its    fa- 
mous  stars   went  on  the  screen, 
there    was    wild    applause ;    or, 
hisses,  laughter,  organized  cheer- 
ing as  some  new  wrinkle  or  fan- 
dangle   appeared    on   this   ultra- 
modern   screen.      Verily,    like  a 
first  night  at  the  Opera! 
And     here     were  —  well 
several    hundred    people 
who  had  paid   some  ten 
dollars  in  advance  to  see 
a    few    films    that    were 
heralded  as  examples  of 
the    modern    art    of    the 
cinema,    not    because 
there  were  specimens  of 
feminine     or     masculine 
pulchritude  displayed  therein. 

They've  Come  to  Stay 

Observing  this  new  movement  toward  "little 
cinemas"  for  artistic  and  seriously  wrought 
pictures,  I  have  been  struck  not  so  much  by  the 
strangeness  of  the  idea  as  by  its  vitality,  its 
staying  power.  This  season  we  are  to  have 
four  "little  cinemas"  in  New  York  instead  of 
two ;  and  a  chain  of  them  in  other  large  cities 
such  as  Boston,  .Washington,  Chicago,  Los 
Angeles. 

The  idea  of  little  theaters  for  exhibiting  new, 
experimental,  and  unpopular  films  offers  so 
many  possibilities  for  the  future,  (if  it  persist* 
and  grows  as  it  seems  to  be  doing),  that  it  is 
time  to  look  over  the  field  and  meet  some  of  the 
leading  figures  of  this  movement  which  has 
started  from  the  outside. 

Symon  Gould,  the  mainspring  of  the  Inter- 
national Film  Arts  Guild,  has.  for  instance,  never 
been  connected  with  any  of  the  big  producing 
companies.  His  group  has  been  the  most  suc- 
cessful, the  most  aggressive.  It  has  gained  a 
foothold  on  Broadway  and  is  at  the  very  mo- 
ment regaling  chosen  audiences  of   New  York 


Dudley  Murphy  is 
one  of  the  figures  in 
the  art-film  move- 
ment. He  is  home 
talent  which  has  ab- 
sorbed the  ideas 
about  modern  art 
that  are  current  in 
Europe 


. 


of     the 
CINEMA 


A  Wave  of  Revivals  is  on-Revivals 
of  Worth-While  Pictures,  Which  Are 
Being  Shown  With  New  Impression- 
istic Ideas.  The  Public  Taste  is  Chang- 
ing— It  Demands  Intelligence  and 
Quality  in  Its  Films 


Symon  Gould  is  the  main 
spring  of  the  International 
Film  Arts  Guild  —  which 
caters  to  the  best  in  the 
picture  field.  It  is  his  pur- 
pose to  establish  the  little 
cinema  movement  in  a 
score   of  cities 


with  him  masterpieces  of 
ihe  past,  or  box-office 
flop-,  or  foreign  films  of 
ijreat  beauty  which  might 
never    otherwise    see    the 


for    really    tine    pictures    which    arc    not    box  office    attractions    on    a    large 

scald  and  that  there  is  a  special  public  for  such  things.     It  i-  slow  work 

because  we  lia\e  to  educate  more  of  the  general   Olovie-going  public  into 
going  out  of  their  way  to  view  these  tine  things. 

"However,  results  in  the  first  year  have  been  surprisingly  good.  Beyond 
our  hopes.  We  have  arrived,  and  now  we  are  going  to  expand.  Promi- 
nent   Writers,   painters,   musicians,   hlm-executivcs   came   to  our   programs. 

Society    people    came       Son  I 
our  subscription  evenings  had  to 
be   repeated   because  of   the  over- 
How." 

"How  are  you  going  to  expand 
unless  you  have  a  distributing 
system,"  I  asked.  I  was  think- 
ing of  how  many  well-inten- 
tioned ventures  of  this  kind  drop 
into  the  red-ink  side  of  the 
edger.  Motion  pictures  COSt  SO 
(Continued   on    fa. 


light  here-  were  it  not  for  the  Film  Arts  Guild. 
Gould  is  a  little  man  with  horn-rimmed  spectacles, 
but  big  with  ideas  for  livening  up  the  motion  pictures. 
His  Film  Guild  has  the  charming  little  Cameo  Theater 
which  seats  only  five  hundred.  Here  among  the 
screaming  electric  signs  of  Broadway  by  night  the 
Msserby,  drawn  by  the  magic  name  of  Lubitsch  or 
Stroheim  or  Griffith,  may  turn  in  for  a  quiet  hour  with 
some  enduringly  beautiful  work  of  the  screen.  "The 
Last  Laugh,"  "The  Marriage  Circle,"  "The  Miracle 
Man"  and  many  other  immortal  works  which  I  have 
tried  to  call  back  to  the  mind  of  readers  of  Classic 
is  outstanding  achievements  of  this  new  art  live  again. 
How  absurd  that  such  things  should  lie  rolled  up  on 
shelves  in  dusty  storehouses ! 

The  Public  Must  Be  Educated 

f  have  realized  from  the  beginning,"  Gould  said  to 

me.  "that  our  growth  would  have  to  be  slow  and 

gradual.     I  have  felt  all  along  that  there  was  a  place 


The  scene  in  the  center  of  the  page  is  taken  from  "The 
Waxworks,"  the  highly  impressionistic  German  film 
which  has  created  a  sensation  wherever  shown.  On  the 
right  is  another  study  of  Helga  Thomas,  the  German 
star,  enacting  the  title-role  of  "Cinderella"  in  the 
Ufa  production  of  that  name 


35 


Emotions  You  Have 


By  Taskey 


Lon  Chaney  has  a  habit  of 
putting    a    scare    into    the 
hearts    of    his    audience. 
If  you  must  know  how 
he   does   it — well,  the 
director     frightens 
him    with    a    jack- 
in-the-box 


36 


Missed 


fo  make  a  child  cry  good  and  hard  it  it 
iccessary  for  some  stem  taskmaster  (or 
nistress)  to  administer  a  sound  thrashing 
vith  the  business  end  of  a  boot.  That's 
how  Baby  Peggy  does  her  stuff 


37 


W.  C.  Fields  has  a 
sound  philosophy  of 
the  art  of  making 
them  laugh.  As  a 
clowning  juggler,  he 
is  in  a  class  by  him- 
self— and  he  knows 
all  the  tricks  of  the 
trade 


The  UP-TO-DATE 

Old        1 

timer! 


HIS  ideas  be- 
come mem- 
ories, and  no 
new  ones  grow :  this 
is  my  plaint  against 
that  ubiquitous  bore 
who  cannot  see  him- 
self as  anything  but 
the  fount  from 
which  all  wisdom 
flows — for,  to  him, 
wisdom  is  no  more 
than  a  knowledge  of 
what  happened  in  his 
intimate  circle  dur- 
ing the  period  that 
started  twenty-five 
years  ago,  and  prog- 
ressed backwards.  I 
am  speaking  of  that 
perpetual  drag  on 
progress,  the  (ill-) 
famed    "old-timer." 


Fields  is  what  you  might  call  an  im- 
promptu comedian.  He  "ad  libs"  as  he 
goes  along.  Below  is  one  of  the  scenes 
from  "The  Old  Army  Game"— with  the 
mirth-maker  having  fun  with  his  trick 
flivver 


Says  W.  C.  Fields: 

"I'm  egotistical  enough  to  give  the  producers  a  battle 
when  they  want  to  make  a  character  do  a  thing  I  dont 
think  he  would  do  naturally. 

"A  comedian  should  be  given  a  well-worked  out  skele- 
ton framework — and  then  told  to  add  the  bricks  and  orna- 
ment as  he  goes  along. 

"The  basic  human  types  never  become  old  and  stale — 
no  more  than  landscapes  do. 

"I  intend  making  the  character  I'm  playing  more  im 
portant  than  the  registering  of  my  own  personality. 

"You  cant  do  anything  new.  Air-planes,  cops,  boats 
elephants,  cows,  even  cripples — all  have  been  used." 


This  burst  of  petu 
lance  is  not  the  resuli 
of  having  met  one  0' 
these  ancients ;  it's  be 
cause  I've  met  one  whc 
isn't !  —  and  theref  on 
know  them  to  be  un- 
necessary. For  no  one: 
would  have  the  slight- 
est thought  of  denying 
W.  C.  Fields  the  right 
to  this  title  in  the  rank' 
of  those  who  amuse — 
yet  he  doesn't  claim  it ! 
Or,  rather,  he  claims  i: 
only  as  a  well  of  ex- 
perience on  which  to 
draw  for  help  in  the 
present  and  future.  His; 
life  is  of  the  present 
and  future,  with  the 
past  as  a  helpful  back- 
ground ;  rather  than  of 
the  past,  with  the  pres- 
ent as  an  unwelcome 
intruder.  "I  wish  I 
knew"  rather  than 
"Them  were  the  days"] 
is  his  attitude  to  life. 

Mind    you,     I    have 


38 


W.  C.  Fields  Is  an  Old  Hand  at  the 
Comedy  Game — Which  Accounts 
for  His  Perfect  Pantomime.  He 
Believes  in  Keeping  Pace  With 
the  Public  by  Presenting  Some 
New  Ideas 


By  Dunham  Thorp 


nothing  against  the  past;  I  am  not  advocating  a  con 
sthutional  amendment  to  prohibit  it  by  law.     It's 
all  right  in  it>  place.     If  one  makes  of  it  a  place 


I'hctf         II1UM  | 

new  treatmr:  • 
old  i. Iras  if  a 
comedian  would 
make  a  tiuccets  of 
himself  If  th<-  I 
the  slightest 
similarity,  the 
crowd  always 
mutters  —  "I've 
seen  that  before" 


Here  are  Chester  Conklin  and  W.  C. 
Fields  arguing  the  respective  merits  of 
:heir  methods  of  fastening  movie 
mustaches.  Conklin  attaches  his 
walrus  appendage  with  glue  while 
Fields  recommends  hanging  it  on  his 
lose  with  a  hook-and-eye  arrangement. 
\t  the  right  the  comedian  demonstrates 
now  a  domesticated  family  man  handles 
a  large  cake  of  ice 


where  one  has  been — a  place  of  other  man- 
lers  and  customs,  like  a  foreign  country — 
and  not  a  citadel  in  which  to  fight  to  the 
ast  gasp  the  savage  horde  of  new  ideas,  it 
nay  oven  come  in  handy. 

And  so  it  does  with  Mr.  Fields.  As  a 
wise-cracker  and  clowning  juggler,  there 
ire  very  few  places  where  wise-crackers 
md  clowning  jugglers  cause  amusement 
that  lie  has  not  been.  England,  France, 
Germany,  Russia — but  no  editor  would 
iccept  an  article  that  is  merely  a  list  of 
manes. 

Pantomime  for  All   Languages 

A  no  no  hidebound  and  unchanging  act 
could  withstand  the  differing  demands 
if  these  different  countries.  A*,  for  in- 
stance, in  countries  where  his  audience 
could  not  understand   a  word  of   English 


\ 


"I  )f  course,  where  I  couldn't 
speak  the  language,  I  had  to  do 
im  act  in  silence." 

And    so,    the   great    silent    Stretches    of    the 
films  did   not   awe  him — he  had   air  end  , 
plored  the  solitudes,  and   found  them   m 
d(  solate. 

And,  also,  because  he  has  written  most  of 
the  sketches  he  has  used  in  musical  comedy, 
he  hasn't  that  self-conscious  feeling 
of  the  newcomer  in  pictures  when  it 
comes  to  the  talking  over  and  work- 
ing out  of  scripts. 

"I'm  egotistical  enough  to  give 
them  a  battle  when  they  want  to 
make  a  character  do  a  thing  I  dont 
think  he  would  do  naturally. 

"And  besides  that,  if  you  do 
something  you  dont  think  you — 
as  a  certain  character  should, 
you  cannot  chase  it  from  your 
mind.  Days  and  days  later, 
your  mind  will  still  return  to 
that  action — it  become*  a  per- 
petual mental  irritant  for  the 
life  of  the  picture. 

"Even  if  the  actor  is  wr 
it's   almost    worth    while   letting 
him  have  his  way  so  that  he'll  keep  his 
peace  of  mind. 

'"The  happy  medium  we  should  try 
for  is  a  well-worked  out  story  without 
too  many  restrictions  on  character  de- 
velopment." 

"But  wasn't  'It's  The  Old  Army 
( iame'  made  without  a  detailed  script  ?" 
"Yes — and  there  I  see  one  of  the 
defects  of  the  industry:  not  enough 
time  is  spent  in  preparation — especially 
in  the  working  out  of  stories. 

"For  instance:  in  a  picture  where 
you  just  'ad  lib'  you  may  have  to 
bring  in  an  extra  character  towards 
the  end.  And  then  you  look  back  and 
see  a'  least  a  dozen  other  places  ■■ 
»t   pna, 

39 


U 


GREAT  ATHLETES 


George  O'Brien  is  a  super-athlete  in  his 
own  right.  He  has  the  physical  build  of 
a  Greek  Hercules,  the  lithe  grace  of  a 
dancing-master,  and  the  hitting  powers 
of  a  Missouri  mule 


Fred  Thomson,  on  the  right,  is  a  natural 
athlete  who  excels  in  everything.  At  the 
Inter-Allied  Games  in  Paris,  a  few  years 
ago  he  won  the  decathlon  in  competition 
with  most  of  the  world's  best 


Hal  K.  Wells 


MOVING  picture  audiences  of  the  Twentieth  Century 
have  one  big  thing  in  common  with  their  prehistoric 
brethren  of  the  Stone  Age,  and  that  is  an  innate  and 
undying  admiration   for  sheer  physical  prowess. 

It  is  a  trait  as  old  as  the  race  itself.    It  was  first  born  back 
in  the  dim  days  when  the  world  was  young  and  such  things 
as  second-hand  flivvers  and  radio  sopranos  were  undreamed- 
of nightmares  of  a   far  distant  and  de- 
cadent future. 

The     several     thou- 
sand   years    that    have 
elapsed  since  then  have 
only    slightly    changed 
our   inbred    admiration 
for    physical    prowess.      Today, 
instead  of  the  hairy  Neanderthal 
man  who  could  give  a  gorilla  the 
first  hug  and  then  crack  three  of 
the  brute's  ribs  without  half  try- 
ing, our  homage  is  paid  to  the 
athlete,   the   man   who   combines 
skill  with  his  sheer  brawn,  and 
adds    the   quality   of    a   fighting 
heart  to  the  glory  of  both.     But, 
fundamentally,     our     admiration 
for  physical  prowess  is  as  strong  and  sin- 
cere as  it  ever  was. 

This  admiration  is  the  factor  that 
throngs  boxing  arenas,  football  stadiums, 
baseball  parks,  causes  the  meeting  of  two 
girl  tennis  players  to  get  first-page  head- 
lines in  the  newspapers  of  the  world — and 
fills  moving  picture  theaters  to  the  last  seat 
when     such     suoer-athletes     as     Douglas 


Tom  Tyler  shows  the  mar- 
velous chest  and  arm  de- 
velopment that  enabled  him 
to  acquire  several  weight- 
lifting  records 


George  Lewis  is 
one  of  the  best 
all-round  ath- 
letes ever  de- 
veloped by  a 
California  high 
school.  He  stars 
at  basketball 


40 


Df  the  SCREEN 


At    the    right    is    Malco 
Gregor    who   formerly    held 
Metropolitan    diving    ch 
ship — and     was     on     the 
swimming    team    for   two 


rhe  American  Public  Raises  a  Furore  Now  and  Then  Ov 
he  Sheik  and  Other  Bizarre  Types  —  But  in  the  Long  Ru 
t  Wants  Its  Heroes  to  Be  Decidedly 
)f  the  He-Man  Variety.  There  Are 
Several  Athletic  Stars  on  the  Silversheet 
Who  Are  Breaking  Records  in  Sports 
as  Well  as  at  the  Box-Office 


Fairbanks,  Fred  Thomson,  or  "Lefty"  Flynn  arc  appearing 
m  the  silversheet. 

The  result  of  this  natural  hero-worship  of  the  athlete  has 
>een'  the  appearance  of  a  number  of  really  splendid  speci- 
lens  of  physical  manhood  upon  the  American  screen. 

It  {joes  almost  without  saying  that  these  athletes  are  the 
eal  thing.    They  could  not  very  well  be  anything  else. 

Athletic  build  and  prowess  are  things  that  can  not  be 
aked.  A  sofa  cushion  and  a  set 
f  false  whiskers  can  make  a  one- 
undred  -and-ten-pound  property 
un  look  like  Santa  Claus  him- 
elf,  but  all  the  trickery  in  the 
(Continued   on   page  70) 


Edmund  Lowe  won  his 
letter  playing  football  and 
baseball.  Today  he  keeps 
in  trim  by  playing  a  hard 
game  of  squash  at  the 
Hollywood  Athletic  Club 


William  Russell  was  a 
helpless  cripple  as  a  boy 
of  sixteen,  but  thru  per- 
severance with  exercise 
he  has  become  a  power- 
ful athlete.  He  shines 
best  with  the  boxing- 
gloves 


Bob  Custer,  on  the  left,  possesses  a 
fine  physique  which  comes  in  handy  in 
his  cowboy  pictures.  He  keeps  in 
trim  by  taking  a  medicine-ball  and 
working  out  on  the  beach.  On  the 
right  is  the  only  "Doug"  Fairbanks, 
who  has  developed  himself  into  one 
of  the  screen's  greatest  athletes.  All 
of  his  pictures  register  his  muscular 
prowess 


41 


LYA    DE   PUTTI 

All  the  moods  of  a  madcap — the  seductive  charms  of  the  serpent  of  the  Nile — these  are 
generously,  strikingly  illustrated  by  Lya,  the  languorous,  in  "Variety."  Never  has 
woman  displayed  such  sweeping  power  over  man  since  Eve  gathered  skookums  for  Adam 


42 


What  It  Costs  to  Be  a  Well 

Dressed  Sheik 


By  John  Abbott 


A  LOT  of  money  goes  into  circulation  when  an  actor  equips 
-**-  himself  with  the  clothes  and  accoutrements  of  a  sheik. 
Take  Rudolph  Valentino,  for  instance.  He  has  spent  several 
thousand  dollars  to  dress  himself  appropriately  and  colorfully 
for  his  new  picture,  "Son  of  the  Sheik." 

The  investment  called  for  a  complete  wardrobe  of  hoods, 
cloaks,  vests,  turbans,  sashes  and  other  apparel — to  say  nothing 
of  such  trimmings  as  swords,  knives,  revolvers  and  jewelry. 
With  all  of  this  outlay  of  wealth  to  effect  a  fitting  characteriza- 
tion, there  is  no  doubt  about  the  sheik's  being  well-dressed. 


J 


Sapphire  ring   set   in   platinum,  $3,000 

Antique  silver  bracelet  (imported),  $150 

Wrist  watch,  $150 

Cigaret  case  (jeweled),  $300 

Patent  Lighter  (jeweled),  $150 


Revolver,  $35 

Belt   and    Knife    (antique),   $550 

Sword,  $4,000 

Spurs  (silver),  $50 


Turban,  $25 

Two  Arabian  burnooses,  $450 

Two  Silk  Headdresses,  $70 

Two  lamb's  wool  shirts,  $100 

Two  embroidered  vests,  $300 

Embroidered  outer  garment,  $350 

Sash,  $20 

Gold-embroidered  cloak,  $500 

Two  jewel-studded  belts,  $600 

Embroidered  revolver  holster,  $25 

Arabian  trousers,  $175 

Breeches  with  braided  trimming,  $75 

Two  pair  imported  boots,  $155 

Slippers,  $30 


The   total   cost   of   being   outfitted   in    the    Valentino    manner   is 
approximately  $11,260 


43 


Here  Are  Some  Further 
Comments  on  the  Busy 
Activities  of  the  Stars  on 
the  Coast— By  the  Editor- 
in-Chief  of  the  Brewster 
Publications 


Impressions  of 
HOLLYWOOD 


By  Eugene  V.  Brewster 


WHEN  Irene  Bordoni  was  playing  here  recently 
she  was  much  entertained,  and  among  her  hostesses 
was  Mrs.  Antonio  Moreno,  who  is  a  princess 
among  entertainers.  There  were  fourteen  at  table  at  the 
six  o'clock  dinner — the  early  hour  being  due  to  the  fact 
that  the  guest  of  honer  had  to  leave  early  for  her 
theater. 

Mr.  and  Mrs.  Samuel  Goldwyn,  Fred  Niblo,  Enid  Ben- 
nett, Florence  Vidor,  Corliss  Palmer  and  Ramon  Novarro 
were  among  the  guests,  and  I  had  a  good  chance  to  com- 
pare Moreno  and  Novarro.  They  are  both  dark,  and  of 
the  same  height,  but  Tony  is  the  stouter  and  older,  and, 
in  real  life,  the  handsomer.  He  also  looks  more  virile. 
Ramon  seems  more  ethereal  and  romantic,  and  certainly 
less  rugged.     Of  the  two,  Tony  is  the  more  picturesque. 

Those  Eating  Places 

'Time  was  when  Armstrong's  was  the  popular  place  for 
movie  people,  and  then  the  scene  shifted  down  and 
across  the  boulevard  to  a  place  called  Montmartre,  which 
is  much  more  elaborate  and  showy.  But  now  the  latter 
has  got  so  noisy,  and  busy  and  common  that  the  better 
class  of  movie  people  are  not  seen  there  so  much.  It  has 
a  large  and  noisy  orchestra  with  a  dance  floor  in  the  center 
and  contests  are  quite  the  vogue. 

When  one  desires  a  lively  time  with  plenty  of  excite- 
Montmartre;  when  one  wants  to 


one  goes  to  the 
a  good,   quiet 


ment, 
enjoy 

meal  and  to  talk 
and  be  heard,  one 
goes  to  Paulais's, 
Armstrong's, 
Frank's,  Henry's 
Ship  Ahoy,  or  one 
of  a  dozen  others 
within  walking  dis- 
tance. Ship  Ahoy, 
by  the  way,  is  fitted 
up  like  the  saloon  of 
a  ship  with  the 
waiters  in  marine 
uniforms. 

There's  another 
called  "The  Jail," 
which  looks  just  like 
one,  and  the  waiters 
are  dressed  as  con- 
victs. Then  there's 
the  "Zulu  Hut," 
where  one  sits  on 
the  floor  and  is 
waited  on  by  fake 
Zulus,  the  "Planta- 
tion," a  big  "South- 
ern style"  resort, 
and  so  on  and  so 
forth. 


Here  is  the  very  latest  photograph  of  Mr.  Brewster  at  his  desk  in  the 
Hollywood  office  of  the  Brewster  magazines.  Altho  the  editor  is  ever 
busy  with  his  editorial  duties,  he  finds  time  to  attend  the  various  social 
functions  of  the  stars  as  well  as  pay  respect  to  their  productions  and 

performances 


Rudy  Has  a  Winner 

\A^hile  at  another  dinner  party  I  learned  from  Florence 
""  Vidor  that  Director  Fitzmaurice  was  secretly  showing 
"Son  of  the  Sheik"  at  a  small  theater  in  Glendale— "try- 
ing it  out  on  the  dog,"  as  it  were.  I  was  mildly  provoked, 
because  I  wanted  to  help  them  preview  it,  and  they  left 
me  out.  I  had  half  a  mind  to  leave  the  table  and  run  over 
to  Glendale  and  hunt  it  up,  but  I  didn't. 

Next  day  I  was  over  on  the  Schenck  lot  and  I  repri- 
manded Joe  for  not  telling  me  about  it.  He  said  that  he 
knew  nothing  about  it  and  that  he  was  surprised.  I  then 
ran  across  Rudy  himself  later  and  I  also  called  him  down 
for  not  inviting  me  to  the  try-out.  He  glared  at  me  with 
fire  in  his  eye  and  said  that  he  knew  nothing  about  the 
showing  of  his  picture,  that  he  should  have  been  informed, 
that  he  ought  to  have  been  consulted,  and  so  on.  With 
that  he  excused  himself  and  darted  off. 

Later,  Fitz  came  up  to  me  and  said  that  I  had  gotten 
him  into  a  lot  of  trouble.  The  fact  was.  that  he  wanted 
nobody  to  see  the  picture  in  its  present  state,  that  he 
wanted  to  cut  it  and  fix  it  up  the  best  he  knew  how  before 
the  boss  and  star  and  critics  saw  it.  "Serves  you  right," 
said  I,  "for  not  letting  me  in  on  it.  I  know  all  about 
unfinished  pictures  in  their  raw  state,  and  I  want  to  help 
you.  I  have  staked  my  reputation  on  Rudy's  comeback, 
and  I'm  just  as  anxious  as  you  are  to  make  this  picture  a 

knockout." 

He  promised  me  I 
should  see  it  in  a  day 
or  two,  and  he  prom- 
ised the  others  ditto, 
and  so  now  every- 
thing is  quiet  along 
the  Potomac  and 
everybody  is  happy. 
And,  by  the  way,  it's 
going  to  be  a  great 
picture! 

Gilbert    Hair 

[ack  Gilbert  was 
among  the  'guests 
up  at  the  Hearst 
"ranch"  recently, 
and  he  kept  me 
amused  at  all  times. 
He  is  full  of  life, 
full  of  ideas,  full  of 
conversation,  full  of 
fun  and  full  of  hair. 
His  hair  is  now 
eight  inches  long, 
black  and  wavy,  and 
he  looks  strikingly 
picturesque.  He  has 
(Cont'd  on  page  86) 


The 
J' 


44 


Owr 
OWN 

NEWS 


CAMERA 


i 

I  'ruin  ■ 


When  two  great  artists  get 
together,  they  usually  ex- 
change compliments.  Above 
are  Charlie  Chaplin  and 
Raquel  Meller,  the  Spanish 
songbird,  who  visited  the 
comedian  while  on  her  trans- 
continental tour  in  the  in- 
terest of  art  and  finance 


On  the  right  is  Madge 
Bellamy,  who  returned 
recently  from  a  vaca- 
tion in  Europe.  She 
posed  very  prettily  for 
the  photographers  on 
the  deck  of  the  Reren- 
garia  while  the  customs 
officials  swooped  down 
on    her    trunks 


Above  are  Gertrude  Lawrence  and  Beatrice  Lillie 
(Lady  Peel),  stars  of  "Chariot's  Revue,"  having  a 
pal-ly  time  with  Dick  Barthelmess — who  is  at- 
tired in  the  manner  of  the  Amateur  Gentleman. 
The  Lillie  person  is  about  to  make  her  screen 
debut  in  a  comedy 


On  the  right  are  Mr.  and  Mrs.  Alastair  Mackintosh, 
who  have  sailed  on  a  belated  honeymoon  for  Europe. 
The  Missus,  you  know,  is  Constance  Talmadge  and 
hubby  is  an  officer  of  the  British  army.  Here  we 
have  the  lovebirds  watching  the  traffic  of  the 
boulevards  from  the  balcony  of  the  hotel  suite  in 
Paris 


•*** 

'  \~ 

1  \ 

1 

^ 

^AT\  A 

h&* 

¥ 

^■> 

■    ^ 



t'ndcrwood  &  I'nderwond 


4" 


With  the  modern  girl  "crashing"  into 
all  kinds  of  men's  sports,  it  isn't  such  a 
surprise  to  see  Phyllis  Haver  "tuning 
up"  for  the  six-day  bicycle  race.  She 
is  on  one  of  those  practise  "bikes" 
while   Marie   Prevost   times   her   speed 


Eddie  Cantor  has  kissed  the  stage 
good-by.  The  Broadway  musical 
comedy  star  has  arrived  in  Hollywood 
with  the  Missus  and  the  four  little 
Cantors.  According  to  Eddie,  he  will 
do  his  stuff  on  the  screen — his  first  task 
being  a  screen  version  of  the  popular 
"Kid  Boots" 


Above  is  Marion  Mack,  who  has  been 
picked  by  Buster  Keaton  as  his  lead- 
ing woman.  Buster  can  pick  'em  about 
as  well  as  Mack  Sennett.  In  fact,  the 
frozen-faced  comedian  took  her  away 
from  Mack's  gallery  of  bathing 
beauties 


Underwood  & 
Underwood 


GilHams 

In  the  oval  is  Dolores  Costello 
displaying  the  latest  thing  in 
a  sports  costume.  She  has 
prepared  herself  for  Holly- 
wood's rainy  season  by  equip- 
ping herself  with  a  pair  of 
storm  boots.  A  star  cannot 
risk  getting  the  "newmony," 
you  know 


Just  the  thing  for  any 
town's  summer  season  is 
sported  by  Carmel 
Myers  on  the  right. 
Since  the  summers  are 
long  out  Hollywood  way, 
Carmel  intends  to  make 
good  use  of  the  cool- 
looking  frock  with  the 
white  triangles 


46 


. 


In  this  apache  costume 
Blanche  Mehaffey  has 
added  a  daring  touch  to 
her  wardrobe.  The  crea- 
tion features  a  combina- 
tion of  black  velvet  and 
black  and  gold  brocade — 
to  say  nothing  of  a  leather 
belt  which  carries  a 
naughty  little  dagger — and 
black  fishnet  hose  to 
make  the  boys  look 
around 


Above  is  the  sheik,  flanked  on  each  side  by  the 
beauties  of  two  hemispheres.  The  lady  on  the  left 
is  Vilma  Banky,  from  Budapest — Rudy's  leading 
woman — and  the  little  lady  on  the  right  is  Yacko 
Mizatani,  the  "Mary  Pickford  of  Japan" 


Gwen  Lee,  on  the  right, 
created  a  mild  sensa- 
tion when  she  appeared 
with  this  giant  som- 
brero, a  gift  from  some 
Mexican  admirer.  It's 
one  of  the  biggest  hats 
in  captivity,  but  Gwen 
uses  it  for  a  parasol, 
umbrella,  bath-house, 
dog-kennel,  or  what 
have  you 


Just  to  show  how  the 
girls  obey  that  impulse  to 
dab  their  faces  with  rouge 
and  powder,  here  are  Betty 
Byrd  and  Thelma  Daniels, 
from  the  Christie  play- 
ground, wading  knee-deep, 
and  forgetting  the  fishes 
in  order  to  put  over  a 
snappy    appearance 


17 


REG  the  REGULAR 


OF  all  the  host  of  young  men  who  have 
passed  in  review  across  the 
screen    this    past    dozen    year 
two   stand  out   as   symbols   of   high- 
spirited  American  youth. 

The    first    was    Wallace    Reid, 
whom   a   pitiful   death  immortal- 
ized. 

The  second  is  Reginald  Den- 
ny, whose  star  is  still  in  its 
ascendancy. 

There  are  those  in  Holly- 
wood and  elsewhere  who  be- 
lieve that  Denny's  popularity 
in  five  years  will  be  even 
greater  than  was  ever  Wally 
Reid's.  There  are  still  others 
who  believe  that  Denny  would 
already    be    a    greater    figure 


I 


than  was  Reid  at  his  prime,  had   Denny  been 
given  Wally's  opportunities  of  story,  direc 
tion  and  exhibition. 
These    however,  must  always  remain 
matters  of  conjecture.     They  are  in- 
teresting to  the  men  who  make  pic- 
tures and  display  them.    They  are 
questions  for  the  fans  to  debate. 
But  they  have  no  bearing  on  the 
personality  of   Reginald   Denny 
himself. 

Judged    by    His    Nickname 

think  the  best  barometer 
of  Denny's  personal  popu- 
larity is  his  nickname.     In  the 
opinion  of  low-brow  America, 
of  which  this  writer  claims  to 
be  the  greatest  living  example, 
Reginald  is  not  much  of  a  name. 
It  smacks  of  cutaway  coats  and 
pink  teas.     It  borders  on  the  ef- 
feminate.    It  is  very  easy  for  a 
man  named  Reginald  to  be  called 
"Reggy,"  in  which  case  he  is  invari- 
ably pictured  as  wearing  a  silk  hat 
and  nursing  a  lap-dog. 
So  far  as  I  know,  nobody  ever  thought 
of  calling  Denny,  "Reggy."     His  nickname 
is  Reg,  the  last  letter  slurred  as  in  "George." 
It  is  an  honest  name,  a  blunt,  straightforward 
sort  of  name ;  a  man's  name.     It  is  typical  of 
Denny. 

It  must  have  been  five  years  since  I  first  met 
Reg  Denny.  Engineered  by  that  splendid  actor 
and  intrepid  sportsman,  Ben  Hendricks,  a 
group  of  us  had  planned  a  trip  to  lonely  Santa 
Cruz  Islands  off  the  California  Coast,  where 
there  were  rumored  to  be  mountain  sheep  and 
wild  boars. 

We  gathered  before  dawn  of  a  cold,  foggy, 
miserable  morning,  on  a  long  pier  that  stretches 
into  the  sea  from  the  town  of  Santa  Monica. 
A  few  early-rising  gulls  screamed  overhead,  un- 
seen, wraiths  in  the  mist.  The  heavy  rollers  of  the 
changing  tide  thundered  against  the  pilings  and 
cascaded  on  the  beach.  Eventually  we  tired  of 
waiting  and  dropped  gingerly  from  a  rickety  ladder 
to  the  deck  of  a  fishing-boat  that  rode  the  swells 
like  a  water-logged  cork,  one  hawser  carelessly 
looped  about  a  barnacled  piling. 

A  Good  Sport 

\X7hen  Denny  appeared  with  his  duffel;  dropping  to 
the  deck  as  the  little  boat  lifted  on  the  crest  of  a 
twelve-foot  ground-swell,  there  was  a  little  altercation. 
Plainly,  a  storm  was  making."  Some  of  the  more 
timid  souls  argued  for  postponement.  Not  so  Denny. 
His  spirit  rode  down  all  objections.  We  went. 
An  hour  at  sea  and  the  gale  struck.     Thereafter 

Reginald  Denny  is  one  of  the  most  popular  actors  in 
pictures.  He  believes  in  doing  favors  for  everyone 
who  comes  in  contact  with  him — that  is,  if  they  play 
the  game  on  the  square.  His  home  life  is  particularly 
happy.  On  the  left  he  appears  with  his  wife  and 
daughter  Barbara 


48 


It  Speaks  Volumes  for  a  Man's  Character 
When  He  Is  Known  by  His  Nickname. 
Reginald  Denny  Is  One  of  Those  Rare  True 
Sports  Who  Believes  in  Walking  on  Your 
Side  of  the  Street  and  Shaking  Hands  With 
the  Whole  Wide  World 

By  Don  Eddy 


uniil  late  in  t he  afternoon  we  rode  thru  mountainous  seas,  the 
■nscuppered  decks  constantly  awash,  the  duffel  and  rifles  soaked, 
tin-  food  ;i  soggy  mess.  It  there  was  talk  of  running  hack  to 
port,  who  talked  it  down?     Reg  Denny  1 

It    spirits   were   low,   who   was  always  ^^^^^^^^ 

on   hand   with   the  cheery   wise 

crack,    the    booming    laugh?  .^^^ 

Denny ! 

I    wish    I    could    pic- 
ture   him    as    he    was 
then,    standing    strad- 
dle-legged   on    the 
plunging  deck  of  the 
little  craft,  his  cloth- 
ing  plastered   to   his 
body,  his  hair  soaked 
and    rumpled;    roaring 
high-spirited  sea  songs, 
shouting  badinage,  man- 
ufacturing puns,  holding  up 
the  morale  of  a  pleasure  crew 
that  wasn't  so  pleasant. 

Well,  we  sighted  the  islands  in  the 
late  afternoon,  and  still  later  located  a  de- 
ceptive cove  on  the  lee  side.     The  cove  looked  quiet  from 
the  sea.     We  transferred  the  sodden  duffel,  dropped  into 
the  dingey  and  started  ashore.     The  cove,  as  I  say,  was 
deceptive.    On  the  beach  the  rollers  were  running  ten  feet 


high,  w 
oarsman  let  the 
those  enormous 
troughs.  The  follow- 
ing sea  dumped  us  onto 
the  beach  like  drowned 
rats,  the  dingey  upside 
down. 

And  who,  for- 
getting his  own  dis- 
comfort, was  the 
first  to  rustle  fire- 
wood and  build  a 
roaring  fire  before 
which  we  danced 
like  naked  Indian^ 
(Continued 
on  page  78) 


The  Reg  Denny  that  all  ot  us 
know  on  the  screen  is  a 
vibrant  personality  —  a  man 
with  the  spirit  and  enthusiasm 
of  a  boy.  The  two  gentlemen 
grouped  with  him  are  the  two 
mighty  moguls  of  the  screen 
and  the  baseball  world,  Will 
Hays  and   Judge   Landis 


hite-capped,     murderous.        ( )ur 
dingey  slip  broadside  into  one  of 


Being  English,  it  is  natural  that  Denny  would  go  in 

for  sports.     One  of  hi6  favorite  pastimes  is  golf.     Oi 

the  right   the   Missus   and   Barbara  are  smiling   theii 

prettiest  for  the  head  of  the  family  and  you 


Bebe  Daniels 
has  many  roll- 
icking moments 
in  "The  Palm 
Beach  Girl." 
She  plays  an 
Ioway  girl  in 
Florida 


THE 
CELLULOID 

CRITIC 


A  FITTING  companion  picture  to  "The  Last  Laugh" 
in   point  of   masterly   direction,   masterly   acting  and 
the  compelling  power  of  its  story,  is  "Variety."     As 
with  the  other,  it  comes  straight  from  the  UFA  workshop — a 
finished  piece  of  cinematic  art.     It  tells  a  sordid  triangle  that 
shatters  the  lives  of  its  tragic  figures.     These  three — a  domi- 
nating, brutish  showman,  his  mistress  and  the  philanderer,  who 
is  taken  into  the  confidence  of  the  others — touch  the  dregs  of  lif 
Yet  so  completely  fascinating,,  so  absorbing  and  embracing 
its  eventful  situations  that  the  characters  seem  to  step  right  out 
frame  and  confront  you 
with   their    personalities. 


Truly  Lifelike 


I  have  never  seen  a 
picture  which  carried 
a  more  lifelike  touch.  I 
have  never  seen  a  pic- 
ture which  brought  forth 
so  much  titanic  force  in 
the  logical  sequence  of 
its  scenes.  There  have 
been  triangle  dramas  be- 
fore, but  somehow  they 
have  an  artificial  ring 
compared  with  "Vari- 
ety." 

The  rough-and-ready 
showman  is  content  in 
his  wagon  home  —  con- 
tent with  his  dowdy  wife 
and  their  sprawling  babe 
until  a  sensuous  woman 
enters  and  seeks  shelter. 
With  soft,  limpid  eyes 
and  rounded  curves  of 
figure  she  conquers  him. 

50 


Milton  Sills  has  an  interesting  picture  in  "Puppets."     Here  we 
find  him  treating  one  of  his  dolls  to  a  flow  of  melody 


Emil  Jannings  and  Lya 
de  Putti  have  many 
dramatic  and  emotional 
moments  in  that  superb 
picture,  "Variety 


He  would  become  the 
aerialist  again — the 
strong  anchor  man  who 
catches  the  lighter  acro- 
bat in  his  flights  from 
the  trapeze.  And  so  he 
runs  away  with  the  girl. 
He  is  happy,  but  he  is 
ignorant  of  the  girl's 
passion  for  men.  And 
she  invites  the  more  at- 
tractive member  of  the 
troupe  with  the  sex  light 
of  her  eyes. 

Power  and  Suspense 

I  give    this    brief    out- 
line of  the  plot  to  in- 
dicate     the      motivation. 


_»»"^J 


Laurence  Reid 

Reviews  the  New 

Photoplays 


Mind  you.  it  is  a  triangle  and  tremend- 
ously simple  of  design.  Yet  it  grips  you 
completely,  rhe  suspense  Is  terrific  as 
\  >u  wondei  what  will  happen.  You 
know  that  the  Germans  are  as  thoro  in 
their  plays  as  they  are  in  war.  There  is 
no  sugar-coating  here.  Dot's  the  big  play- 
boy run  afoul  of  some  gossiping  friend 

who  would  in  form  him  of  the  undue  pas- 
sion  that  his  partners  have  for  each 
other?  No  indeed,  it  isn't  done  so  ob- 
viously. Instead,  the  most  ,  malicious 
method  is  used — a  method  which  strike^ 
deep.  A  caricaturist  sketches  the  tri- 
angle in  vivid  terms.  The  hatred  is  en- 
gendered in  the  outraged  heart  of  the 
anchor  man.  And  he  makes  his 
rival  pay  the  supreme  penalty. 

That's  all  there  is  to  "Variety." 
But  how  graphically  it  is  depicted. 
The  story,  told  in  narrative  style, 
with   the   protagonist    con- 
fessing   the    crime    to    the 
magistrate    after    his    long 
sojourn    in    prison,    builds 
evenly  and   logically  to   its 
destined  climax. 

Cinematic  Quality 

[    must  pay  the  highest  tribute  to 
1  the  superb  direction.     It  is  mani- 
fested in  the  lighting,  the  staging, 
the  grouping  and  the  handling  of 
the  various  characters  and  situa- 
tions.      The     Wintergarten     in 
Berlin  is  shown  in  a  kaleidosco- 
pic   display — with    the    several 
acts    dissolving    into    one    an- 
other.   There  is  keen  suspense 
as  the  aerialists  go  thru  their 
routine    high     up    over    the 
heads  of  the  audience.    And 
the   pulse  quickens   indeed, 
as     you     wonder     if     the 
anchor   man   will   permit 
his  rival  to  fall. 

The  outraged  playboy, 
forgetful  of  the  fact  that  he 
is  suffering  as  he  permitted 
his  wife  to  suffer,  hesitates 
whether  he  should  catch  his 
false  friend.  But  he  is  the 
showman,  after  all.  And  he 
dearly    loves    applause. 


Jack  Holt  decorates  the  back- 
grounds of  the  vast  open 
country  in  "Born  to  the 
West,"  an  up  -  and  -  at  -  'em 
Western 


Lon  Chaney  scores  another  point  for  realism  by  his  uncanny  disguise  and 

performance  in  "The  Road  to  Mandalay."     The  gentleman  in  the  garb  of 

the  cleric  is  none  other  than  Henry  B.  Walthall 


Which  is  a  tribute  to  the  lifelike  touch  of  the  picture.     So 
he  goes  on  with  the  act  and  metes  out  sterner  justice. 

Splendid  Acting 

A  s  in  "The  Last  Laugh"  I  find  Emil  Jannings  again 
living  his  character  to  the  life.     He  is  brutal, 
playful,  boastful,  cunning,  in  turn — and  he  pretends 
to  be  nothing  else  than  what  he  represents.     It  is  a  mag- 
nificent   performance — a    performance    which    adds    new- 
laurels.     Lya  de  Putti  is  also  quite  perfect  in  her  rendi- 
tion  of   the   sex-crazed    woman — shading   her 
role  with  true  femirine  moods  and  impulses. 

Chaney  in  a  New  Disguise 

here  is  a  sordid  drama  of  the  East — of 
primitive  passions  of  Singapore  on  view- 
in    "The   Road   to    Mandalay."      As    it> 
story  unfolds,  it  presents  nothing  that 
can  be  called  enlightened  or  original. 
And  it  took   no  inspiration  to  con- 
ceive  it.     What   merit   it  has   r< 
solely  with  its  characterization.     In 
order  to  effect  this  Lon  Chaney  re- 
sorts to  another  of  his  uncanny  dis- 
guises.    He  appears  a  one-eyed  bad 
man — whose  only  redeeming  virtue 
is  his  love  for  his  daughter  reared 
in  ignorance  of  her  paternal  relative. 
Chaney    must    have    suffered    to 
bring  about  this  one-eye  effect.     It  is  rumored  that 
he  employed  some  chemical  which  could  only  be  used 
two  hours  at  a  time — so  painful  was  the  task.     But 
that  accounts  for  Chaney,  the  realist.     Anyway,  he 
holds  the  attention — and  gives  a  vivid  performance. 

Mostly  Atmosphere 

therwise    there    is    no    tug    at    the    emotions. 

spiritual  or  what  you  will.     Lois  Moran  doesn't 

look  like  the  type  of  girl  that  would  be  mixed  up  in 

such  a  plot — a  plot  that  doesn't  approximate  anything 

(Continued  on  page  90) 


51 


MM 


BETTY   BRONSON 

The  clock  has  struck  three  in  the  morning  for  Cinderella.     The  little  girl  grows  older — 

which  means  that  she  is  privileged  to  wear  her  dresses  higher.    The  ballet  costume  well 

becomes  Betty  and  all  the  boys  are  hoping  she  loses  her  slipper  at  the  ball 


Nace 


52 


— 


Adolphe  the  Elegant 


An  Impressionistic  Pen  Picture 
of  Menjou,  the  Master  of  the 
Sophisticated   Shrug    and      ^ 
the  Emotional  Eyebrow 


Caricature  by 
John  Decker 


By  Gladys  Hall 


FIRST  stage 
Adolphe  on  the  Screen. 


The  suave  Sophisticate  .  .  . 
the  risque   dilettante  .  .  .  the    Man 
At>out  Town  with  whom  Lit- 
tle Mabel  would  be  sate  only 
as  tar  as  the  corner  and  under 
guard  of  the  Mounted   Police 
.  .  .  dangerous  .  .  .  debonair 
.  .  tonsorially  perfect  ...  an 
Klegant   ...  a  sipper  of 
wine,    women    and    song, 
when     and     where     wine, 
women  and  song  are  most 
consummate,    most    costly 
...  a  dropper-in  at  night  clubs 
where   night    clubs   are   most    ex- 
clusive,   most    inaccessible    ...    a 
white  gardenia  in  a  buttonhole  .  .  . 
■a   butterfly    alighting    for    the    mo- 
ment  ...  a  Last  Word   .   .   .  the 
sort  of  perfection  that  hides  a  worm 
at  its  heart  .  .  .  the  Exquisite  who 
bends  over  a  fair  and  tapering  hand 
just  long  enough  .  .  .  never  too  long 
...  a  Philosopher  of  Passion  ...  a 
Psychologist  of  Love  .  .  .  doubting  all 
things  .  .  .  believing  nothing  .  .  .  the 
Eternal  Lotlwrio  .   .   .  the  cosmopolite 
Don   Juan    .    .    .     An   incapable  of   the 
profondities  ...  a  scoffer  at  sanctities 
envy  of  all  average  men   .   .   .  the  despair  of   all 
average   women   .   .   .   the  despiser  of   gaucheries 
.  .  .  the  casual  Wooer  .  .  .  the  disdainful  Winner.  .  .  . 

He  Is  So  in  Celluloid 

Cor  Adolphe  a  woman  must  be  a  strain  of  music  filtered 
thru     mid-night     jade     ...     a     woman     must     have 

mother-of-pearl   finger-tips   and    a   manicured    soul    .    .    . 

She  must  be  clad  in  satin  and  sables  and  evil  lace  .  .  . 

She  must  speak  with  accents  of  liquid  and  license.  .  .  . 
In  his  eyes  all  the  weariness  of  satiety  and  dead  hope 

.  .  .  hope  forever  unfulfilled  ...  in  his  eyes  graves  of 

dead   dreams    .    .    .   dreams    relinquished    with   a   perfect 

shrug  .  .  .  tired  eyes  .  .  .  cynical  .  .  .  disillusioned  .  .  . 

mocking  .  .   .  mocking  ...  a  fur-lined  coat  and  a  silk 

hat  ...  a  gesture  that  says  .  .  .  Ooo.  la,  la,  what  does 

it  not  say  .  .  .  ?    Thus  the  Menjou. 

Second  Stage 

A  dolphe  Himself  ... 

A  tired  looking  man  of  medium  height  . 
bow  tie  . 


A  careless 
a  slight  tendency  to  unshavedness  ...  a  pair 


of    horn-rimmed    glasses    that 
keep  slipping  to  the  bridge  of 
his  nose,  thus  giving  him  an 
incongruously      kindly,      even 
paternal    expression.    .    .      An 
Egotist,  but  an  egotist  about  his  work,  not 
about   his   wiles  .  .         An  eager,   nervous 
didactic  way  of  talking  about  "My  work" 
...    a    simple,    kindly    soul :    ingenuous, 
frank,  outpouring  ...  a  good  man  who  is 
devoted  to  his  mother  .  .  .  who  is  lonely 
in   Xew  York  .  .  .  who  stood  too  long  in 
awe  of   his   wife   .    .    .    who  never  during 
his  marital  career  went  out  of  an  evening 
.  .  .  who  never  looked  at  another  woman 
of  himself  "I  am  really  harmless,  perfectly  hannle-s  . 
(Continued  on  page  87) 


who  says 


53 


NO  further  proof  is  needed  that  the 
Germans  produce  pictures  to  make 
people  think  than  their  supreme 
effort,  "Variety."  Like  "The  Last  Laugh," 
it  asks  you  to  pay  strict  attention,  which 
you  unconsciously  do  while  you  find  real 
stimulation  from  its  drama. 

With  no  attempt  at  belittling  the  Ameri- 
can product,  the  truth  must  prevail.  It 
prevails  in  the  painstaking  effort  to  get  away 
from  the  banalities,  the  artificialities  which  too 
often  saturate  our  pictures.  The  serious 
minded  Teuton  is  out  to  record  life  stripped  of 
all   its   gloss.      And   "Variety"   is   typical   of   the 


FLASH 


race. 


Belongs  Among  the  Best 


^OME  critics  have  declared  it  the  best  film 
**^  ever  made.  W ell,  if  it  isn't,  it  cant  be  dis- 
puted that  it  belongs  among  the  screen  s  few 
masterpieces.  Certainly  there  is  no  room  for 
argument  that  it  marks  the  furthest  advance 
in  picture  technique.  Why,  even  a  spectator  who 
never  saw  over  a  dozen  films  in  his  life  can 
aftfireciate  the  difference  in  the  manner  of  its 
conception  and  execution  from  the  standards 
which  have  been  placed  before  him.  He  would 
aftftreciate  true  motion  photography — the  tyf>e 
of  photography  that  becomes  a  living  force.  Con- 
sequently he  is  able  to  feel  that  the  picture  is 
sneaking  right  out  to  him  in  its  own  incompar- 
able language.  Incidentally,  it  is  a  language 
which  can  be  understood  in  any  country,  since 
it  establishes  perfect  pantomime  brought  forth 
from  a  perfect  motivation  of  f>lot. 

Cinematic  Art  At  Its  Highest  Peak 

OO  "Variety"  expresses 
*^  cinematic  art  at  its  high- 
est development.  The  film 
audience  outside  of  the 
circle  of  "fans"  will  be  able 
to  understand  its  top  stand- 
ard of  technique.  The  intel- 
ligentsia may  come  to  scoff 
but  they  will  depart  highly 
respectful  over  the  depth  of 
understanding  it  conveys. 

The  picture  hasn't  a  weak- 
ness. It  is  especially  well 
handled  in  regard  to  its 
camera  angles.  It,  more- 
over, contains  an  interest 
and  appeal  for  every  type  of 
patron  everywhere.  Its  dif- 
ference from  our  mass  of 
pictures  lies  in  its  superb 
construction,  plus  its  pains- 
takingly clever  presentation, 
told  in  terms  of  life-like 
pantomime. 

54 


Impression  of  James  Kirkwood  by  Curzon 


By  L.  R. 

Jannings  is  Present 

"\/TOST  everyone  is  familiar  with  the  name 
**  ■*"  of  Emtl  Jannings.  But  he  isn't  "bally- 
hoo-ed''  in  Germany  as  he  is  here.  The  ad- 
vertising medium  which  is  the  backbone  of  sell- 
ing the  picture  to  the  public,  has  made  our  star 
system  what  it  is.  The  Germans  have  placed 
him  in  their  picture  because  they  knew  he  rep- 
resented the  best  man  for  the  fiart.  And  the 
Americans  have  capitalized  his  talent.  So  here 
he  is  giving  another  memorable  study  which 
contains  all  the  emotions  that  a  human  being 
could  possibly  express  and  still  belong  on  our 
planet.  Lya  de  Putti  ts  another  who  con- 
tributes a  most  intelligent  performance — a  per- 
formance of  a  dozen  moods  and  shadings.  She 
is  now  in  this  country  and  Jannings  is  on  his 
way.     Truly,  America  may  welcome  them. 

It  Was  Coming  to  Him 

A  TESTIMONY  of  the  high  esteem  that  F. 
"^  ^"  W.  Murnau  is  held  in  America  was  proved 
recently  when  Fox  Films  tendered  a  dinner  for 
the  director  of  "The  Last  Laugh."  Highly  paid 
editorial  writers,  justices,  admirals,  generals, 
professors,  bankers — all  fared  forth  to  pay 
homage  to  the  genius  who  produced  one  of  the 
greatest  (if  not  the  greatest) 
pictures  of  the  screen.  It 
was  a  tribute  to  an  artist  and 
his  art — that  representative 
men  from  various  walks  of 
life  responded  with  such 
deep  regard  and  enthusiasm. 
Herr  Murnau  registered 
a  humility  befitting  of  all 
men  who  have  accomplished 
something  worth  while.  He 
paid  modest  tribute  to  the 
culture  of  Europe,  but  ad- 
mitted that  the  energy,  the 
youth  and  the  vital  freshness 
of  America  had  awakened  in 
him  a  keen  desire  to  catch 
its  indomitable  spirit. 

The  German  has  qualified 
as  a  thinker  with  real  ideas. 
Let  us  hope  that  he  con- 
tinues to  give  them  the 
highest  expression.  Unfet- 
tered, he  should  do  it. 


BACKS 


About  Pictures  and  People 

The  James  Boy 

^\JOT  strict'  the  days  of  the  memorable  Jesse 
has  a  James  earned  on  with  such  high 
pressure  as  Gardner.  J  esse  s  exploits  made 
history — and  many  of  them  have  been  recorded 
on  the  screen.  Gardner  James — no  relation — 
is  forging  ahead  in  quite  a  different  way.  Pos- 
sessing a  plastic  expression  of  countenance  and 
endowed  with  a  full  share  of  emotional  talent,  he 
seized  his  opportunity  to  demonstrate  some 
high-class  Pantomime  in  "Hell  Bent  fer 
Heaven.' 

The  Picture  could  not  be  called  anything  ex- 
traordinary in  plot  or  treatment,  but  among 
those  who  contributed  its  points  of  appeal  was 
Gardner  James,  playing  the  role  of  a  cracked- 
brained  youth.  It  was  a  sympathetic  role — and 
this  young  actor  extracted  every  ounce  of  sym- 
pathy from  it.  As  a  result  of  his  work,  it  was 
Perfectly  natural  that  he  should  begin  to  scale 
the  ladder.  Barthelmess  engaged  him  for  an 
ir.\portant  Part  in  "The  Amateur  Gentleman, 
and  thru  continuing  his  histrionic  gifts  Inspira- 
tion has  signed  him  to  a  five-year  contract. 

This  is  one  instance  where  true  merit  has 
been  appreciated.  He  had  to  work  hard — did 
Gardner,  but  when  his  chance  arrived  he  seized 
it  and  Put  himself  over.  To 
prove  that  romance  isn't  en- 
tirely dead,  the  young  Irish- 
man reached  Hollywood  just 
a  year  ago  after  a  most  ad- 
venturous life  at  sea.  At 
one  time  in  his  eventful 
career  he  was  a  juvenile 
actor,  but  the  gods  of 
ThesPia  didn't  smile  kindly 
on  him.  So  he  sailed  the 
seven  seas — and  while  he 
sailed  he  absorbed  life.  He 
left  the  rolling  decks  with 
the  necessary  Poise  and  con- 
fidence to  take  him  along 
anywhere .  In  our  opinion  he 
is  the  most  Promising  cellu- 
loid "find"  that  has  stalked 
across  the  silversheet  in  a 
couple  of  seasons.  He  should 
be  allowed  to  develop  grad- 
ually and  not  thrust  into 
stardom   too   quickly. 


T 


Impression  of  Lon   Chaney  by  Taskey 


Types  Have  Changed 

1  PES  li.ivc  truly  changed  in  the  m<>. 

Not    so    very    long    ago — well    not    any 

farther  than  the  last  mauve  decade — it  was 

the   logical   plan   among   producers   to   select 

an     Adonis     to     play     some     character     role. 

Tradition    had    it    that    the    audience    would 

never     countenance     a     player     whose     face 

might  violate  the  best  standards  of  the  sculptor. 

It  might  pass  muster  if  the  owner  was  slated  for 

some  comic  relief. 

Then  look  what  happened?  Along  came  some 
realistic  dramas  calling  for  realistic  types.  And 
Wallace  Beery,  "Bull  Montana,  Jack  Curtis, 
Kalla  Pasha,  Lon  Chaney — to  say  nothing  of  a 
host  of  others — popped  up  to  show  Mr.  Adonis 
that  they  "belonged. 

Which  is  by  way  of  introducing  the  latest 
entry,  Edward  I.  "Gunboat'  Smith,  the  former 
pugilist.  Famous  Players  have  given  him  a  con- 
tract in  view  of  his  colorful  performance  in  '  Say 
It  Again,"  the  Richard  Dix  picture  in  which  the 
"Gunboat"  demonstrated  his  talented  "dukes. 
Smith's  income  is  said  now  to  compare  favorably 
with  his  prize-fight  earnings. 

According  to  all  reports,  the  contract  carries 
the  unusual  clause  whereby  the  document  is 
void  if  "Gunboat  '  improves  his  looks  in  any 
way. 

This  extract  reads  :  "It  is  mutually  under- 
stood and  agreed  that  the  artist  s  engagement 
hereunder  is  based  upon  his  unique  and  indi- 
vidual features  and  the  appearance  and  condi- 
tion upon  a  continuance  thereof  and  the  artist 
hereby  agrees  that  he  will  not  cause  or  permit 
any  of  his  features  to  be  altered  by  plastic 
surgery  or  otherwise. 

The  "unique  and  indi- 
vidual features  and  appear- 
ance '  which  the  company  s 
production  officials  prize  so 
highly  that  they  wish  them 
kept  intact  are  the  Gunner  s 
broken  and  flattened  nose, 
beetling  brows  that  over- 
hang deepset  eyes,  a  wide 
mouth  and  jaws  that  have 
been  walloped  out  of  the 
alignment  intended  by  na- 
ture in  some  of  the  most 
memorable  encounters  with 
Jess  Willard,  Frank  Moran, 
Tommy  Burns  and  Battling 
Levinsky. 

Anita's  Royalties 

PICTUREGOERS   are   all 
acquainted     with     the 
name    of    Anita    Loos.     For 
{Continued  on  Page  81) 


55 


HORSES,  HORSES, 

The  Latest  Song-  Which  Inspired  This  Title  and 

Prince  of  Wales  in  Mind.    But  He  Is  Not 

Nags.     There  Is  a  Group  Among 

Who  Delight    in    Flirting 

Take  the 


Of  course,  everyone- 
looks  up  to  the 
Prince  when  the 
horse  is  brought  out 
of  the  stable.  That's 
just  what  Irene  Rich 
is  doing  in  her  effort 
to  see  how  he  stays 
in  the  saddle 


International  Newsreel 


The  Prince  is  unquestionably  the  most  famous 
horseman  in  the  world.  And  everyone  knows  he  is 
simply  crazy  over  horses — even  when  he  pitches  over 
their  heads.  To  give  him  credit,  however,  he  takes 
his  falls  for  a  reason.  He  is  usually  in  the  van  and 
galloping  at  top  speed — and  the  horse  may  stumble, 
y'  know.  On  the  right,  Trixie  Friganza  shows  the 
Prince  how  to  fall  off  a  horse.  She  declares 
the  next  horse  she  rides  on  she's  going  to  be  tied  on 


Fred  R    Morgan 


56 


_ 


Crazy  Over  HORSES 

Display — Was    Apparently    Written    With    the 

the  Only  One  Who  Is   Nutty    Over   the 

the  "Horsy"    Set    of    the    Screen 

With    a    Fall     As    They 

Bridie-Path 


At  the  upper  right  is  Pauline 
Starke,  mounted  on  Billy — a 
prize  piece  of  horse-flesh 
out  Hollywood  way.  When 
not  galloping  over  the  open 
road,  Pauline  loves  to  gallop 
into  a  close-up 


In  the  circle  is  Bebe  Daniels,  who 
can  sit  a  mount  with  all  the  grace 
and  abandon  of  a  cowboy.  She 
enjoys  cantering  in  a  well-shaded 
bridle-path.  The  fair-haired  rider, 
below,  is  Allene  Ray,  who  also  ex- 
ercises in  the  saddle.  She  gathered 
plenty  of  experience  in  taking  the 
barriers    thru    her    work    in    serials 


The  director  sometimes  fails  to  find 
Seena  Owen,  below,  when  he  cries 
"Camera!"  She  is  usually  out  try- 
ing    the     Hollywood     bridle-paths 


Lilyan  Tashman, 
right,  boasts 
some  smart  rid- 
ing-habits. She's 
as  crazy  over 
them  as  she  is 
over  her  horse 


May     McAvoy,     below,     isn't     any 

bigger  than  a  jockey,  but  place  her 

in    the    saddle    and    she    can    do    a 

jockey's  work 


>  Mack  Sennett 

BUT  I  cant  take  fifteen  hundred  words  to  write:  "She 
has  nothing  she  considers  sufficiently  important  to 
say." 

What's  the  matter  when  a  lady  wont  talk? — and  for 
publicity,  at  that !     Is  it  because  she's  simply,  dumb,  and 
really  has  nothing  to  say?     Perhaps — but  I  am 
one  of  those  peculiar  people  who  thought 
"The  Salvation  Hunters"  a  fine  picture, 
and  Georgia  Hale's  acting  excellent. 
And,  again,  one  who  sneered  in  a 
sophisticated — or    disillusioned 
— way  when  the  critics 
failed     to     appreciate     her 
work  in  "The  Gold  Rush." 
No,  she  cant  be  dumb,  for 
then    my    judgment    would 
be  wrong — better  the  world 
should    end    than    that  ! 
Maybe.  .  .  . 

Dig  a  little  deeper,  Dun- 
ham. 

For,  when  polite  maneu- 
vering fails  to  maneuver, 
and  leading  questions  fail 
to  lead  beyond  a  "yes"  or 
"no,"  one  must  try  another 
tack — must,  if  he  is  of  that 
tribe  for  whom  eating  is  a 
better    builder-up    than    fasting. 

If,  when  one  asks,  "What  part 
are  you  going  to  play  in  'The 
Great  Gatsby'?"  the  lady  an- 
swers :  "I  dont  know  yet,"  and 
intimates  that,  furthermore,  it 
doesn't  worry  her  much;  what  is 
one  to  do  ?  Dig  ! — perhaps  even 
deep    enough    to    find    out    why 

If  one  can ! 

Yes  one  can  if  one  will  be  patient  and  try  to  coax  her 
into  relating  her  experiences  and  philosophy  of  life. 

58 


HALE- 
FELLOW- 
WELL- 
MET 


Emotions  Run  Deep 

T  n  "The  Salvation  Hunters"  Miss  Hale's  emotions  were 
not  a  pretty,  prim,  and  precious  flower — as  are  those 
of  the  elder  Gish — rather,  she  grasped  the  roots  and,  con- 
trolling them,  let  grow  whatever  would — straight  and  tall 
or  stunted  and  gnarled,  as  was  decided  by  the  sun  and 
wind  of  its  environment.  And  she  has  continued  in  this 
way. 

From  earliest  childhood,  she  has  been  as  she  is  now. 

In  the  years  of  her  schooling,  for  instance,  she  got  along 

very  well — tho  she  never  did  her  homework. 

She   never   did   her   homework    for  the 

thoroly  sufficient  reason  that,  at  the 

moment,  she  had  other  interests, 

and  would  not  waste  her  time 

on  any  single  thing  that  did 

not  fit  in  with  them. 

But,  in  case  the  same 
thing  held  in  the  oppo- 
site direction !  Here,  the 
main  interest  wrought  by 
her  environment  was  to 
learn.  And  she  threw 
herself  into  the  work  of 
the  moment  with  suffi- 
cient vigor  more  than  to 
make  up  for  the  lack  of 
interest  when  other  influ- 
ences were  working  on  her. 

She  Lives  the  Moment 

and  here  we  have  it!     "Live 

the  moment"  is  the  key  to 

which  all  her  life  is  pitched.   When 

the  moment  arrives,  act  as  you  see 

fit ;  not  as  you  planned  at  some  other 

time,  when  you  could  not  be  aware  of 

just  what  this  moment   would  contain. 


doesn't     worry 


Georgia  thoroly  lives  the  moment. 
It  is  the  key  to  which  all  her  life 
is  pitched.  She  has  prepared  her- 
self to  be  natural.  As  a  result, 
everyone  hails  her  as  a  regular 
fellow 


Georgia  Hale  Lives 
the  Moment  by  Being 
Natural  and  Accept- 
ing Gracefully  What 
Life  Has  to  Offer 

By  Dunham  Thorp 


"If  you  plan  beforehand,  you  see  what 
you  thought,  and  then  decided,  you  would 
-.(■c,  rather  than  what  actually  exists." 

Nor  does  she  think  it  much  more  profit- 
able to  look  hack,  and  try  to  tit  in  your 
present  actions  with  your  past — to  try  to  be 
consistent  to  an  idea  at  the  expense  of  that 
truer  consistency  -the  fact  that  nothing  an 
individual  docs  can  possibly  he  inconsistent 
with  him  who  does  it.  even  tho  at  times  it 
may  seem  inconsistent  with  the  general 
trend  of  his  actions. 

"1  always  act  as  the  actions  of  the  other 
actors,  and  the  environment  in  general,  make 
me  think  natural. 

'"What  1  mean  is  this:  I  never  stop  in 
the  midst  of  a  scene  to  think  that  I  am  not 
using  the  same  twist  of  the  hand  that  I  used 
two  weeks  ago.  That  wouldn't  be  life;  the 
actions  of  any  moment  are  made  by  the 
feelings  of  that  moment. 

No  Mannerisms 

"Mo    villain    always    scowls    and    heroines 
1       sometimes  do." 

"Then  you  dont  believe  in  mannerisms?" 

"No,  no! — not  at  all!  Certainly  people 
have  them,  but  no  actor  should  ever  put  his 
own  into  the  character  of  another  person." 

That's  a  fine  observation,  and  one  made 
by  very  few  of  those  who  tread  the  boards 
and  screen — in  fact,  most  of  them  act  as 
tho  this  were  an  edict  of  the  devil.  But  it 
should  be  modified  enough  to  allow  for  cer- 
tain quirks  and  traits  in  the  character  pre- 
sented, so  that  the  character  will  have  in- 
dividuality, and  as  a  sort  of  cord  to  bind  its 
other,  and  more  diverse,  manifestations. 

I  know  she  does  this,  but  how  does  it  fit 
in  with  her  theory? 

"But  you  gave  a  solid  and  consistent  per- 
formance in  'The  Salvation  Hunters' — 
you  always  smoked  a  cigaret  in  the  same 
way.  and  your  sneer  was  never  different." 

"Certainly !     I  study  my  character  suffi- 
ciently to  be  at  home  in  it — so  as  not  to  have  to  think 
what  she  should  do. 

"But  I  didn't  always  sneer  in  that  picture.  I  laughed 
often  enough,  and  in  many  ways — not  only  in  derision. 

"If  you  study  your  character  well  enough  to  understand 
it,  rather  than  study  the  actions  of  the  different  scenes  she 
is  to  appear  in,  you  stand  a  much  better  chance  of  really 
living  her  life. 

"For,  after  all,  if  you  are  living  the  moment — and  that 
moment  is  one  in  the  life  of  another  person — you  are 
acting  as  that  person  would,  rather  than  working  out  a 
preconceived  and  rigid  plan." 


Kichct 


Georgia  Hale  came  into  recognition  thru  her  performance  in  "The  Salva- 
tion Hunters,"  and  she  lived  her  character  so  realistically  that  Chaplin 
engaged  her  for  "The  Gold  Rush."     Her  next  appearance  will  be  in  "The 

Great  Gatsby" 


The  Business  of  Being  Natural 

"T'hen  you  never  plan  your  scenes  ahead  of  time?'' 

*■  "Never!  I  simply  study  my  character  until  I  feel 
I  have  mastered  it,  and  then  act  as  circumstances  move 
me." 

And  as  it  is  in  one  facet  of  her  life,  so  it  must  be — and 
is — in  all.  When  she  was  a  ballad-singer  in  Chicago, 
Chicago  was  the  world,  and  ballad-singing  the  world's 
only  occupation.  And  when  she  moved  to  Hollywood,  it 
seemed  Chicago  had  never  existed — the  world  now 
{Continued  on  page  82) 


59 


Just  to  prove  that  Antonio  Moreno  is  no  slouch  as  a  knife- 
thrower  he  has  coaxed  Virginia  Brown  Faire  to  make  herself 
useful  as  a  target  while  he  executes  his  deadly  shots 


The  latest  vaudeville  clowns  to  be  recruited 

for    the    movies    are    Al    Brendel    and    his 

feathery  friend,  "Bozo,"  the  goose 


The  Screen  Observer 


A  Director's  Whims 

MAL  ST.  CLAIR  has  become  so  capricious  that 
Famous  Players  can  hardly  keep  up  with  his 
whims  and  heart  changes.  He  is  admittedly  their 
most  promising  director,  and  yet  as  this  is  written  he  is 
not  scheduled  for  any  picture.  For  months  Mai  had 
expected  to  do  "The  Ace  of  Cads"  with  Adolphe  Menjou, 
but  when  the  moment  arrived  he  was  so  immersed  in  other 
things  that  the  picture  was  given  to  Luther  Reed.  Mai  at 
once  decided  to  direct  Thomas  Meighan  in  "The  Cana- 
dian." He  waited  until  the  press-agents  had  blared  forth 
the  news,  and  then  coyly  changed  his  mind,  necessitating 
a  flood  of  denials.  Now  I  hear  that  Gloria  Swanson  is 
contemplating  making  one  more  picture  for  Famous  Play- 
ers, and  if  she  does  this,  Mai  St.  Clair  will  direct  her.  It 
is  all  very  uncertain — but,  of  course,  a  man  as  brilliant  as 
St.  Clair  is  privileged  to  act  like  a  prima  donna  for 
awhile,  while  his  success  is  still  new. 

A  Real  Uncle  Tom 

The  era  of  the  negro  in  motion  pictures  has  been  in- 
augurated  by  Carl  Laemmle.  He  has  signed  Charles 
Gilpin  to  play  Uncle  Tom  in  the  new  version  of  "Uncle 
Tom's  Cabin."  Gilpin  is  famous  on  the  New  York  stage, 
especially  as  The  Emperor  Jones,  and  Universal  has 
been  angling  for  him  for  several  months — ever  since 
Harry  Pollard  started  production  on  "Uncle  Tom's 
Cabin." 

The  picture  has  been  greatly  delayed  by  Pollard's  ill- 
ness, and  in  the  meantime  the  effort  to  sign  Gilpin  has 
brought  results,  and  he  will  leave  for  the  Coast  at  once  to 
begin  work  under  Lois  Weber.  Miss  Weber  took  time 
out  from  her  work  for  a  wedding  and  a  brief  honeymoon 
with  Captain  Harry  Gantz,  and  is  all  ready  now  to  com- 
plete "Uncle  Tom's  Cabin,"  as  Harry  Pollard's  substitute. 

60 


To  my  knowledge,  Charles  Gilpin  is  the  first  of  his 
race  to  be  given  an  important  role  in  pictures.  But  he  will 
not  be  the  last,  for  both  Cecil  De  Mille  and  Monta  Bell 
seem  bent  on  making  pictures  of  negro  life,  and  Josef  von 
Sternberg  also  yearns  to  direct  a  drama  of  the  colored  race. 

Mrs.  Cheyney  in  Celluloid 

Jesse  Lasky  bought  the  screen  rights  to  that  clever  come- 
J  dy,  "The  Last  of  Mrs.  Cheyney,"  and  then  couldn't 
make  up  his  mind  whether  to  use  it  as  a  starring  vehicle 
for  one  of  the  gentlemen  or  one  of  the  ladies  of  his  com- 
pany— as  it  was  equally  appropriate  for  either.  So  he 
solved,  the  difficulty  by  doing  both.  Florence  Vidor  and 
Adolphe  Menjou  are  happily  cast  in  the  leading  roles,  but 
production  will  not  start  until  the  stage  version  has  fin- 
ished its  runs  in  New  York,  Chicago,  and  points  west. 

Meanwhile,  both  these  stars  have  plenty  to  occupy 
them.  Florence  Vidor  is  starting  work  on  "Captain 
Sazarac,"  and  Adolphe  Menjou  tells  me  "The  Ace  of 
Cads"  is  about  ready  to  go  into  production.  He  recently 
spent  ten  days,  with  his  director  and  scenario  writer,  at 
Hot  Springs,  whence  he  returned  with  the  script  and  a 
very  becoming  tan.-  Unless  Mr.  Menjou's  famous  en- 
thusiasm has  utterly  carried  him  away,  this  is  going  to  be 
a  very  good  picture,  and  the  memory  of  the  departed 
Michael  Arlen  will  be  revived  more  honorably  than  it 
recently  was  by  "The  Dancer  of  Paris." 

Take  That  and  That  and  That 

"\X7illiam  Boyd  has  been  slashed  with  a  razor  blade — 
^  not  in  an  attempt  to  commit  suicide  for  love  of  Clara 
Bow,  or  anything  like  that.  William  eloped  with  Elinor 
Fajr  several  months  ago,  and  they  might  have  lived  hap- 
pily ever  after  that  if  it  hadn't  been  for  Joseph,  the  Phili- 
pino  boy  who  did  the  chores  around  their  house.  He 
disappeared  about  a  month  ago,  and  then  William  dis- 


Here  is  how  Norma  Shearer  will  look  when 

she    appears   as    a   woman    lawyer    in    "The 

Waning   Sex."     She   got   her   pointers  from 

visiting  a   feminine  judge's  court 


To   play   Buffalo   Bill  you've  got   to   look   and   ride    like   him. 

That's    why    Jack    Hoxie    will   play    the    part    in    "The    Last 

Frontier."    His  horse,  "Scout,"  is  almost  an  exact  counterpart 

of  the  one  ridden  by  the  noted  Westerner 


Has  Her 


covered    that    lie    had     forged    about    five-hundred-and- 
seventy-five  dollars'  worth  of  checks. 

Naturally,  when  the  Boyds  and  a  friend  of  theirs  saw 
Joseph  on  Wilshire  Boulevard  one  day,  they  stopped  to 
inquire  politely  what  he  had  done  with  the' money.  Joseph 
resented  it.  He  whipped  out  a  knife  and  a  razor  and 
attacked  the  two  men,  inflicting  a  few  minor  cuts.  Of 
course,  after  all  William's  fighting  experience  in  the  mo- 
\  ies,  he  got  the  better  of  him  in  the  end,  and  Joseph  is  now 
awaiting  trial  for  forgery. 

Two  Bright  Scholars 

Two  of  Metro-Goldwyn's  recent  releases  have  brought 
good  fortune  to  their  players.  Francis  X.  Bushman,  Jr., 
that  fine  upstanding  whole-wheat  boy  who  played  'William 
Haines'  rival  in  "Brown  of  Harvard,"  has  been  given  a 
five-year  contract  by  Metro  as  a  result  of  his  work  in  that 
picture,  which  will  make  him  a  most  excellent  provider 
tor  his  wife  and  child. 

Then  Bessie  Love,  who  has  wandered  a  little  aimlessly 
among  the  studios  in  the  past  few  years,  has  been  recog- 
nized for  her  fine  work  in  "Lovey  Mary,"  in  which  she 
out-Pickforded  America's  Sweetheart.  Bessie  is  now 
considering  long-term  contracts  with  both  Cecil  De  Mi'.le 
and  First  National,  I  hear. 

Flaming   Youth   Conquers 

A  nother  bit  of  news  is  that  Clara  Bow  is  to  be  starred 
by  Paramount.  Ever  since  Clara  bobbed  impertinently 
out  of  the  stowaway's  barrel  in  "Down  to  the  Sea  in 
Ships."  she  has  never  ceased  to  make  an  impression  on 
the  industry  and  on  the  public — even  tho  sometimes  it 
has  been  a  most  disagreeable  one.  She  has  probably  suf- 
fered more  than  any  other  girl  on  the  screen  from  bad 
taste  in  clothes  and  in  make-up,  bad  roles,  and  lack  of 
restraint.      Yet    her    flaming    personality    has    triumphed 


By 

Elizabeth  Greer 


over  all  these  drawbacks,  and  she  has  emerged  as  a  really 
fine  actress.  Clara  has  an  earthy  quality  that  is  rare 
among  our  screen  luminaries.  She  has  what  in  a  man 
would  be  termed  virility — and  lately  she  has  displayed 
another  talent — a  great  comedy  sense — which,  Paramount 
realizes,  makes  her  star  material.  Her  latest  performance 
is  in  "Mantrap." 

Marital  Murmurings 

Oints  drift  in  from  the  Coast  that  Bebe  Daniels  may 
succeed  Marilyn  Miller  as  Mrs.  Jack  Pickford. 
Everyone  has  known  for  a  long  time  that  Marilyn  and 
Jack  could  hardly  call  their  marriage  one  of  those  ideal 
ones  that  the  film  colony  loves  to  boast  of.  And  before 
Bebe  went  away  to  college  to  make  "The  Campus  Flirt."' 
she  and  Jack  were  together  enough  to  cause  comment. 
But  that  doesn't  really  prove  a  thing,  for  Bebe  has  been 
commented  on  so  many  times,  and  Jack  is  quite  a  beau  in 
his  way. 

Other  reports  from  the  marriage  marts  this  month  re- 
veal the  approaching  marriage  of  William  De  Mille  to  his 
scenarist,  Clara  Beranger.  The  wedding  will  be  delayed 
for  a  time  to  allow  both  the  bride  and  groom  to  take  the 
necessary  precaution  of  divorcing  their  current  mate>. 
They  have  been  contemplating  this  move  for  some  time, 
and  I  do  hope  they'll  find  it  was  worth  all  that  trouble. 

They're  Calling  It  Barbara  Worth 

I  maginf.  a  piece  of  land  about  eighty  miles  long  and 
twenty  miles  wide,  almost  as  level  as  a  billiard  table, 
covered  with  light  gray  dirt  with  scarcely  a  blade  of 
grass  or  other  foliage  except  on  the  distant  mountain- 
that  border  this  immense  plain  and  you  have  the  desert 
on  which  Samuel  Goldwyn  is  filming  "The  Winning  of 
Barbara  Worth."  There  is  not  a  drop  of  water  anywhere 
{Continued  on  page  91) 


61 


Goethe's  immortal  tragedy, 
"Faust,"  has  finally  been 
visualized  on  the  screen  and 
its  American  premiere,  which 
takes  place  in  October,  will 
be  anxiously  awaited  by 
picturegoers  who  worship 
art  in  the  movies.  The 
Germans  have  approached 
the  work  with  deep  rever- 
ence as  well  as  with  char- 
acteristic fidelity  to  detail. 
The  film  achieves  another 
fine  honor  for  Ufa  in  its  de- 
termination to  create  some- 
thing distinctive  and  note- 
worthy in   celluloid 


With  such  dramatic  opportuni- 
ties available  in  "Faust, '  it  was 
necessary  to  secure  the  finest 
talent.  Naturally,  Emil  Jan- 
nings  was  selected  to  play 
Mephisto,  a  role  which  should 
win  him  further  laurels.  The 
eminent  actor  appears  in  char- 
acteristic poses  at  the  top  and 
at  the  left,  while  at  the  upper 
right  he  enacts  a  scene  with 
Yvette  Guilbert,  long  recog- 
nized as  one  of  the  most 
talented  actresses  in  the  world. 
Mme.  Guilbert  appears  as  Martha. 
At  the  lower  right  are  Gosta 
Ekman  and  Camilla  Horn  as 
Dieterle    and    Marguerite 


Jannings 

and      I 

FAUST 


Vis 


X  \ 

■HHM 

Ufa 


62 


FLIV  and  Let  FLIV 


There  were  no  traffic  regulations  in  the 
early  days  of  the  flivver  and  the  bike. 
When  the  boys  trotted  out  their  horse- 
less carriages  or  their  wheels  and  gave 
the  girls  a  spin  up  and  down  the  road 
you  could  depend  on  the  idlers  step- 
ping out  of  the  pool  parlor  to  give  them 
the  once  over.  Transportation  has 
surely  progressed  in  the  last  twenty 
years,  but  the  comedy  gagmen  must 
rely  upon  these  goofy  autos  and  bikes 
to  bring  the  laughs 


There  are  no  laughs  in  the  modern  snappy 
car,  so  you  must  hand  it  to  the  gagmen  for 
lugging  out  these  weird  contraptions.  At  the 
top  Jimmie  Adams  takes  Vera  Steadman  for 
a  spin  in  his  one-cylinder  horseless  carriage 
At  the  left  center  Jimmie  is  trying  his 
"darnedest"  to  stop  the  fliv'  to  avoid  crashing 
into  the  gasoline  buggy  occupied  by  a 
petting  party.  On  the  bicycle  built  for  five 
are  Molly  Malone,  Kathleen  Myers,  Billy 
Bletcher,  Jimmie  Adams  and  Roy  Weston 


63 


The  Answer 


Replies  to  CLASSIC  Readers 


Jeanne  M. — Here  we  are,  right 
in  the  midst  of  the  hot  summer,  and 
it  sure  is  warm  in  New  York.  So 
you  like  Ramon  Novarro  best  of  all. 
Just  be  patient  and  you  will  see 
"Ben  Hur."  We  had  to  wait  a  long 
time  to  .    :  it  in  New  York. 

Florence  H.  —  So  it's  Francis 
Bushman,  Jr.,  that  you  like.  He  is 
married    to     Beatrice    Dante  —  they 

were  married  July  10,  1924,  and  have  one  daughter,   Betty.     Ad- 
dress him  at  Metro-Goldwyn-Mayer,  Culver  City,  California. 

Palm  a  B. — Just  you  wait  until  you  see  Rudolph  Valentino  in 
"The  Firebrand,"  from  the  story  of  the  life  of  Benvenuto  Cellini. 
He  was  born  m  1895.  You  want  to  know  if  Tom  Mix  and  Ramon 
Novarro  are  Italian.  I  doubt  it.  I'll  see  what  I  can  do  about 
getting  more  on  Ricardo  Cortez  in  the  Classic  for  you. 

Verne  H. — You  refer  to  Clive  Brook  in  "Three  Faces  East " 
Yes,  Raquel  Meller  has  been  signed  up  by  Chaplin  to  play  the 
Empress  Josephine  to  his  Napoleon  in  a  picture  to  be  produced 
some  time  in  1927.     And  this  is  serious,  too. 

Lily  N.  P. — Well,  I'm  glad  you  did  write  to  me.  That's  what 
I'm  here  for,  and  if  you  didn't  write  I  wouldn't  earn  my  $15.00 
per.  Yes,  I  still  live  in  the  little  old  hall-room.  Norma  Talmadge 
was  born  in  Niagara  Falls,  New  York,  May  2,  1895.  She  is 
5  feet  2,  has  dark  hair  and  eyes.  That  was  Jack  Mulhall  in 
"Within  the  Law." 

Mary  L. — You  want  to  know  who  the  banker's  son  was  in 
"Headin'  Home."     Sorry,  but  I  cannot  help  you  this  time. 

Royal  17. — Well,  it  is  easy  to  find  fault  if  one  is  on  the  lookout ; 
•but  some  people  would  discover  a  far  greater  number  if  they  were 
on  the  look-in.  George  Hackathorne  was  the  son  in  "The  Lady." 
Madge  Bellamy  and  Edmund  Lowe  have  the  leads  in  "The  Monkey 
Talks." 

A.  Elizabeth  S. — Well,  I'm  glad  you  like  me.  I  like  you,  too. 
And  now  Cecil  De  Mille  is  trying  to  get  Gloria  Swanson  to  play 
the  Magdalen  in  his  film  version  of  the  story  of  the  Christus. 

Mr.  Shean's  Partner. — Absolutely,  Mr.  Gallagher.  I'll  have 
to  go  down  to  your  house  and  rent  that  room,  mine  is  pretty  warm 
these  days,  even  if  I  have  so  many  fans.  Well,  to  settle  that  argu- 
ment, it  was  Constance  Talmadge  in  "East  Is  West." 

Gloria,  Australia. — How  are  things  down  your  way — pretty 
cold?  No,  Bebe  Daniels  is  not  married.  Richard  Dix  in  "The 
Quarterback." 

Jerry  A. — Various  myself,  I  like  all  varieties,  and  therefore  I 
like  you.  John  Barrymore's  first  for  United  Artists  will  probably 
be  "The  Vagabond  Lover,"  which  is  based  on  the  life  of  Francois 
Villon,  who  is  the  subject  of  the  play  "If  I  Were  King,"  from 
which  the  picture  is  derived.     Write  me  again  any  time. 

Juana. — Well  if  you  are  5  feet  8,  and  only  14,  I  wonder  what 
you  will  be  when  you  are  20.  I'd  give  up  the  idea  of  pictures  for 
some  time  yet.  So  you  think  William  Boyd  is  adorable.  He  is 
28  and  married  to  Elinor  Faire. 

Ima  Frade.— So  you  have  finally  picked  up  courage  to  write  me. 
You  say  your  father  is  Heeza  Frade,  the  big  needle  and  thread 
man  from  so  and  so.  And  you  dont  care  to  ask  about  the  num- 
ber of  teeth  Lew  Cody  has  filled,  neither  do  you  want  to  know 
whether  Lloyd  Hamilton  wears  double  grip  garters,  but  you  do 
wahtto  know  if  I  am  married.  Well  now,  that's  not  such  a  very 
hard  question  to  answer — I'm  not.  Milton  Sills  is  playing  in  "The 
Legionnaire." 

Ole. — It  was  Agnes  Ayres  who  was  once  known  as  "The 
O.  Henry  Girl"  because  she  played  in  25  O.  Henry  stories  for 
Vitagraph,  and  her  first  starring  picture  was  "The  Defeat  of  the 
City"  in  1917.    She  is  5  feet  Ay2  inches,  blonde  hair  and  blue  eyes. 


THE  ANSWER  MAN  is  at  your  service.  If  you 
want  an  answer  by  mail,  enclose  a  stamped  addressed 
envelope.  If  you  wish  the  answer  to  appear  in  THE 
CLASSIC,  write  at  the  top  of  your  letter  the  name 
you  want  printed,  and  at  the  bottom  your  full  name 
and  address.  Address :  The  Answer  Man,  Motion 
Picture   Classic,   176   Duffield   Street,    Brooklyn,   N.   Y. 


Bob  Custer  Fan. — Wallace  Beery 
was  born  in  Kansas  City  and  stayed 
there  eighteen  years,  so  perhaps  you 
used  to  play  marbles  with  him.  He 
first  played  for  Essanay,  next  Uni- 
versal and  then  Keystone.  He  is  72 
inches  high  and  weighs  about  a  tenth 
of  a  ton.  Bob  Custer  has  brown 
hair  and  hazel  eyes,  he  is  6  feet  and 
weighs  170  pounds. 

Eveline. — Well  the  highest  praise  for  a  man  is  to  give  him 
responsibility.  Norma  Talmadge  was  born  in  America  as  I  have 
said  up  above.  Edmund  Lowe  is  married  to  Lilyan  Tashman.  Yes, 
Esther  Ralston  is  married  to  George  Frey.  That  was  Walter 
Pigeon  in  "Mannequin."  _  Dolores  Costello  was  born  in  1906.  No, 
Dolores  is  not  married.  Betty  Bronson  in  "The  Wearing  of  the 
Green."     She's  a  little  early,  or  should  I  say  late. 

Bebe. — Opinions  are  largely  formed  from  observation,  but  all 
observers  stand  upon  different  peaks.  Your  peak  may  be  higher 
than  mine,  but  I  may  see  down  into  the  valleys  which  your  eyes 
have  never  scanned.  Neil  Hamilton  is  with  Famous  Players, 
Dolores  Costello  with  Warner,  and  John  Barrymore  with  United 
Artists.     So  long,  Bebe. 

Ima  Flirt. — You  better  not  be.  Your  flatterer  may  love  you 
some,  but  he  probably  loves  himself  more.  So  you  like  William 
Boyd.  Conway  Tearle  is  playing  with  Irene  Rich  in  "My  Official 
Wife." 

Babe. — Greta  Nissen,  besides  playing  on  the  stage  in  "The  Palm 
Beach  Girl"  for  Zeigfeld,  is  to  make  three  pictures  for  First 
National  next  fall.  Not  so  bad.  So  you  like  Constance  Bennett. 
So  do  I. 

Pat. — Sure  enough,  Buster  Keaton  never  smiles.  He  told 
us  all  about  it  in  the  June,  1926,  issue.  Claire  Windsor  in  "Tin 
Hats." 

Bobby  B.  Columbus. — Famous  Players  purchased  the  former 
United  Studios  at  5341  Melrose  Avenue.  Hollywood,  and  are  pro- 
ducing there.  First  National  has  moved  out  and  have  their  studio 
at  Burbank,  California.  You  can  reach  William  Boyd  at  the  Cecil 
De  Mille  Studio,  Culver  City,  California. 

Ena  A.  Birmingham. — Yes,  Ronald  Colman  is  married  and 
his  wife  is  in  England  and  John  Gilbert  was  married  to  Leatrice 
Joy,  but  they  aren't  now.  Norma  Talmadge  was  married 
in  1917. 

Eleanor. — Could  I  make  you  become  an  actress?  Certainly  not, 
Eleanor.  In  other  words,  you  want  me  to  help  you  become  an 
actress.     Forget  it,  and  stick  to  your  studies  this  fall. 

Eda  R. — Ronald  Colman  and  Vilma  Banky  have  finally  started 
work  on  "The  Winning  of  Barbara  Worth"  to  be  released  in  the 
fall.  Claire  Windsor  is  5  feet  6,,and  Dorothy  Mackaill  is  5  feet 
4  and  Mary  Astor  is- 5  feet  5.  Doris  Kenyon's  next  will  be  "A 
Desperate  Woman." 

Bee  from  Schurz. — Ben  Lyon  was  born  February  6,  1900.  He 
has  dark  brown  hair  and  blue  eyes.  George  Walsh's  second  picture 
for  Excellent  Pictures  will  be  "His  Rise  to  Fame." 

Marie  M. — Twenty-eight  years  ago,  on  September  12,  Alice 
Lake  was  born  in  this  here  little  village  of  Brooklyn.  Jane  Novak 
is  playing  in  "Lost  at  Sea"  for  Tiffany. 

Bootsy. — So  this  is  your  first  offense  at  writing  to  an  Answer 
Man.  Why  Tim  McCoy  is  a  new  Westerner  who  is  playing  for 
Metro-Goldwyn. 

Lucretia. — You  say  you  are  not  going  to  give  up  wanting 
Richard  Dix.  I  dont  blame  you.  Yes,  I  am  sure  he  will  write  to 
you.  His  mother  has  been  very  ill  in  California.  Theodore  Von 
Eltz  has  been  added  to  the  cast  of  "The  Temptress"  in  which  Greta 
Garbo  stars. 


64 


Picture,  Picture — Who  Stole  the  Picture? 


inlintti 


Despite  the  wonderful  work  "t  Belle 
Bennett  and  (fanald  Col  man  in  "Stella 
Dallas,"  seventeen-year-old  Loil  Moran, 
,m  uttei  newcomer  to  the  American 
icreen,  ven  nearl)  stole  the  show  Vnd 
Jean  Hersholi  took  .1  verj  small  part, 
that  ■'!  Ed  Mutm,  and  made  it  something 
which  will  long  be  remembered. 

Some  Who  Worry  the  Stars 
1-      \  S.m.iI  Celebrity,"  .1   Mai  St    Claii 
'  picture    starring    Adolphe    Menjou,   that 
famous  old  comedian,  Chestei   Conklin, 
comes  close  to  stealing  the  picture    in 
a  part  that  is  more  pathetic  than  it  ii 
funny.     And  speaking  of   Menjou,  who 
doesn't  recall  the  manner  in  which  he 

sprang     from    obscurit)     to    stardom    by 

ng    "A    Woman    of    Paris,"    Charlie 
Chaplm's     directorial     masterpiece     right 
from  under  Edna  Purviance's  nose? 
I.   Warren   Kerrigan   and    Lois    W  ilson 

Were    lulled    as    the    stellar    lights    of    "The 

Covered  Wagon."  but  an  "actor  who  was 
comparatively     unknown     at     the     time, 

simply  "wrapped  up  the  picture  and 
walked  away  with  it."  He  was  Ernest 
Torrence,  and  the  role  was  that  of  Hill 
Jackson,  the  trapper.  It  won  Torrence 
fame  and  fortune.  He  is  one  of  the 
most   beloved   actors   on   the  screen   today 

and  one  of  the  beat  paid. 

Another  recent  sensational  case  of  pic- 
ture-stealing was  that  of  George  Bancroft 
in  "The  Pony  Express."  Despite  com- 
petition from  such  veterans  as  Wallace 
Beery,  Betty  Compson.  Ernest  Torrence, 
and  Ricardo  Cortez,  Bancroft,  playing  the 
character  role  of  Jack  Slade,  the  had  man 
of  Julesburg,  made  the  outstanding  im- 
l  ression  in  the  picture.  From  obscurity 
it  raised  him  to  the  role  of  a  big  fea- 
tured player,  and  won  him  a  contract  with 
Paramount  which  means  many  thousands 
of  dollars  a  year  to  him.  And  it  might 
be  remarked  that  there  aren't  two  tougher 
hombres  to  buck  up  against  in  this  pic- 
ture-stealing business  than  Wallace  Beery 
and    Ernest    Torrence ! 

Xoah  Beery  is  no  slouch,  either.  He 
walked  away  with  honors  in  Pola  Negri's 
starring  vehicle.  "The  Crown  of  Lies," 
which  also  included  Robert  Ames  in  its 
cast,  and  reports  are  that  he  has  simply- 
wrapped  up  "Beau  Geste."  Paramount 's 
stupendous  story  of  the  Foreign  Legion 
in  Algeria,  and  taken  it  home  with  him 
His  competition  included  Ronald 
Colman.  Neil  Hamilton.  Ralph 
Forbes.  Norman  Trevor,  George 
Rigas,  and  others. 

Determined  to  find  out  the 
exact  manner  in  which 
pictures  are  stolen,  I 
went  to  one  of  the 
i/eteranest  of  veterans, 
Wallace   Beery-  &  ^F=°"  ^7 

How  Wally  Does  It 
'""The  secret  lies  in 
making  your  per- 
formance outstanding," 
said  Wally  with  a  rem- 
iniscent chuckle.  "You 
have  to  be  a  character, 
and  you  have  to  ring 
true.  Your  audience  must  feel  that  it 
knows  you.  intimately.  You  must  pro- 
duce a  positive  reaction.  If  you  are  a 
skunk,  you  must  be  a  thorogoing  one,  with 
a  stripe  down  your  back — the  kind  of  per- 
son one  hates  whole-heartedly.  Yet  they 
must  understand  why  they  hate  you.  Such 
a  villain  for  example,  was  Roy  D'Arcy  in 


Chester  Conklin  almost  stole  "A  Social 
Celebrity,"  and  did  steal  "A  Woman 
of  the   World"  away  from   Pola   Negri 


'The  Merry  Widow.'  If  you  are  a  bum. 
a  happy-go-lucky  character  like  Rhode 
Island  Red  in  'The  Pony  Express,'  you 
must  be  a  bum  in  every  movement — not  a 
gentleman  masquerading  in  dilapidated 
clothes. 

"As  to  the  tricks  of  the  trade,  there  are 
many  of  them.  One  couldn't  begin  to 
enumerate  them.  One  of  the  easiest  is 
the  old-fashioned  upstage  trick.  The 
natural  impulse  of  the  inexperienced 
actor,  whether  on  the  stage  or  screen,  is 
to  get  as  far  forward  toward  the  audience 
as  possible.  The  veteran  will  simply  'up- 
stage'   such   a   person. 

"That  is,  if  the  two  are  in  conversation, 
the  veteran  will  stop  a  couple  of  steps 
behind  the  eager  newcomer.  Then  when 
the  newcomer  has  to  talk  to  the  old-timer, 
he  will  have  to  turn  around  to  do  it — and 
his  back  will  be  to  the  audience  or  the 
camera.  You  cant  do  very  much  acting 
with  your   back. 

"The    way    to    take    a    scene    is    to    do 


moving    about,    01 

naturally      watch     him         Ii 
-■   on   in   tl 

an     .11  tnr     in     the     ba<  kgTOUl  hil 

hand  up  and  down,  yan    <->r    will 

be    attracted    t"    the    motion       In 
manner    when  he  ii  allowed  to  . 

with     it     an     00*  111 

attention    t"r   himself    when  othi 
wouldn't    be   noticed   any    more    thai 
i'ii  the  wall 
"  l  he  principal   thing   ii  a  bit  of   I 
nets,    In  other  words,  motion  combii 
with  humamtess.    If  you  can  be  human, 
if  you  can  do  some  chari  l 

of   acting    which   your   audience    in-' 

ly  n  imething  he  ha 

at  home,  at   the  club  or  at  the  sewing 

circle,    he    will    be    attracted    to    it    and 
remember    it,    no    matter    what    el* 
going  on  in  the  scene. 

The   Champion    Picture   Thieves 

''(")"•  ,ncre  are  a  thousand  tricks  .>f  the 
trade.  My  buddy,  Raymond  Hatton, 
who,  I  might  say,  is  one  of  the  smartest 
picture-stealers  in  the  business,  has  a 
bright  trick  of  his  own  in  all  still  pi 
graphs.  He  always  places  himself  at  the 
extreme  right  of  the  group  that  is  about 
to  be  photographed.  When  the  picture 
is  taken,  the  position  is  reversed,  that  is, 
in  the  printed  photograph  he  is  at  the 
extreme   left. 

"The  names  in  the  caption  under  a 
printed  photograph  always  read  'from 
left  to  right.'  and  hence  the  first  name  is 
always  'RAYMOND  HATTON'  That's 
not  very  dumb, of  the  little  shrimp — not 
much!"  And  Wally  gave  a  great  chuckle. 
Beery  and  Hatton  are  known  as  the 
greatest  catch-as-catch-can  picture-steal- 
ing team  in  the  business.  They  are  per- 
fectly willing  to  take  their  chance  with 
all  comers — or  with  each  other. 

In  "Behind  the  Front,"  the  rivalry',  if 
genial,  was  very  keen,  and  these  two 
veterans  employed  every  gag  in  the  busi- 
ness to  take  the  various  scenes  away  from 
each  other.  They  even  tried  upstaging 
each  other.  For  instance,  just  as  the 
cameras  would  start  grinding,  Hatton 
would  step  back  a  step,  to  try  to  force 
Beery  to  turn  around.  Not  to  be  outdone. 
Beery  would  link  his  arm  thru  Hatton's, 
and  pull  him  forward.  To  put  a  stop 
to  these  antics,  Charles  Boyle,  first 
cameraman  on  the  picture,  resorted  to  the 
practice  of  having  a  T- 
square  nailed  to  the  floor 
— where  it  didn't  show — 
for  the  closeups.  Then  he 
made  both  Beery  and  Hat- 
ton toe  the  mark,  one  on 
each  side  of  the  T-square 


o 


Raymond   Hatton   is  one   of  the  cham- 
pion   picture    thieves.      With    Wallace 
Beery  he  stole  "Behind  the  Front" 


something  that  will  attract  the  eye.  Mo- 
tion of  any  sort  is  the  thing  that  attracts 
the  eye  the  quickest.  If  six  people  are 
standing  up  in  a   room  and  one   person   is 


Razzing  Ricardo 
\E  of  their  stunts, 
which  they  laugh 
hardest  about,  occurred 
when  they  were  playing  in  "In  the 
Name  of  Love."  Ricardo  Cortez 
was  the  hero  of  the  story,  and 
naturally  was  the  one  most  fea- 
tured in  the  foreground.  Beery  and  Hat- 
ton determined  to  get  his  goat.  During  a 
number  of  scenes  they  were  supposed  to 
be  talking  in  the  background.  Hence  as 
soon  as  the  cameras  started  grinding. 
Beery  would  lean  over  to  Hatton  and  say 
in  a  loud  whisper : 

"Now    this    guy    Cortez,    buzz  .  .  .  buzz 

.  .  .  buzz "   and    his    voice   would    trail 

(Continued  on  page  85) 


65 


The  HOLLYWOOD  of  FRANCE 


his  character  must  be  responsible  For 
here  you  have  a  mere  boy  —  thirty,  or 
thereabouts — who  has  done  picture  after 
picture  on  a  staggering  scale  and  with 
superb  mastery  that  has  made  motion 
picture  history.  Such  contributions  to 
the  screen  as  "The  Four  Horsemen  of  the 
Apocalypse,"  "Turn  to  the  Right,"  "The 
Prisoner  of  Zenda,"  "Scaramouche,"  "The 
Arab,"  "Mare  Nostrum" ! 

Such  achievements  have  brought  fame 
and  wealth  at  an  early  age.  Let  me  add 
that  he  is  something  of  an  Adonis.  Now 
a  fellow  like  that  should  be  spoiled  by 
this  time.  But  he  isn't — and  that  is  an- 
other big  thing  about  him. 

Ingram's  Paradise 

Prom  my  point  of  view,  there  are  several 
more  paradisiacal  points  about  the  Ri- 
viera than  there  are  about  Southern  Cali- 
fornia, and  that  is 
saying  a  great  deal. 
The  Riviera  has  the 
climate,  the  flowers, 
the  sea,  the  hills. 
The  people  there 
live  a  natural  arti- 
ficial life  instead  of 
Oe  artificially  nat- 
ural life  that  one  is 
compelled  to  live  in 
California.  By  that, 
I  mean  that  one  has 
neither  to  break  a 
law  nor  a  pocket- 
book  if  one  thinks 
one  would  like  to 
serve  one  or  more 
bottles  of  genuine 
spirit  If  one  wants 
to  gamble — go  to  it, 
the  Casino  is  just 
across  the  Prome- 
nade or  in  the  Place 
Massena.  The  hotels 
are  filled  with  real 
countesses,  Russian 
princes,  terrible 
Turks,  British 
lords  with  a  strong 
representation  from 
Ioway  and  Walla 
Walla  always  on 
hand.  There's  the 
boardwalk  just  like 
Santa  Monica, 
Venice  and  Long 
Beach,    only   on    the 

Promenade  des  Anglais  in  Nice  you  will 
find  the  whole  world  that  the  motion  pic- 
ture world  attempts  to  represent  on  the 
screen  come  to  life!  But  in. Nice  it  is  all 
the  rtal  thing!  You  might  think  you 
could  walk  up  to  that  gink  with  the 
Lawrence  Dorsay  mustache  and  yank  it 
off,  but  you  cant.  Both  he  and  the 
mustache  are  real.  He's  an  actual  Earl 
of  Pawtucket,  or  something.  That  fel- 
low with  the  long  black  whiskers  who  is 
a  dead  ringer  for  Charlie  Chaplin's  foil 
on  the  screen,  is  really  some  famous 
French  savant  and  is  dead  in  earnest  about 
it  too. 

An  Arcadia  for  Artists 

Mice,  the  Capital  of  the  Riviera,  is  the  Los 
Angeles  of  St.  Augustin,  the  French 
Hollywood.  The  Riviera  is  the  Mecca 
of  the  European  world.  Nice  is  like  a 
miniature  Paris  with  its  multitude  of  bril- 
liant shops,  boulevards  with  the  cafes 
spread  all  over  the  broad  sidewalks  with 
monocled    men    and    chic    foreign-looking 


{Continued  from  page  33) 

women  seated  before  the  painted  tables  all 
day  long  sipping — do  I  disappoint  you 
when  I  say,  cafe  au  lait,  mainly.  And  if 
one  is  really  too  bored,  one  may  motor 
or  bus,  tram  or  train  it  over  to  Monte 
Carlo,  only  about  fifteen  miles  away  along 
one  of  the  most  glorious  stretches  of 
coast  in  the  world !  At  Monte  Carlo,  as 
you  know  from  the  films,  all  sorts  of 
things  are  done — including  yourself.  That 
is  why  people  go  there. 

Finally,  all  that  has  been  mentioned  is 
either  free  or  shockingly  cheap.  It  costs 
five  francs  to  enter  the  fashionable  Casino. 
Five  francs  are  about  sixteen  cents.  This 
includes  a  free  seat  to  a  stunning  musical 
show,  or  when  the  show  entr-actes,  to 
dancing.  If  you  choose  to  drink — which 
one  cant  very  well  avoid,  since  the  only 
seats  you  can  find  are  before  little,  round 
tables — you  can  get  away  with  coffee,  or 


This  is  not  a  set,  but  the  kitchen  of  Rex  Ingram's  studios  over  on  the  Kiviera. 

The  director  has  a  chef  who  knows  how  to  appeal  to  the  inner  man.     He 

doesn't  take  orders  from  the  cameraman  but  from  the  steward 


tea,  and  a  brioche  and  a  liberal  French  tip 
and  get  back  the  change  from  a  quarter. 
If  you  are  going  in  for  anything  spiritu- 
ous under  champagne,  by  the  glass,  you 
can  still  use  your  quarter.  If  you  want  to 
visit  the  Gambling  Hell  on  the  right,  as 
they  always  do  in  the  stories  sent  in  to 
picturize,  it  will  cost  you  an  additional 
seven  cents  to  get  in,  but  considerably 
more  to  get  out,  however. 

I  have  mentioned  these  few  facts  in 
case  you  wondered  why  Rex  Ingram  and 
his  faithful  band  seemed  to  be  staying  in 
such  a  God-forsaken  place  as  Nice ! 

They  Shall  Not  Pass 

""There  is  a  great  deal  of  ceremony  at- 
tendant on  a  visit  to  the  Rex  Ingram 
Studios.  This  is  due  to  two  causes :  first, 
nearly  every  American  and  a  large  per 
cent,  of  foreign  visitors  in  Nice  consider 
Rex  Ingram  and  his  studios  a  legitimate 
Baedeker  attraction.  Something  had  to 
be  done  about  it.  And  second,  Harry 
Lachmann,    Rex    Ingram's    dynamic    per- 


sonal and  Production  Manager,  who  is 
perhaps  one  of  the  greatest  red-tape 
artists  in  the  world.  It  is  easier  for  John 
D.  Rockefeller  to  pass  thru  the  eye  of  a 
needle  than  it  is  for  anyone  to  enter  the 
Rex  Ingram  domain. 

The  first  time  I  went  to  the  studios  a 
limousine  and  chauffeur  were  sent  to  my 
hotel  to  take  me.  St.  Augustin  lies  three 
miles  north  of  Nice.  Half  the  distance 
is  along  the  Promenade  des  Anglais,  the 
fashionable  shore  front  where  are  all  the 
big  hotels  and  the  villas  of  foreign  nobil- 
ity. The  chauffeur  they  sent  for  me  must 
have  been  a  taxi  driver  in  Paris  at  some 
time  during  his  career,  for  he  proceeded 
to  drive  madly  and  homicidally  along  the 
Promenade  and  head  on  at  the  traffic.  His 
chief  delight  seemed  to  be  in  trying  to 
maim  pedestrians.  Finally,  when  we  did 
get  out  of  town,  he  contented  himself  with 
trying  to  force  the 
speedometer  to  ex- 
ceed its  limit.  I  sat 
watching  it,  fatally 
fascinated,  as  it 
mounted  from  40  to 
50,  50  to  60,  60  to 
70,  70  to— I  laid  my 
hand  on  the  ma- 
niac's arm  and 
pleaded, 

"Qu'cst-ce  que  vous 
desirez,  monsieur?" 
He  laughed  with 
childish  delight  and 
told  me  that  it  only 
registered  kilo- 
meters, not  miles.  I 
had  forgotten  that. 
Still,  we  were  doing 
nearly  60  miles  an 
hour  at  the  moment, 
and  I  was  in  no 
hurry. 

Fortunately,  we 
left  the  main  road 
and  were  going 
round  sharp  curves 
up  into  the  hills. 
We  passed  the  Gau- 
mont  Studio, 
crossed  over  the 
railroad  tracks  and 
the  fast  Paris-Rome 
Express  going  by  at 
the  time,  and  made 
a  turn  on  two 
wheels  and  were 
brought  before  the  gates  of  the  studio. 
Instantly  the  French  guards  —  three  of 
them  —  sprang  out  of  the  little  guard- 
house and  stood  stolidly  at  the  ends  of 
the  enormous  chain  that  barred  the  way. 
A  long  and  unduly  excited  conversation 
followed  wherein  I  was  being  explained, 
almost  unsuccessfully.  It  seemed  I  had 
no  pass !  However,  I  was  admitted  grudg- 
ingly. We  drove  up  to  the  Administra- 
tion Building. 

In  Splendid  Isolation 

There  were  swarms  of  people  all  rush- 
ing  about  on   obviously   important  mis- 
sions.   Those  who  took  notice  of  me  glow- 
ered at  me.      I  felt  d e  trop.     Finally,  I  asked 
someone  where  I  could  find  Mr.  Ingram. 
"Ingram  ?     You  mean  Lachmann !" 
Still   protesting  that  I  did  not  want  to 
see  Lachmann,  but  Ingram,  I  was  shown 
toward  Lachmann's  office.     I  was  bent  to 
it  by  this  time  and  I  said  I  would  like  to 
see  Mr.  Lachmann. 

{Continued  on  page  87) 


66 


FACING   DEATH   For   a   LAUGH 


( (  (mtmutd  t'<>m  pagt  .ti  i 


Harold  had  the-  nai 
rawest  escape  from  .<l 
most  certain  death  of 
,iii\  time-  in  ins  career. 
\t  the  completion  of 
his  climb  up  tut-  side 
i  building,  I  1<'mI 
was  t>>  crawl  along  a 
narrow  ledge  .it  the 
edge  of  the  roof,  where 
Ins  feet  were  t>>  become 
entangled  in  the  ro[K-  of 
a  flag-pole.  Tripped  bj 
the  rope,  he  was  to 
fall  over  the  edge  and 
sw  ink;  feet  down     Need 

less  tn  Saj .  there  was  .1 
small  protecting  net 
under  him.  Even  as 
ess  ,i  stunt  come- 
dian as  Lloyd  h.is  no 
passion  for  deliberate 
suicide.  The  rope  about 
his  feet  not  only  looked 
loosely  knotted,  but 
really    was. 

Lloyd  miscalculated 
the  strength  of  his 
swing,  and  was  Swept 
into  space  a  full  five 
feet  beyond  his  protect- 
ing net.  He  felt  the 
rope  about  his  ankles 
begin  to  slip,  and  for 
one  frightful  moment 
he  dangled  there  head 
downward,  helpless  to 
avert  the  disaster. 
Then,  pendulum  like. 
his  body  swung  back 
over  the  net  just  as  the 
ropes  finally  worked 
loose — and  he  drooped 
to  safety,  with  less  than 
a  yard  to  spare. 

The  Sky  Is  His  Limit 
r\oUGLAS  Mac!  bah 
has  gone  even  sky- 
scrapers one  better  in 
two  of  his  pictures — 
"Going  L'p"  and  "That's 
My  Baby"  —  and  has 
literally  made  the  sky 
the  limit  in  his  laugh- 
making  efforts  by- 
using  air-planes  for  the 
thrill  sequences. 

A  carefully  staged 
crash  furnished  one  of 
the  best  "gags"  for 
"Going  LTp,"  a  crash 
that  was  supposed  to 
occur  just  as  the  plane 
was  taking  off.  A  large 
hole  was  dug  across  the 
runway  and  filled  with 
soft  mud.  With  Mac- 
Lean  in  the  back  seat 
and  a  pilot  in  the  front 
seat,  both  firmly  strapped  in,  the  plane 
taxied  at  full  speed  down  the  runway, 
struck  the  mud-filled  hole,  careened  craz- 
ily  for  a  moment  like  a  rampant  cyclone, 
then  crashed  with  a  thoroness  even  greater 
than  had  been  anticipated.  Thanks  largely 
to  Lady  Luck's  good  offices,  neither  Mac- 
Lean  nor  the  pilot  was  seriously  injured, 
but  the  way  the  camera  caught  them  rue- 
fully rubbing  bruises  as  they  crawled  from 
the  wreckage  was  not  acting— it  was  the 
real   thing. 


Harold  Lloyd,  at  the  top,  supplied  a  typical  thrill  in  "Girl  Shy."  He 
grasped  the  tip  of  a  trolley  pole  and  was  carried  down  hill  at  thirty 
miles  an  hour.  The  stunt  was  successful  with  luck  and  perfect 
timing.  Below  is  Douglas  MacLean  who  spent  an  entire  afternoon 
crawling  perilously  around  the  wing  surfaces  of  a  plane — while  he 
prevented  Harry  Earles,  the  midget  who  played  the  baby,  from 
jumping  overboard 


supposedly  in  an  effort  to  retrieve  an  over- 
venturesome  baby  whose  wandering  com- 
plex had  caused  it  to  crawl  from  the 
cockpit.  The  fact  that  Harry  Earles — the 
midget  in  "The  Unholy  Three" — played 
the  role  of  the  baby  man:  it  possible  to 
have  trlost  of  the  scenes  photographed  in 
the  air,  some  being  made  by  a  motor- 
driven  camera  attached  to  the  wing,  and 
others  by  a  cameraman  in  the  plane  itself. 


tins    |ik  tin*-    i  ailed 
.t    big.    uiiAi.l.l,      I'ull 
man  like  auto  trail* 

its 

''I  at 
In  r.ikm  ■  U  |  -•  i|  down 
.1  tteep  lull  At  the 
tune  'ight,    the 

tiailir  contained   I  »• 
.Hid  ball  a  <l' 

ilme  players 
Not  caring  to  take 
any  unnecessary  risks, 
the  director  had  a  Ik 
wire,  i  ti  visible  in  the 
picture,  attached  be- 
tween the  trailer  and  a 
windlass  out  of  camera 
range.  The  arrange- 
neiit  worked  beautiful- 
ly until  the  windlass, 
with  the  usual  ill-timed 
perversity  of  inanimate 
things,  jammed  ju 
the  trailer  was  at  the 
apex  of  its  flight.  Un- 
equal to  the  sudden 
strain,  the  wire  snapped 
like  thread,  and  the 
runaway  became  the 
real   thing. 

Denny  and  the  play- 
ers with  him  hurriedly 
decided  that,  rather  than 
court  certain  injury  by- 
jumping,  they  might  as 
well  stick  with  the 
plunging  trailer  and 
trust  to  a  near-miracle 
to  come  out  of  the  af- 
fair alive.  The  near- 
miracle  happened  and, 
tho  the  trailer  was 
smashed  into  junk  on  a 
big  boulder  near  the 
bottom  of  the  hill,  there 
was  not  a  single  serious 
casualty  among  its  pas- 
sengers. 

Foxe  Tells  One 
A  wreckhi  speed-boat 
^^  gave  Earle  Foxe 
plenty  of  excitement 
and  a  fair  amount  of 
physical  damage  during 
the  filming  of  one  of 
the  Van  Bibber  stories. 
"We  were  rounding  a 
buoy  just  off  San  Pe- 
dro," Foxe  told  me 
later,  "and  I  was  sup- 
posed to  gain  several 
yards  on  my  pursuers 
in  another  speed-boat  as 
we  swung  around  the 
buoy.  Any  motor-boat 
racing  enthusiast  will 
tell  you  what  a  thrill  it 
is  to  .whirl  past  these 
markers,  with  one  engine  pounding  straight 
ahead,  and  the  other  in  reverse,  and  the 
Craft  making  anywhere  from  twenty  to 
thirty-five  miles  an  hour.  The  water 
whizzes  past,  the  spray  burns  your  face, 
and  the  little  boat  trembles  in  every 
timber! 

"We  were  making  a  number  of  shots 
and  had  no  trouble  until  we  made  the  third 
dash  past  the  buoy.  Then  I  thought  I 
felt  a  sinister  twist  in  the  bottom  of  the 
boat.     It  was  a  faint  grinding,  as  if  some- 


Denny's  Risks 

In    "That's    My    Baby,"    MacLean    spent        A  BROKEN    wire    nearly    caused    Reginald  thing  had  crunched  loose.     Right  then  was 

an   entire   afternoon   crawling   precariously  Denny  a  broken  neck  in  making  "Cali-  when  I  should  have  told  the  pilot  to  stop, 

around  on  the   wing  surfaces  of    a  plane,       fornia    Straight    Ahead."     One   episode   in  (Continued  on  page  79) 


67 


PAINTED     PEOPLE 


that   mama   as    Camille   was   all.  she   could 
endure  by  way  of  memory. 

In  a  sense,  too,  she  was  somewhat  re- 
lieved about  mama.  She  had  looked  so 
peaceful  after  she  had  stopped  breathing. 
Yes,  she  was  a  little  bit  glad  about  it. 
Now  she  wouldn't  ever  have  to 
feel  that  funny  clutch  at  her 
throat  when  she  woke  in  the 
mornings  to  see  her  mother 
standing  before  the  mirror  rub- 
bing ice  over  her  thin  cheeks  and 
muttering,  "I've  got  to  look  bet- 
ter than  this  .  .  .  I've  got  to  .  .  ." 

Or  that  same  cold  clutch  when 
her  mother  and  father  would 
interview  some  new  ingenue  and 
her  father  would  pinch  the  girl's 
arm,  turn  her  and  twist  her 
around  with  hands  that  seemed 
to  loiter  stickily  over  the  job 
.  .  .  she  hadn't  been  able  to  en- 
dure the  sight  of  her  mother's 
face  at  times  like  that. 

Of  course,  she  would  miss  her. 
She  would  miss  her  frightfully. 
Her  mother  had  been  sweet  at 
times.  Times  when  papa  had 
been  in  the  room  every  night 
and  when  no  new  ingenues  had 
been  forthcoming.  At  times  like 
these  she  had  really  seemed  to 
understand  the  afraid,  hurt  little 
heart  that  was  Jonquil's  .  .  .  she 
would  grab  hold  of  her  and  kiss 
her  all  over  her  little  heart- 
shaped  face  and  say,  "You  poor 
little  kid,  vou  .  .  .  you  poor  little 
kid  .  .  ." 

Or  she  would  gather  her  up  in 
her  lap  and  rock  her  and  tell  her 
stories  about  when  she  was  a 
little  girl  at  home  with  Grand- 
mother Rogers  in  a  white  house 
that  smelt  of.  lilacs  outside  and 
lavender  inside  .  .  .  heaven- 
stories,   Jonquil  thought. 

But,  for  the  most  part,  Jonquil  was  glad 
that  mama  had  gone,  gone  out  of  the  sight 
of  papa  and  the  other  things  that  hurt 
her.  Jonquil  guessed  that  there  had  been 
a  lot  of  things   .    .    . 


As  for  papa,  she  hated  him  with  a  sort 
of  concentrated  fury.  She  mixed  him  up 
with  her  hatred  of  grease-paint.  She 
couldn't  figure  out  whether  papa  was  to 
blame  for  grease-paint  or  grease-paint  was 
to  blame  for  papa.  She  knew  that  she 
had  always  hated  him.    . 

Papa  was  known  as  a  hail-fellow-well- 
met,  whatever  that  might  mean.  He  had 
a  veinous,  red  face  and  curly,  reddish 
hair  and  very  white  teeth,  one  of  which 
was  gold,  and  big  paddy-shoulders,  and 
he  wore  very  splendid  clothes  of  plaids 
and  checks.  He  usually  was  to  be  seen 
biting  on  a  very  thick,  black,  moist  cigar. 

He  had  a  loud  voice,  too,  and  louder 
laughter.  He  was  always  telling  "funny 
stories,"  judging  from  the  shouts  of 
laughter  that  surrounded  him  when  he  was 
among  men  and  the  thin,  knifey  shrieks 
that  surrounded  him  when  he  was  among 
women,  as  he  usually  was.  He  always 
called  women  "little  gull"  or  "darling"  or 
"sweetheart,"  no  matter  how  slightly  he 
knew  them  and  providing  they  wore  sheer 
blouses  and  make-up. 

In  some  way  Jonquil  connected  her 
mother's  deathly  pallor  with  her  father's 
veinous  flofidity.  If  papa  hadn't  been  so 
red,  mama  wouldn't  have  been  so  pale. 

She   remembered   her    father   as   Romeo. 


(Continued  from  page  27) 

And  she  often  thought  that  if  she  had 
loved  papa  she  would  have  felt  sorrier  for 
him  as  Romeo  than  she  did  for  mama  as 
Camille. 

There  were  lots  of  things  she  knew  and 
didn't  know   how  she  knew  them. 


Jonquil  lived  in  a  day- 
dream world — a  world 
of  whims  and  fancies. 
She  longed  to  be  un- 
derstood 


^y 


Papa  as  Romeo  was  still  florid  and 
loud  and  veinous.  He  wpuld  bellow  forth 
in  mighty  tones,  "Oh,  wer-ould  I  were  the 
ger-love  upon  that  hand  that  I  might 
ker-iss  that  fer-ace  I" 
-  She  had  always  wanted  to  laugh'  and 
cry  at  the  same  moment.  Papa  going  on 
like  that,  with  such  bulbous  eyes  and  on 
his  knees  and  everything,  and  mama 
standing  over  him  on  the  balcony,  looking 
so  pale  and  loving.  She  knew  that  papa 
would  tell  mama  to  "Shut  up,  cant  you?" 
in  about  ten  minutes,  and  that  mama 
would  cry  herself  to  sleep  because  of 
something  connected  with  papa. 

No  wonder  she  hated  it ! 

It  always  seemed  too  terrible  to  Jonquil 
that  mama  and  papa  should  be  Romeo  and 
Juliet.     So  singularly  terrible. 

It  didn't  seem  so  bad  when  mama  was 
Camille  and  papa  was  her  lover.  After 
all,  when  mama  was  dying  as  Camille,  it 
was  in  some  way  connected  with  papa. 
That  was  as  it  .should  be.  It  was  his 
fault.  It  wasn't  quite  so  silly,  even  tho 
papa  did  put  his  head  down  on  the  yellow 
lace  covering  and  pretend  to  cry  by  shak- 
ing the  pads  in  his  shoulders  and  sniffling 
thru  his  nose  the  same  as  he  did  when  he 
was  shaving. 

Oh,  well,  papa  .    .    . 

There  were  lots  of  memories  connected 
with  papa  .  .  .  there  was  that  character 
woman  who  had  been  with  the  company 
for  five  years.  Just  at  first  mama  had 
hated  the  woman.  She  had  called  her 
"that  Thing"  and  had  cried  whenever  she 
saw    papa    with    her.      Then,    toward    the 


end,  mama  had  become  sort  of  friendly 
with  her,  and  Jonquil  had  come  on  them 
once  with  their  heads  together,  crying  .  .  . 
sharing   .    .    .   something   .    .    . 

One  dreadful  night  after  the  evening 
performance  the  character  woman  had 
come  into  their  room  and  had 
shrieked  dreadful  things  at  papa. 
She  had  seemed  to  put  herself  in 
the  same  place  with  mama  and 
had  said  something  about  both 
of  them  being  "poor  dupes"  and 
"discards"  and  other  strange, 
hideous   names. 

Miss  del  Riaz  had  been  the 
woman's  name.  Jonquil  had 
never  liked  her  very  much.  She 
had  always  grabbed  hold  of  her 
and  kissed  her,  and  her  arms  had 
been  convulsive  and  her  kisses 
sticky  and  thick.  After  that 
scene,  Miss  del  Riaz  had  been 
seen  no  more,  and  mama  had 
warned  Jonquil  not  to  mention 
her   "in   front  of   papa.'' 

Jonquil  knew  that  mama  and 
papa  hated  one  another  and  she 
often  thought  that  mama  was  a 
very  good  actress  indeed  not  to 
hit  him  across  the  face  when  he 
was  trying  to  be  Romeo  and 
smirking  at  her  so  that  his  gold 
tooth  glinted  quite  beautifully. 


Jonquil  had  had  little  parts  to 
do.  now  and  then.  A  child  in 
"East  Lynne"  .  .  .  Little  Eva  .  .  . 
pale,  precocious  little  creatures. 
Mama  had  told  her  that  she 
must  always  "enter  into  her 
characters,"  and  she  had  tried 
hard.  When  she  was  Little  Eva, 
she  could  never  manage  to  die 
very  sadly,  because  she  couldn't 
seem  to  feel  that  there  was  any- 
thing so  very  sad  about  dying. 
One  died  and  went  away  amidst  a  throng 
of  fresh  flowers  and  people  dressed  up  in 
their  Sunday  best  and  was  laid  away  in  a 
field  all  neat  and  clean. 

Papa  always  said,  after  a  performance, 
"The  kid's  got  no  temperament  .  .  .  she 
takes  after  the  Rogers,   I  guess." 

Papa  didn't  know  it,  but  when  he  said 
that,  Jonquil  came  as  near  as  she  ever 
came  to  liking  him.  "Takes  after  the 
Rogers  ..."  Oh,  if  she  only  did!  If 
only  .  .  .  the  smell  of  lilacs  outside  and 
lavender  inside  .    .    .  heaven  .    .    . 

She  usually  had  to  cry  on  the  stage  and 
she  felt  that  she  did  that  very  well.  She 
was  so  frizzed  and  fussed  and  nagged 
before  she  went  on  that  she  felt  like  cry- 
ing, anyway,  and  it  was  a  real  relief  to 
be  able  to  do  so  without  having  her  ears 
boxed.  Of  course,  the  audiences  usually 
laughed  at  her  just  in  the  wrong  places, 
and  that  meant  that  papa  would  slap  her 
when  she  came  off,  but  she  was  so  glad  to 
get  off  that  she  didn't  mind  the  slap. 
Mama  usually  said  that  she  had  "done 
fine."  And  mama  was  the  best  judge  .  .  . 
having  been  a  Rogers. 

Mama  often  told  her  that  she  was  get- 
ting "good  training"  and  that  some  of 
these  fine  days  she  would  play  on  Broad- 
way ami  have  her  name  up  in  electrics. 
Broadway,  it  would  appear,  was  mama's 
idea  of  an  earthly  Paradise  .  .  .  well,  she 
would  like  to  see  Broadway  one  of  these 
days,  but  it  wasn't  Paradise  .  .  .  Para- 
dise    was     where     Grandmother      Rogers 


(Continued  on   page  74) 


68 





The  RISE  of  the  LITTLE  CINEMA 


much  t"  make  thai  the)  have  to  be  teen  bj 
a  lot  "i  people  somehow 

Like  the  Little  Theater   Movement 

••\Y/  ng  i"  build  up  mi  the  frame 

woik  oi  the  Little  theaters  thruout 
the  country.  In  score!  of  cities  thru-  are 
unall  groups  which  are  jerioush   devoted 

to  the  stage  anil  good  ilr.itn.i       l'he>    have 
theaters    and    fallowings      We    are    intei 
esting   them   in   the   bettei    films   with   the 
plan  .it  building  them  up  mti)  a  distribul 
iuK   system  on  a   small   scale      Program! 
shown  in  our  New  Vork   rheatei 
will  be  shipped  around  tins  cir- 
cuit.   To  pay  the  expenses  there 
will     be     subscription     showings. 
In     tins     way,     instead     of     being 
seen    by    a    few    hundreds,    our 
programs    will   be   seen   by    thou- 
sand- 

Symon  Gould  believes  that  the 
work  of  the  Film  Guild  will 
eventually  be  of  great  value  to 
motion  pictures  as  a  whole.  Re 
rivals  interfere  in  no  way  with 
"the  work  of  the  big  producers 
and  exhibitors.  In  fact,  a  new 
market  is  created  for  films 
which  have  been  rolled  up  and 
forgotten.  In  a  way  he  is  simply 
taking  advantage  of  an  awaken- 
ing interest  in  movies  on  the 
part  of  another  section  of  the 
public.  Small  exhibitors  with 
their  tiny  financial  risks  can  try 
new  ideas  and  experiments  that 
big  organizations  dare  not  at- 
tempt. The  very  bigness  of  the 
film  companies  has  been  against 
their  making  rapid  progress  with 
new  ideas.  Once  there  is  a  small 
public  of  say  ten  thousand  with 
a  developed  appetite  for  new 
ideas  in  pictures,  or  for  tragic 
or  "serious"  film  works,  it  is 
possible  that  new  talent  may  be 
encouraged  along  more  adven- 
turous lines.  Men  like  young 
von  Sternberg,  who  turned  out 
the  "Salvation  Hunters"  for  a 
few  thousand  dollars,  might  get 
their  chance  for  a  public  show- 
ing much  more  readily. 

Would  the  "little  films"  and 
the  "little  cinemas"  compete  in 
any  way  with  the  field  of  the 
big  companies? 

New   Ideas  for   the   Big 
Producers 


itfi'mwd  from  ptgt  35) 

i  toe   oi    the   moat    enjo) able    i 
uas  a  showing  oi  old  pictures  "t  ■  dosen 
in  fifteen  yean  bach      antique*"  the)  had 
become  bj  now      Nothing  could  have  bet 
tei     illuminated    the    big    strides    which 

in. ivies   have   taken 

urn   the  improvement   in  the  taste  oi   the 
general  publii   iUeli       I  he  directors  were 


It    is    .mis    thru    looking    at    these    old 

pictures    and    comparing     them     with    what 

we  have  done  since  thai  we  will  know  Um 
ti ue  nature  "i  the  moi nig  i"1  ture 

we   know    this,   there    will    he    lilnis    that    will 

nevei  grow  old 

Rhythmic    Motion    Esaential 


Bright     young     men     then,    but     their     little        PjUDLlY     Miki-hv    thinks    that    the 
..:.i        ._    -i„.„„... I       Tl....     ......         I—'     _u...        l.i.  _    .1 


tucks  were  ic  elementary  I      l  here  were 

no  "fadeOUtS."  There  were  all  sorts  of 
funny  skipv  and  jumps  Titlei  took  the 
place  "i  action  oi  scenerj  ,  everything 


Mo,  it  was  pointed  out.  N'o 
more  than  the  Neighborhood 
Playhouse  in  New  York  com- 
petes with  the  Shubert  Theaters. 
The  one  is  interested  in  the  art  of  the 
drama ;  the  others  in  entertaining  the 
public.  The  latter  have  a  public  ten- 
thousand  times  greater.  But  when  the 
little  theater  has  an  actor  or  an  idea  that 
the  public  take  up,  the  Shuberts  will  buy 
them. 

So  with  the  Little  Cinemas.  Their  risks 
will  cost  little,  and  their  discoveries  of  new 
ideas  (which  anyone  who  has  the  interest 
of  the  films  at  heart  prays  fervently  for) 
will  be  common  property  for  the  motion 
picture  industry  and  serve  to  liven  up 
things. 

In  the  meantime  the  taste  oi  their  high- 
brow public,  if  it  may  be  called  such,  is 
very  curious.  Chaplin  and  Harold  Lloyd 
slapsticks  are  mingled  with  German  ex- 
pressionist films,  and  are  equally  liked. 


Here  is  an  impressionistic  setting  in  the  French 
film,  "The  New  Enchantment,"  with  Jacques  Catelain 
standing  on  the  steps.  The  picture  was  directed  by 
Marcel  L'Herbier  and  is  sponsored  by  Film 
Associates 


charactei  oi  the  film  is  motion,  or  the 

ili\tlini   ..I    things    in   motion.      I    r 

ami  tell  something  about   Dudln    Murphy. 

Me    is    one    ,,)     the    figUTCI     m    tin     ait   tilm 

movement       I  lis     revolutii 
"Ballet    "f    the    Machine" 

!   and   hissed   and   laugh) 

A  lanky  young  man,  s,,it  silken 

and   risiOfUU")      He   is  lii  .me   ta 

whii  h    has    absorbed    the    ■  ■ 
about   modern  art   that   are  cur- 
rent in   Europe.     But  some 

he  may  come  back  from  his  wild 
exploit!  and  experiment^  to  give 
a  vision  of  the  great  American 
scene. 

"New  York,  in  fact,  the  whole 
sweep  of  the  American  scene, 
fascinates  me,"  he  said.  "No- 
body realizes  how  strange  the 
life  that  is  going  on  right  under 
our  noses  is.  I  am  trying  to  get 
the  fantastic  speed  and  rythm  oi 
this  jazz  age  into  a  film." 

He  is  working  now  on  a  fea- 
ture film  of  New  York  life.  It 
has  never  been  done  yet,  as 
Flaherty  has  done  the  Eskimos 
or  the  South  Sea  Islanders. 
Dudley  Murphy,  if  he  can  work 
out  his  ideas,  may  be  heard  from 
in  a  big  way. 

His  opinions  are  worth  noting  : 

"One  of  the  greatest  films 
made  here  was  James  Cruze's 
'Hollywood,'  Cruze  came  closer 
to  the  very  feeling  of  American 
life  today  than  anybody  I  know. 
King  Vidor  is  probably  our 
greatest  director  right  now.  The 
first  half  of  'The  Big  Parade' 
had  some  of  the  -finest  motion 
picture  technique  ever  done.  The 
'business'  between  Gilbert  and 
Renee  Adoree  was  marvelously 
carried  out  and  conceived.  Vidor 
has  a  miraculous  sense  of  tim- 
ing." 

Worthy    Revivals    and    New 
Ideas 


done  in  haste.  A  dummy  instead  of  a  man, 
is  thrown  from  the  train  in  "The  Great 
Train  Robbery"  of  fifteen  years  ago,  and 
he  is  very  much  a  dummy,  altho  the  train 
is  going  at  five  miles  an  hour. 

It  was  delicious  to  see  Mary  Pickford 
and  King  Baggot,  for  instance,  in  "Going 
Straight"  (1913).  The  pantomime  was 
primitive.  Mary  Pickford  very  pretty,  in 
one  of  those  wide-sweeping  skirts,  or 
whenever  you  could  see  her  face  under  a 
huge  bonnet.  King  Baggot  most  touching 
as  he  claps  his  hand  to  his  head  or  waves 
temptation  away  with  his  other  hand  in 
brisk  gestures.  That  which  was  sad  and 
tragic   is   all    fun   now ! 

If  only  some  of  these  old  thrillers  could 
be  revived  with  their  titles  touched  up.  They 
would  be  the  most  side-splitting  farces. 


"The  other  "Little  Cinema 
group,"    the    Film    Associates. 

is  headed  by  a  Mr.  Montgomery 

Evans,    2nd.      Also    an    outsider. 

A  young  man  who  likes  to  dab- 
ble with  the  arts,  and  finds  more  art  in  the 
films  now  than  in  anything  else.  The  Film 
Associates  do  more  in  the  way  of  intro- 
ducing new  pictures  than  revivals.  On 
their  programs  have  been  some  very  curi- 
ous French  films,  in  fact,  more  French 
than  German.  The  French  have  lots  of 
ideas,  and  some  great  painters.  Among  the 
pictures  shown  here,  "The  New  Enchant- 
ment." directed  by  l'Herbier,  was  a  fake  on 
a  detective  thriller  and  built  along  the 
crazy  lines  of  "Dr.  Caligari."  It  had  the 
aid  of  one  of  France's  greatest  modern 
painters,  Fernand  Leger.  in  the  making  of 
the  sets,  which  were  often  very  jolly.  It 
was  received,  however,  with  mixed  feelings 
and  its  authors  showed  on  the  whole  less 
natural  genius   for  the  film  than  the  Ger- 

(Continued  on  page  82) 


69 


GREAT  ATHLETES  of  the  SCREEN 


Witzel 


Richard  Talmadge  is  one  of  the  best 
go-getters  after  stunts  in  pictures.  He 
is  able  to  do  his  stuff  because  he's 
equipped    with    the    necessary    muscles 


world  can  not  make  a  plausi- 
ble Sandow  of  a  flabby- 
muscled  parlor  lizard.  Rip- 
pling biceps  and  flashing 
athletic  skill  are  things  to 
be  bought  only  by  honest 
sweat,   and   plenty   of    it. 

The  leading  athletic  stars 
of  the  American  screen  in- 
clude some  of  the  greatest 
all-round  athletes  the  world 
of  sport  has  known  in  recent 
years. 

An  All-'round   Champ 
Take    the    case    of    Fred 

Thomson,  for  example. 
Thomson  is  one  of  those  rare 
athletic  marvels  that  appear 
only  once  in  a  generation,  a 
natural  athlete  who  excels  in 
literally  everything.  Over- 
flowing with  vitality,  and 
blessed  with  a  perfect  phy- 
sique and  almost  uncanny 
powers  of  muscular  co-or- 
dination, Thomson  first  at- 
tracted notice  in  the  athletic 
world  while  he  was  a  student 
at  Princeton  University. 

The  next  ten  years  brought 
him  the  highest  honors  that 
any  amateur  athlete  can  at- 
tain. He  won  the  national  ten 
events  championship  of  the  United  States 
in  1910,  and  came  back  to  win  it  again  in 
1911  and  in  1913.  Later,  at  the  Inter- 
Allied  Games  in  Paris,  he  attained  the  very 
peak  when  he  again  won  the  decathlon  in 
competition  with  most  of  the  world's  best. 

It  is  to  this  amazing  all-round  athletic 
ability  that  Thomson  to  a  great  extent 
owes  the  startling  film  success  that,  in  a 
few  short  years,  has  advanced  him  from 
a  comparative  unknown  to  an  action  star 
rated  in  the  five-thousand-dollars-a-week 
class,  and  well  worth  it.  Only  an  expert 
with  years  of  track  and  field  work  and 
gymnasium  training  could  possibly  attempt 
some  of  Thomson's  film  exploits,  and  live 
to  tell  about  it.  Feats  that  to  the  average 
athlete  would  be  little  short  of  impossible 
are  mere  routine  incidents  in  the  day's 
work  to   Fred   Thomson. 

"Lefty"  from  Yale 

A  nother   action    star   who   won   national 
fame   before  he  ever   thought  of  en- 
tering pictures  is   Maurice  "Lefty"  Flynn. 


(Continued  from  page  41) 

once  All-American  fullback  with  Yale. 
Tall,  rangy,  hard,  and  fast,  Flynn  was 
one  of  the  best  Yale  backs  that  ever 
flipped  a  forward  pass  or  crashed  off 
tackle  thru  a  stubbornly  fighting  Har- 
vard line  when  precious  yards  were 
needed. 

Today  Flynn  still  keeps  in  the  pink  of 
physical  condition,  not  from  a  sense  of 
duty,  but  for  the  sheer  love  of  it.  Slam- 
ming a  medicine-ball  around  on  the  beach 
and  swimming  in  the  surf  are  daily  fea- 
tures of  his  routine.  He  is  also  rated  as 
one  of  the  best  hand-ball  players  in 
Southern  California. 

"Lefty"  stands  six  feet  two  in  his  silk 
hosiery  and  weighs  one  hundred  and 
ninety-five  pounds,  nearly  every  ounce  of 
which  is  solid  bone  and  muscle.  Not  con- 
tent with  merely  doing  the  physical  feats 
called  for  by  the  scenario,  one  of  "Lefty's" 
favorite  recreations  on  location  is  to  cause 
incipient  heart  failure  to  bystanders  by 
adding  little  extemporaneous  stunts  of  his 
own. 


Lumicre 

George  Walsh  has  long  been  recognized  as  one  of  the  screen's 

best  athletes.     While  at  Fordhajn  College  he  indulged  in  all 

kinds  of  sport  activities,  shining  particularly  well  at  baseball 

and  football 


A  typical  incident  of  this  kind  occurred 
recently  while  scenes  were  being  filmed 
on  a  cable  carrier  suspended  at  a  dizzy 
height  over  the  rocky  gorges  of  a  mining 
camp  in  the  high  Sierras.  "Lefty"  and  the 
villain  engaged  in  a  wrestling  match  in 
the  frail  little  carriage  a  hundred  and 
eighty  feet  above  terra  firma  with  a  real- 
ism that  would  have  raised  gooseflesh  on 
a  cigar-store  Indian.  The  director  heaved 
a  sigh  of  relief  when  the  shot  was  over 
and  the  signal  given  for  the  carriage  to 
be  drawn  in. 

But  the  worst  was  yet  to  come.  The 
wires  jammed  and  the  carriage  stuck.  Im- 
pelled with  a  sudden  daredevil  urge,  "Lefty" 
decided  not  to  wait  till  the  tangle  was 
cleared.  Leaving  the  carriage,  he  calmly 
started  hand-over-hand  along  the  steel 
cable  toward  the  platform  fifty  feet  away. 
It  was  a  feat  more  suited  to  a  Japanese 
gymnast  than  to  a  two-hundred-pound 
American,  but  'Lefty"  made  it. 

Grinning  at  the  anguished  warnings  of 
the   director,   who   saw    visions   of    several 


thousand  dollars'  worth  of  high-priced 
picture  star  sailing  thru  space  to  immi- 
nent and  permanent  ruin,  Flynn  took  his 
own  sweet  time  on  the  journey  and 
seemed  almost  sorry  it  was  over  when  his 
dangling  feet  finally  touched  the  platform 
and  safety. 

George  Wins  His  Medals 

(^eorge  O'Brien  is  another  prominent 
screen  player  who  is  a  super-athlete 
in  his  own  right.  George  has  the  physical 
build  of  a  Greek  Hercules,  the  lithe  grace 
of  a  dancing  master,  and  the  hitting 
powers  of  a  Missouri  mule. 

O'Brien  is  believed  to  be  the  only  mo- 
tion picture  actor  in  this  country  now 
holding  a  membership  card  in  the  Ameri- 
can Athletic  Union.  George's  record,  both 
he  fore  he  came  on  the  screen  and  after,  is 
a  genuinely  impressive  one.  He  starred 
as  a  halfback  at  Santa  Clara  University. 
He  holds  enough  medals  won  in  amateur 
basketball,  track,  field,  and  swimming  con- 
tests to  fill  a  sizable  cabinet. 
While  in  the  Navy  during 
the  war,  he  won  the  middle-  . 
weight  boxing  championship 
of  the  Pacific  Fleet.  Today, 
swimming  and  other  aquatic 
sports  are  his  favorites.  He 
is  rated  as  one  of  the  best 
natators  on  the  Pacific  Coast, 
having  beaten  many  of  the 
fastest  amateur  swimmers  in 
local  meets,  and  having 
finished  a  close  second  to  the 
celebrated  Duke  Kohana- 
moku  on  two  occasions. 

O'Brien  trains  as  rigor- 
ously as  any  professional 
athlete.  He  is  awake  virtu- 
ally every  morning  at  five, 
and  is  on  the  road  at  six.  He 
does  three  miles  of  road- 
work  with  his  trainer,  and 
then  boxes  from  four  to  six 
rounds.  Other  items  in  his 
training  include  rope-jump- 
ing, short-distance  running, 
shadow  boxing,  wrestling, 
and  hand-ball. 

For    his    weight,    George 
has    as    magnificent    a    phy- 
sique as  any  man  in  pictures. 
His  muscles  are  flexible  and 
(Continued  on  page  84) 


Norman  Kerry  is  a  six-footer  with  the 

powerful      physique     of     the     trained 

gymnast.     He  is  rated  as  an  expert  on 

the   parallel   bars   and   flying   rings 


70 


71 


Hollywood's  Pet  Extravagances 


(Continued  from  page  19) 


have  overlooked  one  or 
two  lesser  cars  parked 
somewhere  in  odd 
corners  of  the  Mix 
pstablishment. 

Milady's   Hats   and 
Shoes 

Norma  and  Constance 
Talmadge  have  pet 
foibles  that  are  about  as 
widely  separated  as  the 
human  anatomy  will  per- 
mit. Norma's  pet  weak- 
ness is  hats,  and  that  of 
Constance  is  shoes. 

Norma    can    no    more 
resist  the  lure  of  a  love- 
ly  hat  than   a  kitten  can 
a    sprig    of    catnip.      She 
may  start  out  on  a  shop- 
ping    trip     with     the 
avowed  intention  of  buy- 
ing   anything     from     a 
spool  of  thread  to  a  town  car,  but  it  is  a 
moral  certainty  that  somewhere  along  the 
line  she  will  acquire  at  least  one  new  hat 
before  the  afternoon  is  over. 

Constance  has  a  weakness  fully  as  fatal 
for  shoes.  She  has  footwear  for  every 
conceivable  occasion,  and  some  for  which 
she  has  never  been  able  to  find  an  occa- 
sion. Like  Norma  and  her  hats,  Con- 
stance has  yet  to  make  a  shopping  tour 
without  returning  with  at  least  one  new 
pair  of  shoes.  Her  trips  to  Europe  usu- 
ally end  in  a  veritable  orgy  of  shoe  buying 


John    Ellis 


Willard  Louis,  at  the  top,  owns  up 
to  a  weakness  for  plants  and 
flowers.  He  buys  rare  bulbs  and 
shrubs  from  all  over  the  world — 
and  frequently  wins  prizes  at  the 
floral  shows.  John  Bowers'  ex- 
travagance is  an  ambitious  one. 
In  the  center  he  is  building  a 
$300,000  home  on  a  Hollywood  hill, 
which  will  be  occupied  by  him  and 
his  bride,  Marguerite  de  la  Motte, 
when  it  is  completed.  At  the  left 
is  Seena  Owen  who  goes  in  for 
pajamas.  Her  many  acquisitions 
are  extremely  exotic — and  repre- 
sent handwork  from  all  parts  of 
the  world — including  the  Scandi- 
navian 


from  the  bootmakers  of  England 
and  the  Continent. 

Shoes  constitute  a  pet  extrava- 
gance rather  often  found  among 
theatrical  and  screen  players.  Two 
other  passionate  devotees  of  foot- 
wear in  Hollywood  are  Olive 
Borden  and  Laura  La  Plante.  In 
Olive's  case,  practically  every  shoe 
must  be  made  to  order,  which  adds 
appreciably  to  the  expense  involved. 

It  is  inevitable  that  the  various 
items  of  milady's  wardrobe  and 
jewel -box  should  rank  as  pet  ex- 
travagances with  many 
feminine  players  in  filmdom. 

The  Fan  and  Fur  Complex 

Norma     Shearer's     pet 
foible    is    fans,    and    «he    na« 


literally  dozens  of  them.  Shawls  of 
elaborate  hand-worked  designs  are  things 
that  Gertrude  Olmstead  can  never  pass 
by  without  making  a  purchase.  Her  fa- 
vorites are  two  beautifully  brocaded  silk 
pieces  which  she  had  made  in  China  to 
her  special  order.  Kathleen  Key  became 
an  addict  to  ear-rings  while  in  Italy  with 
the  "Ben  Hur"  company,  and  is  still  add- 
ing to  her  extensive  collection. 

Helene  Chadwick  and  Vera  Reynolds 
have  really  expensive  weaknesses  along 
the  wardrobe  line,  both  being  addicted  to 
furs.  Helene  goes  in  rather  heavily  for 
fur  coats,  her  present  list  including  a 
beautiful  Russian  sable,  an  exquisite 
ermine,  and  a  number  of  less  expensive 
wraps.  Vera  finds  fur  pieces  of  every 
kind  irresistible — neck  pieces,  jacquettes, 
coats — and  plays  no  fa- 
vorites in  variety. 
Pearls,  necklaces  and 
rings  made  of  them, 
are  Aileen  Pringle's 
big  weakness.  Per- 
fumes are  the  pet  ex- 
travagance of  Jetta 
Goudal,  Alma  Rubens, 
and  Lillian  Tashman, 
while  Esther  Ralston 
is  an  insatiable  flower 
lover. 

Faithful  to  their 
Foibles 

It     is     claimed     that 
Lew  Cody  never  wears 
the  same  neck-tie  twice, 
and  this  pet  foible  con- 
tributes   largely    to    the 
support     of     a     certain 
worthy    little    tie    shop 
in    Los    Angeles.      Rorl 
La   Rocque    is   a   "nut ' 
on     amateur     photog- 
raphy,   and    spends    prodigious    sums    on 
cameras,    lenses,    and    high-priced    printing 
paper. 

Pajamas  are  the  rather  unique  pet  ex- 
travagance of  Seena  Owen.  Many  of 
Seena's  acquisitions  along  this  line  are 
extremely  exotic,  and  represent  hand- 
work from  nearly  all  parts  of  the  world. 
There  is  a  practical  side  to  this  foible,  as 
well.  Miss  Owen  has  several  pajama  out- 
fits which  are  particularly  adaptable  to 
studio  use,  and  it  is  not  unusual  to  see 
her  wearing  one  of  them  on  the  set  or 
round  her  dressing-room  while  waiting  for 
the  director's  call. 

Dolls  are  Ruth  Clifford's  pet  extrava- 
gance. I  made  a  little  census  of  the 
Clifford  home  not  long  ago;  and  counted 
exactly  forty  -  seven  dolls.  Ruth  has 
bought  many  times  that  number,  but 
whenever  they  become  too  numerous  she 
pays  a  visit  to  an  orphans'  home  and 
makes  several  children  happier.  Other 
Hollywood  doll  devotees  are  Priscilla 
Dean  and  Claire  Windsor.  Miss  Windsor 
has  a  really  exquisite  collection  from  all 
nations. 

John  Bowers  has  just  one  extravagance, 
but  it  is  an  ambitious  one — a  $300,000 
home  now  being  built  on  one  of  the  hills 
overlooking  Hollywood.  Marguerite  De 
La  Motte  is  the  prospective  Mrs.  Bowers 
who  will  share  the  home  when  it  is  com- 
pleted. 

Rudolph    Valentino    specializes    in    dogs 

and   horses.     He   has    five    riding   mounts. 

and  eleven  dogs,  the  latest  addition  to  his 

kennel=    being    an     Irish    wolfhound    pup 

( (  ontinued  on  page  ?°") 


72 


Wfflffi/ltfWSKJii^TJTfflHfiBJWitf. 


Who  Is  the  Best  Dressed  Woman 

on  the  Screen? 

Three  Famous  Dressmakers  Make  Amazing  Statements  and 

Give  Their  Ideas  on  Dress 


Madame  Frances — Harry  Collins    -Maybelle  Manning — 

Those  are  names  to  reckon  with  in  the  world  of  fashion.  A  gown  from  their  ateliers 
costs  hundreds  of  dollars.  They  dress  prominent  women  in  stage,  screen  and  society 
circles. 

Whom  do  they  name  as  the  best  dressed  women  on  the  screen? 

Whom  do  they  criticise? 

What  do  they  say  about  autumn  styles? 

And  what  do  they  advise? 

Do  not  miss  this  remarkable  and  frank  feature  next  month. 

We  Interview  Gloria  Swanson 

By 
GLADYS  HALL  and  ADELE  WHITELY  FLETCHER 

The  double-interviewers,  famous  for  their  delightful  one-act  playlets  in  which  they 
cO'Star  with  the  star,  talked  with  Gloria  Swanson.  They  asked  her  all  the  questions  you 
would  like  to  ask  her. 

This  is  unquestionably  the  finest  interview  with  Miss  Swanson  ever  published — 
and  the  most  interesting  double  interview  on  which  G.  H.  and  A.  W.  F.  ever  collab' 
orated. 

For  Married  Women  Only 

An  amusing  and  at  the  same  time  interesting  story  on  the  way  in  which  the  wives 
of  movie  stars  manage  their  finances. 

Does  your  husband  turn  over  his  entire  salary  to  you? 

Do  you  pay  the  bills  and  keep  the  remainder  of  the  weekly  income  for  yourself? 

Or  does  your  husband  pay  the  bills  and  give  you  an  allowance? 

Divorces  frequently  begin  when  there  are  family  disputes  about  money.  Read  this 
story  in  which  several  wives  explain  their  several  arrangements  regarding  money  mat' 
ters  and  the  reason  why  they  believe  their  plan  is  best. 


VVVVSA<VN^^^^*N^WNIN^S^»SiN«^iVMwV 


There  Are  Features  in  MOTION  PICTURE  MAGAZINE  for  the  Whole  Family 
The  October  Number  Reaches  the  News-stands  September  First 

Reserve  Your  Copy  Now/ 


73 


'OMEDAY 

smiling  fortune  will 
escort  you  to  the 
famous 


Cocoa nut 
Grove1 

at  the 

Ambassador 

Los  Angeles 

There,  beneath  an 
azure  sky,  graceful 
palms  and  twink- 
ling lights  you  will 
dance,  as  you  never 
danced  before,  to 
the  most  alluring 
of  dance  music. 

You  are  sure  to  see 
many  of  the  world's 
most  famous 

^Motion 
Tidturz-*  Stars 

In  fact,  at  the  Am- 
bassador you  are 
sure  of  enjoying 
California  at  its  best. 

Open  Air  Plunge, 
two  Golf  Courses, 
MotionPicture 
Theatre,  Pic- 
nics, and  every 
outdoor  sport. 


Writer  for  Chef's 
Illustrated 
Cook  Book 


Painted  People 

(Continued  from  page  68) 


,^j 


''17- 


2426 


i  urn  mi  mil  mini  tiw  iiiiimiiii  vin  11111  mn-nit  nil  «\i  -mrm 


She  loathed  it  for  all  these  reasons  and 
she  loathed  it  because  of  other  little  girls 
and  front  porches. 

This  may  seem  incongruous  and  irrele- 
vant, but  it  was  definite  to  Jonquil. 

When  the  company  hit  town  in  the 
morning  and  she  did  not  have  to  be  on  in 
the  evening,  she  spent  the  day  wandering 
around  the  town.  She  strolled  up  and 
down  shady  residential  streets  where  there 
were  orderly  houses  with  green  lawns  and 
flower  beds  and  garden  swings  and  front 
porches.  Where  were  little  girls  of  her 
own  age  playing  dolls  or  games  or  some- 
thing. Little  girls  dressed  in  clean  ging- 
ham dresses  and  nice  square-toed  shoes. 

Jonquil  would  walk  along  the  sidewalks 
in  her  dark  silk  dress,  a  little  spotted,  and 
trimmed  with  lace  ruffles,  and  envy  the 
other  little  girls   ferociously. 

Their  homes.  Their  front  porches. 
Their  mothers,  in  clean  print  dresses  and 
shiny,  neat  hair  and  pleasant,  cool-sounding 
voices.  The  smell  of  baking  from  an 
open  kitchen  window,  the  tinkle  of  a  piano 
from  an  opened  parlor  window. 

Jonquil  connected  elegance  with  a  front 
porch.  She  took  an  infinite  amount  of 
pleasure  imagining  herself  seated  on  one 
afternoons,  dressed  in  crisp  white,  looking 
up  from  her  book  now  and  again  to  nod 
pleasantly   at   passers-by. 

Sometimes  the  little  girls  would  see  her 
and  stare  at  her,  and  once  or  twice  they 
called  to  her,  but  before  she  could  open 
their  gates  or  set  foot  on  their  neat  grav- 
elly walks  between  the  petunia  borders, 
their  mothers  or  elder  sisters  would  call 
to  them  and  they  would  turn  away. 

Once  the  company  had  stayed  a  week 
in  one  town,  and  she  had  actually  managed 
to  join  two  little  girls  at  their  play.  They 
had  called  to  her  and  she  had  gone  in. 
Her  heart  and  her  hope  had  beat  high. 
She  felt  quite  sure  that  they  would  like 
her  if  they  could  get  to  know  her.  They 
would  find  out  how  nice  she  was,  really. 
They  would  be  amazed  and  delighted  at 
all  the  make-believe  things  she  knew  how 
to  do.  They  wouldn't  need  to  know  that 
her  mother  was  an  actress.  She  would 
tell  them  about  her  Grandmother  Rogers 
and  the  house  with  the  lilacs  and  the 
i  lavender.  She  had  thought  about  it  so 
much   that  she  felt  quite   familiar  with  it. 

They  would  surely  like  her  when  they 
came  to  know  her.  It  was  merely  a  mat- 
ter of  takinp  the  first  step.  They  would 
probably  invite  her  for  supper  and  she 
would  see  the  inside  of  the  pleasant  house, 
the  rooms  where  the  crisp  white  curtains 
fluttered  and  the  homey,  happy  sounds 
came  from.  Their  mother  might  pat  her 
head  and  call  her  a  very  nice  child,  indeed, 
and  ask  her  to  come  again.  Once  she 
had  made  such  a  beginning,  there  was  no 
knowing  where  it  would  end.  It  might 
lead  to  almost  anything  .  .  .  being 
adopted,  perhaps.  .    .    . 

She  had  gone  up  the  path  as  swiftly  as 
she  could,  walking  against  time.  If  she 
could  get  to  them  before  their  mother 
did.  .  .  .  She  wished  that  she  had  on  a 
gingham  frock  and  clean  white  socks  .  .  . 
at  that  moment  she  discovered  the  unde- 
sirability  of  silk  .  .  .  later  on,  much 
later  on,  the  newspapers  carried  stories 
about  her  "fad"  for  wearing  ginghams 
and  linens  and  voiles  even  in  winter  .  .  . 
but  once  she  began  to  talk  to  them  every- 
thing would  be  all  right.  .    .    . 

"Hulloa !" 

"Hulloa  !'* 

"What's  your  name?" 

"Jonquil." 

"Jonquil   zvhat?" 


"I  cant  tell  the  rest.  It's  a  secret." 
(They  might  know  if  she  told  them  .  .  . 
they  might  know.) 

"That's  silly.  It  cant  be  a  secret,  a 
name  cant.  Anyway,  it's  your  daddy's 
name  first,  not  yours,  so  it  cant  be  a 
secret." 

"It  is,  tho.  Mine  is."  (All  little  girls 
had  secrets  .  .  .  she  had  seen  them,  in 
little  groups,  whispering,  bright  eyes 
glancing.) 

"Is  your  daddy   dead,  then?" 

"Yes."  (What  a  lie!  But  to  be  dead 
would  be  to  dispose  of  him,  to  put  him  out 
of  the  way,  to  throw  them  off  the  track.) 

"Ohhh  ...   is  your  mother  dead,  too?" 

"Yes."  (Another  lie,  but  she  had  to 
stop  them  asking  her  questions.  A  few 
more  questions  and  they  would  find  out  .  .  . 
Lillian  de  Vere  .  .  .  stock  company  .  .  . 
juvenile  lead.   .    .    . ) 

"Ob,  that's  awful  .  .  .  that's  too  bad 
.  .  .  well,  my  name  is  Meg  Travis,  and 
this  is  my  best  friend,  Harriet  Barne1-. 
Harriet's  mother  nearly  died  last  year 
when  the  new  baby  came,  but  they  saved 
her  with  instruments.  That's  a  secret,  so 
dont  tell.  Is  that  why  you're  dressed  like 
you  are,  because  your  mother  is  dead?" 

"Dressed  like  what?" 

"In  that  silk  dress.  It's  not  refined  to 
wear  silk  dresses  in  the  morning.  Your 
mother  wouldn't  have  allowed  you  to." 

(Impossible  to  say  that  mama  had  made 
the  dress  to  wear  mornings.) 

"I  guess  so." 

"Only  Italian  girls  and  colored  girls 
wear  silk  dresses  in  the  morning." 

This  was  difficult  going.  Jonquil  was 
dismayed  to   feel  her  eyes   fill   with  tears. 

Meg-  noticed,  thought  the  mention  of 
Jonquil's  mother  had  been  too  much  for 
her,  and  changed  the   subject. 

"Where  do  you  live?" 

"I  dont  live  any  place.    I  stay  places." 

This  ought  to  score!  She  felt,  pleas- 
antly, that  that  was  rather  neat.  "Stay- 
ing places"  had  a  real  air  to  it.   .    .    . 

"I  dont  know  what  you  mean.  Haven't 
you  moved  here?  Dont  you  live  in  a 
house?     Dont  you  go  to  school?" 

"Oh,  no,  I  never  go  to  school.  I  have 
■ — I    have  teachers." 

"Oh " 

The  little  girls  looked  at  one  another, 
considered,  then  they  said,  with  notable 
respect,  "Are  you  very  rich?" 

"Oh,  not  so  very.  We  had  quite  a  good 
season  last  year,  but  this  year  hasn't  been 
so__good.  The  movies  are  beginning  to 
cut  in  on  us  very  badly.  Some  say  that 
the  movies  will  be  the  ruination  of  stock, 
and  the  character  women  are  asking  for 
much   more  than  they  are  worth." 

Jonquil  stopped  short,  bit  her  tongue 
until  the  smarting  tears  actually  rolled 
down  her  cheeks.  She  had  gone  and  done 
it!  The  patter  of  the  theater,  of  her  life, 
had  overcome  her  again  .  .  .  the  smell 
of  grease-paint  seemed  to  rise  about  her, 
a  thick,  malodorous  screen,  shutting  her 
off  from  the  little  girls,  hiding  the  pleas- 
ant house  from  view.     Meg  spoke  first. 

"Oh,"  she  said,  in  a  prunes-and-prism 
voice,  "so  you  are  an  actress.  .  .  .  Well, 
goodness,  I  know  mother  wouldn't  want 
you  here.     Will  you  please  go  away?" 

Jonquil  walked  half-way  down  the  walk. 
Her  pulses  were  singing,  her  face  was 
fever-hot.  She  turned  abruptly,  passion- 
ately, her  voice  was  loud  and  shrill  with 
sharp  pin-pricks  of  agony.  "Yes!"  she 
screamed  at  them,  "I'll  go  away  .  .  .  but 
some  day  you'll  wish  you  could  know  me 
(Continued  on   page  80) 


74 


Three  More  Writers  Indict  the  Films     FREE     10-DayTube 


■ 


A /<u/  :       I 


from    his    bool  I  he    question 

1  iocs    he    eai  n    it        Or,    again,     \rt    the 
picture  rights  worth  th<  thai 

paid    foi    them       Some   are,   without 
question. 

It  i>  in\  firm  conviction,  thai  il  is 
possible  i"  translate  anj  given  stc 
ever]  mood  and  nuance,  ever)  essential 
emotion  fell  bj  the  creatoi  ol  il  from 
the  printed  page  into  pictured  portrayal 
on  the  screen.  That  il  is  seldom  done,  is 
quiti-  true  It  i^  the  superfine  art  in  the 
whole  range  of  motion  picture  production, 
that  surpasses  the  art  i>i  the  directoi  1>\ 
Km  the  art  of  the  director  would 
become  simplified  if  there  were  great 
interpreters  in  the  scenario  departments. 

\s  it  is  so  far,  the  directors  are  them 
selves  the  greatest  interpreters  with  a 
few  exeptions  that  the  screen  has.  This 
:  .is  it  should  be,  because  the  average 
director  combines  in  himself  the  mechani- 
cal marshaling  genius  and  aspires  to  ai 
heights  and  usually  ends  in  .1  muddle. 

The  director's  presenl  autocratic  powers 
have  been  come  bj  honesth.  on  his  part. 
From  the  earliest  days  he  has  been  called 

uiHm    to    build   a    StOUt    cable    of    entertain- 
ment   from   a   thin   worn   thread   ot    1>1» >t   or 

.  and  in  the  majority  of  cases  he  has 
proved  himself  a  wizard  for  results.     He 

has     learned     literally     to    make    something 
out  of  nothing,   so  he  and   his  collea 
have   learned   to   depend   on    nothing— revel 

in  their  wizardry  until  they  have  come 
almost  to  resent  it  when  they  are  given 
"too  much"  to  build  on.  They  feel  that  it 
reflects  on  their  prowess.  They  prefer  to 
•  alone — to  be  handed  a  silk  bat  b\  the 
author,  as  it  were,  into  which  they  1 
two  of  their  own  eggs  and  produce  an 
omelette!  However,  too  often,  the  poor 
author  gets  his  hat  handed  back  to  him 
with  the  remains  of  a  bad  egg  inside.  The 
audience  does  not  know  this,  but  audiences 
are  so  gullible  that  the  magician  would 
get  the  credit  while  failure  is  blamed  on 
the  author  and  his  hat. 

And  so  I  think  that  is  where  the  diffi- 
culty lies  in  the  main  between  author  and 
director  today.  The  director  goes  entirely 
too  far  in  depending  on  both  his  powers  cf 
creation  and  interpretation.  Nor  does  the 
aver. me  novel  go  far  enough.  A  Middle 
Art  is  requisite  in  the  writing  of  the 
Continuity.  We  need  rare  interpreters — 
such  as  June  Mathis.  let  us  say,  and  her 
exquisite  interpretation  of  "The  1 
Horsemen  of  the  Apocalypse."  Here  is 
an  instance  in  which  everyone  concerned 
gained  thru  mastery  of  the  art  of  inter- 
pretation— author,  director  and  producer. 

I  have  come  to  the  conclusion  that  there 
ought  to  be  a  school  for  the  education  of 
famous  writers  in  the  movies.  Most  of 
them  have  not  the  least  conception  of 
what  they  are  driving  at,  what  it  is  all 
about.  They  fail  to  get  the  big  idea  be- 
hind the  motion  picture,  or  to  realize  that 
the  motion  picture  has  gone  ahead  of  all 
other  forms  of  expression  in  reaching  the 
hearts  and  the  mind  of  all  the  peoples  of 
the  world,  simultaneously.  It  sometimes 
makes  me  feel  glad  that  I  am  not  a  Great 
Author  after  all. 


1     v    11  CA8 

\t     length     I     -u  it)  In. I     bun    inn     to    tin 
.  t    ..1     the    iiidtiiin    pit  lure        "I  >h,    tin 

films  are  nol  rock!  enough,     With  all  tin 
moncj    .mil    othei    kinds    of    wealth 
pended  on  them, the)    should  lie  infinitely 
bettei      So,  believing  that,  l  i li  I 

idle    1 1  (  1c.1t ami    t"    laugh. 

"I    .1111   ut    the  opinion   th.it    the   only    lilin 

st.H  \    that    should    be    i"  <  ented 

tempted.    Is    the   mie    invented    I'M     the    film 

and  never  an  adaptation  and  nevi 

"  I  be     best     thing     tin  \      do     is    the      .iipi  I 

natural.     I  nee,  I  larold  Lloyd  di  i\ 

ing  a  trolte)    car  thin  a  crowded  cit)    gives 

me    mud]    pleasure    t'>    see.        The    tilin 

the    link    between    poor    inadequate    human 

nature  and  magic    'Theatre  of  the  Deaf,' 

I  have  called  it  somewhere.  And  that  is 
really  its  greatest  boon  one  Can  see  with- 
out   havjng    to   hear    what    might    be    awful 

sometimes." 

BARONESS    ORCZY 
tation     would     smash     the     play  -   and     that 

really  cam  be  thought  of. 

"Manx  of  my  Dutch  war  stories  were 
done  in  the  films;  some  very  well,  and 
others-  well,  1  have  reasons  for  feeling 
very  much  afraid  of  what  might  be  done 
story  like  'The  Scarlet  Pimpernel.' 
The  plot  is  so  complicated  and  the  atmos- 
phere so  essential." 

The  Baroness  told  me  this  while  sitting 
at  tea  in  her  splendid  villa,  located  in  the 
select  section  of  Monte  Carlo  far  up  tin- 
heights  above  the  madding  crowd,  the 
brilliant  white  bonis  and  the  gambling 
Casino.  I'll"  it  was  February,  we  were 
ing  out  the  window  of  her  study  on 
her  formal  garden  with  all  its  wealth  of 
tropical  foliage  reflected  in  the  pool  or  seen 
thru  the  shimmering  fountain  playing  in  its 
center. 

"  'The  Scarlet  Pimpernel'  was  my  sec- 
ond bonk,"  she  went  on.  "It  was  re- 
fused by  twelve,  a  round  dozen,  of 
publishers.  When  it  was  first  published  it 
sold  exactly  ninety  copies.  I  was  dis- 
couraged and  decided  to  make  a  play  of  it. 
Julia  Neilsen  and  Fred  Terry  liked  it  and 
bought  it.  And  that  is  how  Fred  Terry 
came  to  have  an  interest  in  'The  Scarlet 
Pimpernel.'  " 

All  of  which  should  be  potently  inter- 
esting to  the  discouraged  writer. 

FORD    MADOX    FORD 

them  after  what  he  had  said  about  them. 

We  continued  our  talk  that  night  when 
he  gave  a  party — one  of  the  sort  of  par- 
ties that  are  given  only  in  the  Latin 
Quartier  of  Paris,  where  a  score  or  more 
of  people  drift  in  dressed  as  tho  they  were 
going  to  a  nonchalant  fancy-dress  ball — 
only  they  mean  it  and  dont  mean  to  be 
grotesque  about  it  at  all.  Paris  is  so 
amusing  when  it  tries  not  to  be. 

Well,  James  Joyce  was  expected  and 
didn't  come.  But  Gertrude  Stein,  author 
of  "Tender  Buttons."  did.  And  Gelette 
Burgess,  who  gave  us  "The  Purple  Cow," 
and  Louis  Bromfield,  author  of  that 
cracking  book  of  the  year,  "Possession." 
was  there.  And  a  great  many  artists  and 
regular  people  and  a  good  time  was  had 
by  all,  I  can  assure  you. 


ARE  you  keeping  up  with  all  the  goings-on  of  the  stars  in  Holly- 
wood?     Eugene    V.    Brewster,    Editor-in-Chief    of    the    Brewster 
Publications,  contributes  every  month    in   the   Classic,   his   impres- 
sions of  the  players  and  productions  on  the  Coast. 


It's  Film 

that  makes  your  teeth  look 
"off  color"  and  invites 
decay  and  gum   troubles 


IX  a  few  days  you  can  work  a  trans- 
formation in  your  mouth  this  new 
way.  Dazzling  whiteness  will  supplant 
that  "off-color"  look  of  your  teeth.  Your 
gums  will  become  firm  and  take  on  the 
healthy  coral  tint  you  envy. 

FILM .  .  .  the  trouble  maker 

Run  your  tongue  across  your  teeth,  and 
you  will  feel  a  fdm,  a  viscous  coat.  That 
film  is  an  enemy  to  your  teeth — and  your 
gums.    You  must  remove  it. 

It  clings  to  teeth,  gets  into  crevices 
and  stays.  It  absorbs  discolorations  and 
gives  your  teeth  that  cloudy,  "off-color" 
look.  It  is  the  basis  of  tartar.  Germs 
by  millions  breed  in  it,  and  they,  with 
tartar,  are  a  chief  cause  of  pyorrhea  and 
gum  disorders. 

New  methods  remove  it. 
Your  Gums  become  Firm 

Now,  in  a  new-type  dentifrice  called 
Pepsodent,  dental  science  has  discovered 
effective  combatants.  Their  action  is  to 
curdle  the  film  and  remove  it.  Gums 
become  firm  and  of  healthy  coral  color. 
Mail  the  coupon.  A  ten-day  tube  will 
be  sent  vou  free. 


10-  Day         The  New-  Day  Quality  Dctui/rice 
Tube  to       Endorsed  by  World's  Dental  Authorit    Us 
THE  PEPSODENT   COMPANY, 
Dept.  716,    1104  S.  Wabash  Ave., 
Chicago.  111.,   U.  S.  A. 


Name  . 


Only  one  tube  to  a  family 


1198 


77 


^oii  carit  hide  a 
poor  complexion 

COSMETICS  were  never  iiv 
tended  to  conceal  facial  blerri' 
ishes,  and  the  woman  who 
tries  to  cover  up  blotches,  blackheads, 
redness,  roughness,  etc.,  with  a  coat' 
ing  of  rouge  and  powder,  will  find 
the  last  state  of  her  skin  worse  than 
the  first. 

A  dull,  splotched,  or  otherwise 
unattractive  complexion  is  frequently 
due  to  the  wrong  method  of  cleans- 
ing. The  pores  have  become  clogged 
and  they  are  unable  to  function  prop- 
erly.  Such  a  skin  needs  to  be  stimu- 
lated  by  the  pore-searching  lather  of 
a  pure  soap  and  warm  water. 

You  will  like  Resinol  Soap  for  this 
purpose — because  it  is  different.  The 
first  time  you  use  it,  the  distinctive, 
refreshing  Resinol  fragrance  it  gives 
out  will  convince  you  that  it  con' 
tains  unusual  properties.  Its  soft 
lather  almost  caresses  the  skin  as  it 
sinks  into  the  pores  and  gently  rids 
them  of  their  impurities.  Then  it 
rinses  so  easily,  too — leaving  your 
skin  soothed,  refreshed  and  soft  and 
pink  as  a  baby's. 

Resinol  Ointment  is  a  ready  aid  to  Resinol 
Soap.  In  addition  to  being  widely  used  for 
eczema,  rashes,  chafing,  etc.,  thousands  of 
women  find  it  indispensable  for  clearing  away 
blackheads,  blotches  and  similar  blemishes. 
Ask  your  druggist  about1  these  products. 

C  . — Trial  size  package  Resinol  Soap 
*  ICC  and  Resinol  Ointment.  Write  to 
Dept.  F-8,  Resinol,  Baltimore,  Md. 


Reg  the  Regular 

{Continued  from  page  49) 


while    our     clothing    dried?       Denny,     of 
course! 

It  was  three  days  before  we  were  able 
to  run  the  dingey  thru  the  surf  and  re- 
turn to  the  fishing-boat.  Three  days 
during  which  we  slept  on  the  ground,  sub- 
sisted on  fresh  lamb  stew  seasoned  with 
lobsters  and  clams  we  dug  at  low  tide,  and 
a  can  of  hardtack  Denny  had  thoughtfully 
brought    along. 

All  for  the  Fun  of  It 

A  nd  who  invented  games  to  keep  our 
■^  minds  off  our  troubles,  who  led  us  on 
impossible  treks  over  long-dead  volcanoes 
in  search  of  the  elusive  wild  boar,  who 
took  his  rifle  and  left  his  warm  blankets 
in  the  biting  chill  before  dawn  to  hunt 
the  meat  for  our  inevitable  lamb  stew? 
Nobody  but   Denny ! 

Ah,  there's  a  man  for  you ! 

I  think  to  Reg  Denny,  motion  pictures 
must  be  just  another  thing  to  interfere 
with  his   fishing  and  shooting. 

And  it's  hard  for  me,  knowing  the  other 
side  of  the  man,  to  reconcile  myself  to 
seeing  him  as  I  saw  him  on  the  set  at 
Universal  the  other  day,  shooting  his  new 
picture,  "Take  It  From  Me."  He  wore  a 
cutaway  coat  and  striped  trousers,  a  wing 
collar  and  an  impeccable  boiled  shirt  and 
patent-leather   shoes. 

He  was  the  center  of  a  massive  set  rep- 
resenting a  fashion  show.  Beautiful 
women  in  all  stages  of  dress  and  undress 
surrounded  him.  He  was  affable,  cour- 
teous, polished,  suave — yet  bewildered  in 
that  amusing  fashion  that  is  particularly 
his  own  brand  of  comedy. 

He  watched  while  lovely  models  in  gor- 
geous gowns  paraded  to  the  edge  of  a  large 
tiled  swimming  pool,  gave  one  vigorous 
wriggle  and  dropped  their  gowns  to  reveal 
themselves   in   bathing  attire. 

He  obligingly  registered  astonishment 
when  he  perceived  a  skull  and  crossbones 
painted  on  the  knee  of  petite  Frances  Dale, 
who  is  one  of  the  most  promising  of  the 
screen's  new  crop  of  actresses  and  has  a 
leading  role  in  the  new  picture. 

Yes,  he  was  quite  the  man-about-town 
on  the  set  before  the  camera,  was  Reg 
Denny. 

But  who,  I  ask  you,  was  the  first  to  rip 
off  the  wing  collar,  tear  off  the  boiled  shirt 
and  kick  off  the  patent-leather  shoes  when 
the  final  scene  was  taken  and  he  had 
reached  the  shelter  of  his  bungalow  dress- 
ing-room? You're  right;  it  was  nobody 
but  Reg   Denny ! 

Just  Like  a  Pal 

T  think  it  also  speaks  volumes  for  Reg's 
character  to  relate  that  I  found  him 
sharing  his  own  dressing-room  with  Ben 
Hendricks  and  Lee  Moran.  Not  that  there 
is  any  shortage  of  dressing-rooms  at  Uni- 
versal City ;  there  must  be  thousands.  I 
have  known  quite  a  few  stars  in  my  day 
in  Hollywood,  but  I  never  before  saw  one 
who  would  share  his  dressing-room  with 
another  player  of  less  established  standing. 
He  may  be  a  product  of  merry  old  Eng- 
land, but  I  cast  my  vote  for  Reg  Denny  as 
the  most  democratic  of   the   stars. 

What  we  talked  about  while  he  was 
getting  out  of  his  furbelows  and  into 
good  old  rough  tweeds  doesn't  matter 
very  much.  It  wasn't  a  lot  of  bunk  about 
his  desire  to  make  bigger  and  better  pic- 
tures, nor  about  his  sacrifices  for  his  art, 
nor  about  his  wife  (Renee,  a  most  charm- 
ing and  vivacious  lady)  being  not  only  his 
pal  but  his  severest  critic,  nor  about  the 
gorgeous  set  he  had  just  quitted,  nor  about 
the    pleasure    he    finds    in    his    work,    nor 


about  any  of  the  things  that  interviews 
are  supposed  to  be  about. 

If  you  want  to  know  the  honest  truth, 
we  talked  about  the  relative  values  of  a 
Dowaigac  minnow  and  a  Shannon  lure  in 
snaring  the  wily  bass,  and  whether  a  Blue 
Dragon  or  a  good  old  Coachman  was  the 
best  for  salmon  trout  under  given  condi- 
tions, and  if  a  Hispano-Suiza  motor  was 
really  practical  for  a  thirty-eight-foot 
cabin  cruiser,  and  all  such  rot  as  that.  Not 
interesting  in  the  least,  when  you  sit  right 
down  and  analyze  them. 

But  all  the  time  I  was  thinking  about 
other  things. 


Enjoys  the  Briny  Deep 


T> 


'here  was  that  other  trip  which  ended 

disastrously.  A  couple  of  years  ago, 
now;  maybe  three.  Reg  and  Ben  had  been 
out  on  the  sea  a  night  and  a  day  and  a 
night,  fishing.  They  were  coming  home  in 
the  dawn  with  three  hundred  pounds  of  fish 
in  the  tonneau  of  the  car.  A  little  girl  ran 
into  the  street  on  the  outskirts  of  Hollywood. 
To  avoid  hitting  her,  Reg  threw  the  car 
headlong  into  a  tree.  There  wasn't  enough 
of  the  car  left  to  warrant  repairs,  and 
not  much  more  of  Reg.  It  was  ten  days 
before  they  would  let  me  see  him,  and 
then  I  found  him  smoking  a  cigaret  and 
planning  the  sort  of  fishing-boat  he  would 
build  when  he  got  well. 

Then  there  was  that  other  trip,  just  last 
fall.  Reg  had,  by  that  time,  acquired  his 
boat.  It  was  a  cabin  cruiser  with  a  fuel 
radius  of  three  hundred  miles.  He  notified 
me  when  he  was  leaving,  but  I  couldn't  go. 
Their  objective,  I  knew,  was  a  group  of 
islands  off  the  coast  of  Mexico,  approxi- 
mately three  hundred  miles  south  of  Los 
Angeles  harbor.  They  scheduled  a  stop  at 
Ensenada,  en  route,   for  additional   fuel. 

The  morning  after  their  departure,  the 
wind  was  blowing  a  gale.  My  home  is 
twenty  miles  from  the  sea,  yet  the  storm 
even  there  was  terrific.  It  uprooted  a 
great  tree  in  my  yard.  We  all  worried 
about  Reg,  of  course,  but  it  is  impossible 
to  worry  very  long  about  him.  You  al- 
ways have  the  feeling  that  he  will  bob  up 
after  a  time,  smiling. 

A  week  went  by,  eight  days,  nine  days — 
and  no  word  from  them.  They  were  long 
overdue  in  port.  Jim  Mitchell,  who  writes 
pieces  for  the  paper,  was  in  my  office  one 
afternoon.  He,  too,  was  worried.  "They're 
gone,"  he  said.  "Our  wireless  reports 
from  the  southern  shipping  sayr  no  small 
boat  could  live  in  that  storm."  An  air- 
plane was  chartered  by  the  Universal 
people  and  flew  over  the  sea  for  miles  with 
no  result.  At  the  end  of  ten  days  even  the 
optimists  conceded  Reg  and  Ben  and  Hub 
Lloyd,  their  companion,  were  down  with 
Davy  Jones. 

Then  a  couple  of  days  later,  or  maybe 
three,  the  Mexican  telegraph  brought  a 
laconic  message.  "Okay,"  it  said  simply, 
and  was  signed  "Reg."  They  were  back 
in  port  at  Ensenada,  and  the  storm  had 
blown  itself  out. 

Later  Reg  told  the  story  in  a  couple  of 
sentences : 

"The  storm  held  us  back,  and  we  ran 
out  of  gas.  We  made  a  little  cove  and 
anchored.  A  fisherman  came  by  one  day 
promised  to  bring  us  gasoline  when  he  re- 
turned. He  did,  and  that's  all  there  was 
to    it." 

The  Boy  in  the   Man 

Qo  that's   Reg  Denny  as  nearly  as   I  can 
picture  him  to  you.     It's  the  Reg  Denny 
that   I    know,   and  that  you   know  on   the 
(Continued  on  page  83) 


78 


Facing  Death  for  a  Laugh 

"7  ) 

Imt  I  didn't     I  didn'l  know  a-  much  about 
its  ihcn  ai  I  do  now 
"When  we  lurched  toward  the  buoj   the 
th  time,  I   found  "in  what  thai  gi  ind 
was    and   I   got   it   with  a  b  tup,      \\  i 
prung  t!i.  and  the  i 

end  "i  the  craft  dropped  out   from  undci 
i>t  as  we  shot  fifteen  feet  in  the  wake 
of  the  buoy,     I  was  abrupt  I)   parked  there 
in  the  water  square!)  in  front  of  t In- 
speed  bo  it.    which    was   hammei 
toward  me  at  thirt)  miles  an  hour.     I  had 
no  time  to  get  even  parti)  out  of  the  way. 
The)  tried  their  best  to  stop,  and  did  sue 
ceed     in     slowing     down,     but     the     boat 
slammed  me  against  that  buo)  so  hard  that 
when   tin'   rescue   squad    finall)    fished   me 
out  they   found  thai    I'd  acquired  a  dislo- 
cated  shoulder  and  two  broken  ribs." 

Making   You   Shudder 
Deposing   tl.it  <>n   his  back  on  a  steepl) 
slanting    board   th.it    projected    several 
feet  from  the  top  of  a  towering  oil  dei 
and  trying  to  appear  nonchalantly  indi 
cut  to  tin-  yawning  void  just  under  his  re 
cumbent  form,  gave  Jimmie    ^dams  all  the 
thrills  any  sane  man  could  possibly  desire, 
in  the  filming  of  a  recent  Christie  comedy 
with  an  oil-field  locale. 

It  is  obviouslv  impossible  to  rig  a  safety 
not  on  so  skeleton  a  structure  as  an  oil 
derrick,  and  the  shots  were  taken  at  a 
near  enough  range  to  preclude  the  use  of 
concealed  wire-  or  other  similar  appliance-. 
Consequently,  Jimmie  hail  to  spend  the 
greater  part  of  a  memorable  afternoon 
clowning  on  his  precarious  perch  and 
hoping  fervently  that  the  property-man  had. 
been  conscientious  in  nailing  the  hoard 
securely  to  the  derrick   scaffolding. 

Eight  \ear-  on  the  Mack  Sennett  lot 
have  naturally  given  Billy  Bevan  enough 
thrills  to  fill  a  five-foot  book-shelf. 

"The  nearest  1  ever  came  to  death,  tho," 
Billy  told  me  one  day,  "was  via  the  pneu- 
monia route.  When  we  were  making 
'Honeymoon  Madness,'  there  were  a  lot  of 
rain  scenes  to  be  shot.  No  fooling,  1  was 
dripping  wet  for  three  solid  weeks !  I 
couldn't  even  change  to  dry  clothes  during 
the  lunch  hour.  Before  the  three  weeks 
were  over  I  felt  like  a  cross  between  a 
water-lily   and  a  drowned  cat. 

"Only  last  week  I  had  to  walk  along  a 

ledge   on   the   sixth    floor  of    a    Hollyw 1 

bank  building,  with  my  eyes  shut,  and  clad 
principally  in  a  night-gown.  I  was  sup- 
1  to  be  a  somnambulist,  who  walked 
in  his  sleep,  and  tried  to  play  golf  on  the 
ledge.  I  didn't  mind  the  height,  but  I 
hated  to  wander  around  up  there  with  my 
eyes  shut. 

Buster's  Nerve 
Di  stir  Keaton  has  been  called  "the 
little  iron  man"  because  of  the  chances 
he  invariably  takes  in  his  comedies.  Height 
stuff  is  a  "little  out  of  Buster's  line,  but 
when  it  comes  to  knockabout  thrills,  he 
will  try  practically  everything. 

Slugging  toe  to  toe  with  an  ex-pugilist 
in  a  ring,  getting  kicked  from  speeding 
trains,  trying  to  ride  a  wild  steer — they 
are  all  the  same  to  the  indomitable  Buster 
so  long  as  there  is  a  possible  laugh  in- 
volved with  the  thrill.  Keaton  has  been 
injured  half  a  dozen  times  in  the  last  few- 
years,  but  the  mishaps  have  shaken  neither 
his  nonchalance  nor  his  nerve. 

Incidentally.  Buster  gives  the  danger 
element  as  one  of  the  possible  reasons 
his  famous  habit  of  never  smiling  on  the 
ii.  "How  is  a  fellow  going  to  smile." 
Keaton  queries  plaintively,  "when  he  never 
knows  whether  he'll  spend  that  night  safe 
at  home  or  in  the  casualty  ward  of  the 
nearest  hospital?" 


I 


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^IhereS  a  difference 
worth  knowing  I 


ryo* 

TRE-JUR 
fa ce  powder 

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Imported  from 
France  in  three 
shades,  White,  Ivory 
and  Natural. 

Protects  and  Finishes 

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evening  use,  this 
cream  imparts  the 
softness  of  velvet  to 
the  skin,  and  a  powder 
finish  that  will  not 
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Painted  People 

{Continued  from  page  74) 


.    .   .   you'll  try  to  know  me,  and  I — /  wont 
let  you — there  now  !" 

She  heard  a  thin  trickle  of  laughter  fol- 
lowing her  .    .    .   refined  laughter. 


After  her  mother's  death  things  were 
much  worse.  She  no  longer  suffered 
slights  and  insults  at  the  hands  of  "nice" 
little  girls  and  their  starched  mothers,  be- 
cause she  no  longer  permitted  such  op- 
portunities. She  had  learned  to  be 
ashamed  of  herself  and  of  what  she  was, 
and  her  instinct  was  to  seek  cover. 

But  there  were  other  things.  She  trav- 
eled alone  with  her  father  now.  The  one 
advantage  being  that  she  was  given  a 
room  apart  from  his.  She  usually  shared 
it  with  the  character  woman ;  occasionally 
she  had  a  cubby-hole  alone. 

Just  at  first  she  had  slept  in  the  room 
with  her  father  and  then  there  were  always 
silly,  giggly  girls  coming  home  and  having 
supper  with  her  father  in  their  room,  and 
if  she  didn't  turn  her  face  to  the  wall  and 
pretend  to  be  asleep  he  threatened  to  box 
her  ears  "then  and  there." 

Of  course,  it  didn't  take  much  sense  to 
pretend  to  be  asleep  once  she  understood 
what  was  expected  of  her.  But  it  was 
always  just  pretend,  and  she  couldn't  help 
but  hear  him  and  his  silly  talk  and  silly 
stories  and  the  little  rushing  noises  and 
the  high  giggling  of  the  girls  in  the  room. 
There  was  always  a  great  to-do  about 
orange  juice  and  cracked  ice  and  a  great 
deal  of  talk  about  "This  is  the  stuff"  and 
"Dont  be  a  cold  potato."  At  this  stage  of 
the  game,  Jonquil  decided  that,  silly  as 
papa  was  as  Romeo,  he  was  infinitely  sillier 
as  himself. 

She  hated  it  more  and  more  all  the  time. 
She  hated  it  so  that  she  ached  inside.  She 
hated  her  father  with  his  red  face  and 
white  teeth.  The  one  gold  one.  She  hated 
the  new  character  woman  with  her  mas- 
caroed  eyes  and  thickly  reddened  lips. 
She  hated  the  new  leading  lady,  the  one 
who  had  taken  her  mother's  place,  who 
was  named  Rosie  and  smelled  of  cheap 
rose  perfume. 

She  hated,  with  a  vast  and  ever-swelling 
hatred,  the  gritty  little  rooms  in  the  gritty 
little  hotels.  She  hated  getting  up  early  in 
the  mornings  and  traveling  late  at  night. 
She  hated  china  toilet  sets  and  soggy 
mashed  potatoes  and  brown  fried  eggs 
and  everything  she  had  ever  known  in  her 
whole  life. 

She  was  desperately  unhappy.  She 
prayed  that  she  could  die.  She  even  hated 
her  own  face,  pale,  with  little  circles  of 
sleeplessness  under  her  eyes.  She  hated 
her  frizzy  hair  and  her  silk  dresses  and 
her  long,  embarrassed  legs. 

When  she  was  nearly  thirteen,  her  father 
suddenly  informed  her  that  he  was  going 
to  take  her  to  Three  Trees,  Massachusetts, 
and  "give"  her  to  her  grandmother.  Her 
mother's  mother.     Grandmother  Rogers. 

Jonquil  was  conscious  of  a  wild  pang, 
first  hot,  then  cold.  First  delight,  then 
despair,  then  a  commingling  of  the  two. 
She  said : 

"Maybe  she  wont  want  me." 

"Then  you'll  have  to  go  to  a  Home,"  the 
man  said.  "I'm  going  to  get  married 
again,  and  Rosie  wont  want  a  kid  tagging 
after  her.  I  dont  blame  her.  Why  should 
she?  Besides,  you're  getting  too  long  and 
lanky  to  do  kid  parts  and,  if  you  can  do 
anything,  why  should  you  stick  around? 
If  you  turn  out  to  look  like  anything  in 
three  or  four  years,  you  can  join  up  with 
us  again  and  earn  your  own  bread  and 
butter.      Anyway,    it    wont    hurt    the    old 


dame  to  do  something  for  you.  Aint  you 
her  own  flesh  and  blood?" 

Oh,  she  hoped  so !     She  hoped  so.  .   .   . 

Jonquil,  that  night,  lay  awake  until 
dawn.  And  when  the  dawn  came,  it  seemed 
faintly  tinted  with  rose,  for  the  first  time 
in  her  memory. 

She  didn't  honestly  see  why  the  "old 
dame"  should  do  anything  for  her  and  she 
suspected  that  she  wouldn't,  but  she  agreed 
with  her  father  that  it  wouldn't  hurt  to 
try.  After  all,  even  if  it  failed,  there 
would  be  the  Home  and  nothing  could  be 
worse  than  the  life  she  was  leading. 
Really,  a  "home"  had  a  sweet-smelling 
sound.     And  it  might  have  a  front  porch ! 


Papa  "laid  off"  for  three  days  between 
towns,  at  great  loss  to  himself,  so  he  said, 
and  they  journeyed  to  Three  Trees. 

At  once  Jonquil  loved  the  look  of  Three 
Trees.  She  felt  passionately  that  she 
never  wanted  to  step  foot  out  of  it  again, 
not  even  to  see  the  Leaning  Tower  of 
something  or  other  or  the  Obelisks,  about 
which  the  male  "heavy"  had  tried  to  en- 
lighten her  when  he  had  undertaken  her 
education  a  year  or  so  before. 

She  felt  that  she  would  die  if  Grand- 
mother wouldn't  let  her  stay.  The  streets 
were  wide  and  shady.  The  houses  were 
white  and  green  and  spandy  clean.  They 
were  set  far  back  on  velvet  lawns  and 
there  were  old  trees  over  them,  faintly 
murmurous.  There  was  no  hotel,  only  an 
"Inn,"  a  larger,  whiter,  shadier-looking 
place,  and  a  little  tablet  tacked  to  a  tree 
informed  those  who  paused  that  General 
Washington  had  once  laid  his  much- 
pillowed  head  in  the  best  bedroom  of  the 
George  Inn. 

Papa  inquired  his  way,  and  they  walked 
along  the  peaceful  New  England  streets, 
rather  badly  incongruous.  Jonquil  felt 
that  they  were,  and  the  ache  of  fear  and 
misery  returned.  Papa  in  his  "shepherd's 
plaid,"  his  Elk's  tooth,  his  gold  tooth  glint- 
ing thru  his  moist  red  lips,  his  way  of 
walking,  so  actory.  .  .  .  She.  Jonquil,  in 
the  inevitable  silk  dress  with  lace  ruffles, 
a  "picture"  hat,  silk  socks,  silly  slippers. 
Three  Trees  seemed  to  stand  away  from 
them  ...  to  draw  back  ...  to  be  pre- 
paring to  eject  them.  .    .    . 

The  "old  dame"  lived  in  a  white  house 
with  green  shutters,  also  set  far  back  from 
the  street.  It  seemed  heaven  to  Jonquil. 
Flowers  in  neat  flower-beds.  White  swiss 
curtains  swish-swishing  in  a  lilac-burdened 
breeze  against  scrupulous  window  panes. 
A  front  porch.  Geraniums  along  the  rails 
in  shiny  green  boxes.  All  orderly.  A 
place  to  stay.  A  place  to  take  root  in,  to 
call  home.  She  thought  desperately  that 
this  place  would  have  none  of  papa  and 
her.     They  didn't  belong. 

The  old  dame  herself  came  to  the  door. 
Grandmother  Rogers !  Spare  and  trim 
and  dressed  in  decent  black.  White  hair 
folded  like  quiet  wings  on  either  side  of 
her  head.  False  teeth,  of  course,  but  a 
rosy  skin  and  faded  grey  eyes. 

Grandmother  Rogers  (how  dared  he  call 
her  "the  old  dame"?)  looked  at  them, 
accusingly.  Jonquil  thought.  It  was  as  if 
she  suspected  who  they  were  and  was 
asking  them  with  her  steely  eyes  how  they 
had  dared.  .  .  .  Papa  spoke  first.  In  his 
best  manner.  Loudly,  with  gestures.  Jon- 
quil hung  her  head  for  shame  of  him. 

Grandmother  Rogers  asked  him  to  step 

inside.      She   asked   it   grudgingly,    against 

her  will.     Jonquil  found  herself  alone — on 

a  front  porch.    She  tip-toed  over  to  a  chair 

{Continued  on  page  85) 


80 


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H.  L.  Mencken  Breaks  the 
Long  Silence 

•<  tinned  from  page 

I  he  m. .i all  hi  tin-  mi > \ ie  folk    the  \->' 
scandals  ili.u  are  constantly  upsetting  pub 
lu   digesti  '.ill  after  -t  pa 

"1   know  very  little  about  them,  ex 
foi  wli.it  I  read  in  tin-  papers,"  In-  replied 

nil-  ui'  tin  in.  getting  too  much  mo 
seem  tu  carry  on  like   American  bus 
nun  at  a  trade  convention     That  i-*,  they 
get   drunk,   fight,   and   ilis|<.nt    themselves 
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haul  working  people,  and  take  their  work 
\  ei  j    sei  iousl) . 

"1  can  recall  meeting  two  women  ni.un 

ul    the    films    and    unc    man    star."    Ik-    inn 

tinned.  "It  would  be  hard  tu  imagine  more 
charming  people,  or  decenter,  I  dont  know 
anything  about  them  professionally,  save 
that  they  arc  of  dignified  position.  I  have 
never  seen  them  on  the  screen." 

"Have  \ou  ever  seen  yourself  on  the 
screen?"  I  asked. 

"No."  It  was  >hort  and  emphatic.  "Why 
should  anyone  put  me  there?" 

I  admitted  I  was  nonplussed,  and  tried 
again.  (You  know  even  the  cleverest  in- 
terviewer has  to  put  his  foot  in  it  at  least 
once  during  an  interview.) 

On  Salaries 

"\Y/iiai-    do    I    think    of    movie    salaries?" 

W  he  asked. 

"Well,  I  think  an  actor,  like  any  other 
man,  is  worth  whatever  he  can  earn  for 
his  employer,"  and  I  marvelled  at  the  keen 
judgment  of  the  man,  for  not  so  long 
\.dolph  Zukor,  president  of  Famous 
Players-Lasky  Corporation,  had  given  me 
the  same  cryptic  answer  when  questioned 
concerning  the  fabulous  salaries  paid  to 
stars  like  Gloria  Swanson,  John  Barry- 
more,  and  so  on.  Now  Mr.  Zukor's  job  is 
the  movies,  and  Mr.  Mencken  as  you  can 
tell  from  what  he  has  said,  is  remotely  in- 
terested in  them,  and  yet  he  had  hit  upon 
the  answer  to  the  whole  question  in  the 
twinkling  of  an  eye. 


Flash  Backs 

ntinued  from  page  55) 

sricral  years  this  bright  young  woman 
has  been  uplifting  the  movies  with  her 
witty   subtitles   or  dressing   up   a   [•lot   or 

three  in  collaboration  with  her  husband, 
John  Emerson.  Both  of  them  have  saved 
many  a  film  story  from  going  to  a  cold 
and  friendless  vault.  As  the  author  of 
"Gentlemen  Prefer  Blondes,"  Anita  . 
is  on  the  way  to  becoming  o)ie  of  the 
richest   royalty  earners  in   the  world. 

A  bright  little  idea  and  some  recogniz- 
able characterizations  were  dovetailed  to- 
gether and  the  result  is  the  wisest  little 
book  of  the  season — ii  hook  to  while  away 
an  hour  or  two  while  the  car  is  being 
repaired  or  when  you  want  to  restore  your 
tired  nerves. 

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being  played  on  the  stage — and  it  has  be- 
come a  cartoon  strip— with  Miss  Loos 
furnishing  the  daily  ideas  for  the  cartoon- 
ist. And  a  film  will  be  made  of  the  story 
and  play,  and  by  the  time  you  enter  the 
department  store  trenches  for  Christmas 
you  should  have  it  on  the  screen. 

When  the  idea  finally  outlives  its  use- 
fulness and  when  the  book-dealers  finally 
stop  from  tumbling  over  themselves  in 
wrapping  it  up  for  the  customers.  Miss 
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The  Rise  of  the  Little  Cinema 


{Continued  fro 

mans  do.  I  have  no  doubt,  tho,  that 
American  directors  viewing  this  and  other 
films  of  its  like  can  derive  some  new  ideas 
for  their  own  work.  That  is,  perhaps,  one 
of  the  most  valuable  things  about  a  group 
like  the  Film  Associates.  They  too  are 
counting  on  a  bigger  and  more  ambitious 
season,  and  will  show  "Rose  Bernd,"  an 
Ufa  picture,  featuring  Emil  Jannings, 
Werner  Kraus  and  Henny  Porten,  as  their 
first   offering. 

Another  group  headed  by  Joseph 
Lawren  and  Robert  A.  Sanborn,  have  se- 
cured the  tiny  Fifth  Avenue  Playhouse  at 
66  Fifth  Avenue.  Lawren  is  a  publisher, 
and  Sanborn  an  old  film  hound,  once  as- 
sociated with  the  scenario  department  of 
Universal.  They  have  taken  over  a 
theater  in  Greenwich  Village  which  was 
started  with  the  idea  of  giving  modern 
drama  and  will  present  in  it  only  modern 
films.  Exhibiting  rights  to  the  "Cabinet 
of  Dr.  Caligari"  have  been  secured,  and 
they  are  counting  on  a  long  run. 

It  will  be  amazing  if  "Caligari"  does 
draw  the  public.  Three  or  four  years  ago 
it  was  a  flop ;  but  taste  has  changed  and 
things  that  were  impossible  then  are  being 
tried  now.  "Caligari"  has  been  referred 
to  so  many  times  by  screen  critics  that  it 
has  become  a  by-word  and  the  public 
knows  much  more  about  it  than  when  it 
was  first  shown.  Its  revival  in  a  theater 
of  its  own  may  have  quite  an  effect. 

Uplifting  the  Public  Taste 

'"The  Little  Cinemas  are  doing  a  great 
deal  of  educational  work  among  the 
public  and  I  know  that  their  efforts  are 
being  keenly  watched  by  the  big  producers 
and  distributors.  The  "top-price"  features 
which  Famous  Players,  Metro-Goldwyn 
and  the  others  have  developed  have  done 
much  to  raise  the  public  taste.  Their 
greatest  worry  has  been  the  changing 
taste  of  the  public ;  it  has  been  a  night- 
mare for  them  to  spend  millions  catering 
to  some  new  fad  or  craze  which  will  be 
forgotten  next  season.  Now  it  looks  as 
if  the  really  great  films  of  the  past  few 
seasons  have  a  permanent  quality  about 
them  that  will  not  be  put  out  of  date  by 
some  new  fad.  It  is  comforting  to  think 
that  pictures  like  "The  Big  Parade,"  "The 
Merry  Widow,"  "The  Grand  Duchess  and 
the  Waiter,"  can  be  revived  and  exhibited 
successfully  many  years   from  now.     The 


in   page  69) 

time  is  coming  when  certain  feature  films 
will  so  have  mastered  their  art  that  they 
have  the  eternal  value  of,  let  us  say,  a  play 
by  Shakespeare.  They  will  not  have  to  be 
acted  over  again ;  merely  taken  off  the 
shelves  and  revived. 

The  director  of  the  International  Film 
Arts  Guild  has  devised  a  code  for  the  ap- 
preciation of  films.  With  this  bright  little 
measure-stick  you  may  decide  infallibly 
whether  the  movie  you  have  just  seen  is  a 
"classic"  or  a  nuisance : 


Suggested  Code  for  Critics 
and  Public 

1.  Faithfulness  to  the  individuality 
of  the  cinema  art.  To  what  de- 
gree docs  the  film  make  use  of 
the  particular  intrinsic  character 
of  this  new  art? 

2.  Story.  Is  it  a  mere  transposition 
of  a  novel  or  a  play,  or  does  it 
attempt  to  create  its  tale  in  terms 
of  true  cinema!' 

3.  Cast.  Are  they  merely  trans- 
posed from  the  stage  with  all  the 
routine  tricks  of  the  stage,  or 
have  they  developed  the  art  of 
pantomime  with  a  true  and  in- 
spired talent' 

4.  Photography.  Has  the  camera- 
man made  full  use  of  his  instru- 
ment, extracting  from  situations 
and  groupings  of  characters  cer- 
tain "angles"  and  "shots"  which 
set  off  the  scene  and  action  most 
vividly? 

5.  Composition.  Have  the  group- 
ings, backgrounds,  arrangement 
of  objects,  etc.,  been  carefully 
composed  to  support  the  full 
significance  of  a  situation?  Do 
the  scenes  etch  themselves  in  the 
memory,  or  are  they  merely 
stereotyped? 

6.  Direction.  To  what  extent  has 
the  director  utilized  these  sugges- 
tions in  his  work?  To  what  ex- 
tent docs  the  picture  hear  the 
imprint  of  his  individuality?  To 
what  degree  docs  it  differ  from 
the  work  of  any  other  directors? 


Hale  -  Fellow  -Well  -  Met 


(Continued  fi 

revolved  around  the  studio — or  the  very 
scene — in  which  she  was  working  at  the 
moment.  And  now  that  she  has  moved 
from  West  to  East.   .    .    . 

"I  feel  as  tho  I  had  lived  here  all  my 
life,  and  hadn't  the  slightest  expectation  of 
ever  leaving." 

If  it  is  so  with  places,  how  about  people. 
Does  she  strike  up  an  acquaintanceship,  be- 
come enthusiastic,  and,  riding  it  to  death, 
drop  all  others — to  drop  it  in  turn  when 
another  comes  along? 

"No.  If  I  once  like  a  person,  I  like 
him  always.  I  know  when  I  first  meet  a 
person  whether  I  will  like  him  or  not  }-ears 
from  now." 

"Then  you  believe  in  first  impressions?" 

"Absolutely  !" 

But  1  started  out  to  learn  why  she  seems 
never  to  worry  about  the  parts  that  may 
be  assigned  to  her,  nor  even  as  to  what  pic- 
tures they  may  be  in. 

"I  have  never  been  able  to  control  events 


om  page  59) 

— simply  able  to  make  the  best  of  them 
when  they  came  along." 

"But  dont  you  become  interested  in  some 
part,  and  hope  you'll  get  it?" 

"Not  particularly.  I've  always  been 
lucky  when  I've  let  things  take  their  course 
without   trying  to   meddle. 

"The  only  time  things  ever  went  seri- 
ously wrong  was  the  only  time  I  ever  tried 
to  make  events  take  the  course  I,  rather 
than  they,  wanted." 

"When  was  that?" 

"When  I  tried  to  break  into  pictures.  I 
u  ent  out  and  attempted  to  be  a  regular 
go-getter.  I  hung  around,  and  pestered 
people,  and  pulled  strings — and  never  got 
anything  but  the  smallest  'bits' — and  eight 
weeks  on  crutches  ! 

"And  that  made  me  realize  that  I  had 
been  trying  to  work  directly  opposite  to 
the  way  my  whole  life  had  been  molding 
itself.  So  I  brought  up  sharply,  and 
ceased  to  worry." 


82 


Reg  the  Regular 

nlinued  from  page  7K) 

icreen  10  nearly  u  the  celluloid  can  j 
that     vil>!  .uit     personality,    that    radiating 
vitality,  that   effervescence  "i   -.pint-,  that 
will  make  him  always  ju  t  .1  boj  grown  up, 

1  think  he  knows  how  to  play,  now  that 
come,  because  he  knew  how 
to  suffer  in  the  <>lil  days.     Hun-  i-.  one 
storj   l  feel  it  necessai >  t>>  tell 

Reg,  of  course,  was  bom  in  I  ngland 
and  «'t  theatrical  stock.  He  toured  the 
world  as  leading  baritone  with  the  Ban 
daman  Opera  Company,  and  was  married, 
by  the  way,  in  Calcutta,  India.  Later  he 
came  to  America  and  was  to  be  starred 
for  the  first  tunc  in  musical  corned]  in 
New    \ . n  k  when  tin-  war  broke  out. 

Naturally,  he  abandoned  all  Iti-.  plans 
and  went  to  England  to  enlist  But  before 
he  went  his  friend,  the  producer  to  whom 
he  \\.i>  under  contract  and  who  still  func- 
tions in  New  York,  patted  him  on  the 
shoulder  and  cheered  him  on.  ,r\  our  show 
will  !«.•  waiting  whin  you  come  back,"  said 
he  with  throat>   heartiness. 

So  Reg  went  to  war,  enlisting  in  the 
Arti>ts'  Rifles,  and  later  joined  the  Royal 
Air  Force,  from  which  he  retired  at  the 
end  of  hostilities  with  an  enviable  record. 
He  returned  at   once  to    New    York  to    find 

disaster  awaiting  him. 

A  Tragedy  and  a  Happy  Ending 

I— lis  wife  had  carried  on  with  her  stage 
career  until  illness  came.  She  became 
desperately  ill  and.  with  her  funds  run- 
ning low  and  no  money  except  the  meager 
..How .nice  from  Reg's  army  pay,  was  in 
desperate  condition.  When  Ren  reached 
New  York,  her  life  was  in  the  balance  and 
physicians  conceded  that  only  the  greatest 
New  York  surgeon  could  save  her. 

Reg  was  penniless. 

He  went  first,  of  course,  to  the  manager 
who  had  cheered  him  on  to  war.  He  found 
the  office  boy  hostile  and  the  manager's 
door  closed  to  him.  He  needed  $1,000  for 
the  surgeon's  fee.  For  days  he  went  up 
and  down  Broadway,  to  all  those  pals  who 
had  stayed  at  home  and  prospered,  and  met 
much  sympathy  but  never  a  shekel. 

He  was  desperate,  mad.  He  forgot  his 
pride,  told  his  story  everywhere  he  thought 
there  might  be  a  chance  to  raise  funds. 
He  offered  to  work  for  $50  a  week  if  the 
manager,  any  manager,  would  advance  him 
$1,000.  In  two  days  everyone  on  Broad- 
way knew  his  plight,  but  he  received  no 
financial  aid.  And  Renee,  his  wife,  hourly 
neared  the  crisis  of  her  illness. 

As  a  last  resort  he  stumbled  one  day  up 
the  steps  to  the  office  of  Morris  Gest, 
whom  he  did  not  know  personally,  but 
who  knew  of  him.  He  was  haggard, 
worn,  on  the  verge  of  insanity.  He  has 
since  told  me  that  he  had  determined,  that 
night,  to  do  away  with  himself  if  his  list 
chance   failed.      He   could   stand   no  more. 

Morris  Gest's  office  boy  glanced  at  him 
indifferently,  but  carried  in  his  card.  He 
came  back  in  a  moment  with  a  frown  and 
a  piece  of  paper.  "Mr.  Gest  says  he  is 
sorry  he  is  too  busy  to  see  you  just  now," 
he  reported,  "but  he  said  to  give  you  this." 

He  handed  Reg  the  piece  of  paper.  It 
was  an  envelope.  Expecting  some  scribbled 
refusal,  Reg  tore  it  open.  A  check  for 
$1,000  fluttered  to  the  floor. 

Is  there  any  wonder  that  Reg  was  a 
committee  of  one  to  welcome  Morris  ' 
when  he  came  to  California  for  a  little 
holiday  last  fall?  Or  that  he  himself  was 
Morris  Gest's  chauffeur  at  any  hour  of 
the  day  or  night  Morris  Gest  desired  a 
car?  Or  that  Morris  Gest  has  only  to 
command,  and  Reg  Denny  will  obey? 


OPPORTI'XITY     MAKKKT 


AGENTS  WANTED 


M.I    N    I  s 

t.>  fl weekly,    nrlllng  '    I 


did.      I 


inuinil 

rt«.  fidS  Broadway.  N»w  Tort. 

Vb«-iiI  ■ 

tloni  to  Mi '  I  i"\  pi(  ii  i:i.  \i  \..  \/.i\i:  and 
M.'i  ION    IMi   I  I  HE   i  I    VSSIl         N 

,..;!.  B  loni      ini'l      ' 

ileum, 

I  no,,    i  

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Kuril  si h ;,  extra  u  Wrrk.  Belling  beauti- 
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nn. i   collect.     Win.-   quick,     rtahlon   Wear   Sttlrta. 

Depl     i    ii-  13,   I'ni.iiuiMtl. 

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PATENTS 

Inventions    commercialized    on    <:i-li    or    royalty 
liasis.      Patented   or   unpatented,      in    bualn 
years.       Complete     facilities.       References.       Write 
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l'HO'lOl'I.AYS 


Phot  i  i 


PERSONAL 


Want  to  earn  some  more  money?  Sell  sub- 
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- I  i      fol     W  I 

■  _-r.it    rh. . 1. 1. 1, i) «." 
■ 

Ii.-.    Unlrw.    la 

M  in  mi. 

Il.illyv 

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STORIES  WANTED 

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\\.-  help  authors.    Submit   mannai  Tlpta  to   \\ 
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SHORT    STORIES 


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Richard  Dix  says 

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56  E.JACKSON  BLVD.  CHICAGO 


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over  20  years  ago  a  remarkable  method  for  developing  perfectly  formed 
figures — an   external  and   absolutely   harmless  method   based  on 
scientific  principles.    The  results  are  marvelous. 
In  many  cases  full  5  inches  have  been  added  to  the  busts  in  less  than  two  months. 
It  makes  no  difference  why  your  busts  are  flat  and    r*  "™"  ~~  —  "■"  ~~  ~  — "  —  —  —  - ■  ~ ■  —  —  — 
undeveloped,  this  method  never  fails.    Behind  it  are    I 
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Thousands  of  women  have  been  made  happier  I 
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83 


Cleans 
where  brushes 
cannot  reach 


The  toilet  bowl  should  be  kept 
especially  clean  in  hot  weather. 
Use  Sani-Flush!  Even  the  trap, 
unreachable  to  any  brush,  is 
cleared  of  all  sediment  and  foul 
odors. 

Just  sprinkle  Sani-Flush  into 
the  toilet  bowl.  Follow  directions 
on  the  can.  Then  flush.  That  is 
all  you  have  to  do.  All  marks, 
stains,  incrustations  vanish. 
Sani-Flush  leaves  white,  gleam- 
ing porcelain   clean  as  new. 

Sani-Flush  cannot  harm  the 
plumbing  connections.  Keep  it 
handy  in  the  bathroom  always. 

Buy  Sani-Flush  in  new  con- 
venient punch-top  can  at  your 
grocery,  drug  or  hardware  store, 
or  send  25c  for  a  full-size  can. 
30c  in  Far  West.  35c  in  Canada. 

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<2/%0&&&>242 


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PEOPLE  ADMIRE  DAINTY  ANKLES 


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Lenor  Ankle  Reducers 

ANKLES  ACTUALLY  LOOK  THIN 
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Great  Athletes  of  the  Screen 


{Continued  from  page  70) 


rippling — never  buncliy.  He  weighs  a  hun- 
dred and  seventy-five  pounds  stripped,  and 
fills  a  sixteen  and  a  half  collar  very  snugly. 
His  chest  measurement  is  forty-four 
inches,  and  his  waist  thirty.  He  lives  at  the 
Hollywood  Athletic  Club,  where  he  does 
most  of  his  training. 

A  Struggle  for  Strength 

CTew  people  know  that  Bill  Russell,  today 

one  of  the  most  powerfully  built  men 
on  the  screen,  was  given  up  as  a  hopeless 
cripple  when  he  was  a  boy  of  sixteen,  with 
one  leg  withered  and  useless  and  eight 
inches  shorter  than  the  other  as  the  re- 
sult of  a  bad  fall.  The  story  of  his  phy- 
sical rejuvenation  has  earned  for  Russell 
the  title  of  "The  Miracle  Man." 

Discharged  as  incurable  after  four  years 
in  the  hospital,  young  Russell  refused  to 
accept  the  doctors'  verdict.  Rigging  up 
an  improvised  exercising  machine  from  an 
old  bicycle,  he  set  himself  to  the  task  of 
rebuilding  his  maimed  leg.  Fighting  thru 
weary  hours,  days  and  months  with 
almost  superhuman  fortitude,  he  won  his 
battle.  \ 

He  succeeded  so  well  in  making  his  body 
whole  again  that  seven  years  later  he  be- 
came amateur  middleweight  boxing  cham- 
pion of  New  York  State.  Some  time  after 
that,  at  a  big  sportsman's  show  in  Madison 
Square  Garden,  New  York  City,  he  was 
voted  second  prize  in  a  contest  to  deter- 
mine  the  best-built   man   in   America. 

Today  Bill's  weight  is  around  the  two- 
hundred  mark,  and  there  is  not  an  ounce 
of  superfluous  flesh  on  his  magnificent 
body.  He  is  a  veritable  "nut"  on  physical 
training,  and  works  out  for  at  least  an 
hour  daily  in  his  own  private  gymnasium. 
Two  or  three  times  a  week  of  late  he  has 
been  sparring  six  fast  rounds  of  an  eve- 
ning at  the  Hollywood  Athletic  Club  with 
Gene  Tunney,  leading  contender  for  Jack 
Dempsey's  crown,  and  is  usually  able  to 
give  about  as  much  as  he  receives. 

Bill  has  proved  himself  a  real-life  hero 
on  more  than  one  occasion.  His  most  fa- 
mous act  of  heroism  occurred  at  the  Gen- 
eral Slocum  boat  disaster  in  New  York, 
in  which  twelve  hundred  lost  their  lives. 
Russell  saved  twelve  people  singlehanded 
by  swimming  to  shore  with  them,  one 
after  the  other,  and  then  secured  a  row- 
boat  and  rescued  a  score  of  others.  Even 
Bill's  native  modesty  could  not  dodge  the 
public  attention  that  this  thrilling  exploit 
attracted,  and  he  was  shortly  afterward 
awarded  the  coveted  Carnegie  Medal. 

And  Tyler,  Too 

■"Tom  Tyler,  Western  star  on  the  F.  B.  O. 
lot,  is  another  screen  athlete  whose 
physical  prowess  is  very  distinctly  not  of 
the  artificial  variety.  Tyler  had  a  good 
build  and  very  fair  muscular  co-ordination 
when  he  took  out  a  membership  in  the 
Los  Angeles  Athletic  Club,  but  no  one 
expected  that  he  would  develop  into  a  na- 
tional champion  in  less  than  a  year's  time. 
That,  however,  is  just  what  young  Tyler 
did.  He  was  introduced  to  the  weight- 
lifting  game  and  he  took  to  the  sport  like 
a    sea-going    codfish    to    salt    water.      He 


arrived  at  the  top  of  the  local  heap  in  a 
few  months,  and  then  went  after  greater/ 
honors.  He  got  them,  and  he  has  beefi 
adding  steadily  to  his  trophy  collection 
ever  since.  So  far  this  year,  he  has  won 
four  major  weight-lifting  medals,  includ- 
ing the  gold  emblem  of  the  grand  national 
championship. 

His  best  records  include  lifts  of  two 
hundred  and  two  and  a  half  pounds  in 
the  "one  hand  clean  and  jerk"  method,  and 
two  hundred  and  seventy-three  pounds  in 
the  "two  hands  clean  and  jerk."  Both 
these  lifts  include  raising  the  weight 
cleanly  to  the  height  of  the  shoulders,  then 
jerking  it  to  arm's  length  overhead  and 
holding  it  in  that  position  for  two  full 
seconds  before  returning  it  to  the  floor. 
Tom  is  now  going  after  several  new 
world's  records,  and  will  probably  attain 
them  before  many  more  months  have 
passed. 

On  the  Athletic  Roster 

It  was  his  splendid  physical  build  and  box- 
ing ability  that  brought  Reginald  Denny 
his  first  important  picture  role,  that  of 
the  hero  in  H.  C.  Witwer's  "Leather 
Pushers"  series.  Denny  was  well  known 
as  an  all-round  amateur  athlete  before  his 
screen  debut.  He  was  one  of  the  crack 
fliers  of  the  Royal  Flying  Corps  during 
the  war,  and  soon  became  boxing  cham- 
pion of  the  Corps. 

Norman  Kerry  is  another  six-footer 
with  the  trim,  powerful  build  of  the 
trained  gymnast.  In  his  school  and  college 
days,  Kerry  starred  in  both  football  and 
basketball,  and  was  rated  as  an  expert  on 
the  parallel  bars  and  flying  rings. 

Edmund  Lowe  also  gained  more  than 
average  fame  as  an  athlete  when  a  student 
at  Santa  Clara  University.  He  was  a 
member  of  one  of  the  first  varsity  teams 
to  play  Rugby  football  in  the  West,  and 
also  played  on  one  of  the  fastest  collegiate 
baseball  nines  ever  developed  in  this  part 
of  the  country.  Today  he  keeps  in  trim  by 
playing  a  hard  game  of  squash  at  the 
Hollywood  Athletic   Club  regularly. 

Raymond  Keane,  Universal's  new  juve- 
nile "find,"  was  a  high-school  track  star 
in  Denver,  with  a  state-wide  reputation. 
He  has  a  record  of  ten  seconds  flat  in  the 
hundred-yard  dash,  and  24.4  seconds  in  the 
two-twenty. 

George  Lewis,  another  new  juvenile,  was 
regarded  as  one  of  the  best  all-round  ath- 
letes ever  developed  by  a  California  high 
school.  While  at  Coronado  High  he  was 
a  three-letter  man,  captain  of  the  football 
team,  and  high  scorer  of  the  Southern 
California  basketball  conference  in  1923. 
This  list  of  real  athletes  of  the  screen 
might  be  continued  almost  indefinitely.  It 
is  obvious  that  physical  prowess,  while  far 
from  being  the  sole  prerequisite  to  success 
in  pictures,  is  a  highly  important  asset. 

For  the  American  public,  while  it  may 
occasionally  raise  a  temporary  furore  over 
the  sheik  and  other  bizarre  types,  in  the 
long  run  wants  its  heroes  to  be  decidedly 
of  the  he-man  variety,  with  the  lithe 
muscles  and  the  erect  carriage  of  an  ath- 
lete, and  the  training  and  ability  to  make 
those    muscles    really    effective. 


TJE  sure  to  read  about  the  players  born  under  the  Union  Jack— who 

are  accomplishing  big  things  on  the  screen.     And  do  not  miss  the 

story    of    the    News    Cameraman    whose    daring    exploits    keep    you 

informed  of  the  current  events  of  the  world — in  the  October  Classic. 


84 


Alilliotis  know  how  to 

Keep  Slender 

In  every  crowd  now  note  how  ilenderneM 
prevails.  F.it  has  become  the  exception.  It  ii 
■  blight  to  beauty,  health  and  fitness, and  peo- 
ple have  Ir.irnol  tO  Combat  it.  Go  ask  your 
frinuis  how  tlirs    lost  tluir  fat  anil  follow  their 

example. 

l'lir    leading    way    for    19    years    has    heen 

Marmola  Prescription  Tablets.  No  abnormal 
exercise  or  diet   is  required.    People   simply 

tAe  four  tablets  daily  until   the  weight  eoines 

down  to  normal. 
Those  delighted  users  have  told  others  until 

the  use  of  Marmola  has  spread  the  world  over. 
Your  friends  will  tell  >  ou  if  you  ask  them. 
People  who  know  are  using  over  a  million 
boxes  yearly. 

Go  try  Marmola — you  owe  that  to  yourself. 
Watch  the  weight  come  down,  the  vitality  go 
up.  Note  the  change  that  appears  in  a  mouth. 
you'll  be  glad  you  learned  about  it. 

AH  drug  stores  sell  Marmola  at  $1  a  box.  Or  it 
is  mailed  in  plain  wrappers  by  Marmola  Co., 
1609  General  Motors  Bldg..  Detroit.   Mich. 


p.      'Prescription  tablets 

Jhe  'Pleasant  Way  tofieduce 

Quick  Easy  Way/^ 

to  Learn  J 

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Picture,  Picture  —  Who 
Stole  the  Picture? 

iftnw/d  from  pagt  ■ 

..ii   into  an  inaudible  whisper.    And  Hat- 
ton  would  repl)  ! 

"It  ivi i.imlv  ii  t idiculoua,  but  he  h 
noticed  it   yet,  to  why  tell  him  that  .  .  . 

.  .  .  Iiu//.  .  .  .'"  ;itul  Ins  voi<  <■ 

would  trail  off. 

Both    knew    the    human    weaknei 

yone  >'i  wanting  i"  hear  what  is  '•■ 

about  him.    Cortex  was  no  exception, 

and  to  strong  was  tins  desire  that  a  dozen 

times   he   couldn't    resist,   even    with    the 

grinding    cameras,    and    turned    his    head 

nl  to  try  to  hear  what  they 
saying.  Just  .is  soon  as  he  <li<l,  they, 
and  Eiatton,  immediately  threw  in 
a  "bit  i>i  business"  which  attracted  atten 
tiiiti  to  themselves  Con  didn't  tumble 
For  several  scenes,  to  the  fact  that  this 
was  an  obvious  game,  Needless  to  say, 
he  wont  be  the  victim  of  this  old  troupers' 
trick  again. 

The  Stars  are  Often  Eclipsed 
STAR   h;is    less   chance   of   having   a    pit 

ture  stolen  than  anyone  else,  for  a 
tar  predominates  his  or  her  production, 
and  generally  has  much  to  say  during  the 
editing.  Bui  occasionally  it  does  happen. 
Several  examples  have  been  cited.  ( hu- 
nt the  most  recent  cases  is  that  of  a  young 
man  named  Paul  Kelly,  who  appears  in 
Thomas  Meighan's  picture,  "'The  New 
Klondyke."  Critics  thruout  the  country 
immediately  hailed  this  newcomer  as 
having  come  close   to   Stealing    man>    scenes 

from    Meighan.     That    is,    he    is    the   one 
that  leaves  the  most   lasting   impression. 

Of  course,  the  various  bits  of  motion. 
and  human-interest  gags,  vary  greatly. 
Ernest  Torrence  often  pulls  his  nose, 
'scratches  his  chin,  or  purses  Up  his  mouth. 
Lewis  Stone  pats  his  lapel.  Lew  Cody 
pulls  a  white  handkerchief  out  of  his 
pocket.  Adolphe  Menjou  has  a  little 
yawn  of  boredom,  or  a    fascinating   wink. 

Dear  old  Theodore  Roberts,  who  has 
just  returned  to  the  screen  after  a  long 
illness,  for  years  held  the  position  of 
"daddy  of  'em  all"  in  the  picture  stealing 
business.  His  famous  cigar  was  one  of 
his  greatest  assets. 

He  toyed  with  the  cigar,  rolled  it  from 
one  side  of  his  mouth  to  the  other,  or 
otherwise    manipulated    it. 


A 


Painted  People 

(Continued  from  page  80) 

and  sat  in  it,  rocking.  Once  or  twice  a 
neighbor  strolled  by,  and  Jonquil  peeped 
at  them,  almost  daring  to  nod  pleasantly 
and  casually — not  quite  daring.  Not  yet. 
Not  until  she  knew.  Her  heart  was  thudding 
against  her  slender  ribs.  The  way  it  did 
when  she  sat  in  the  ante-room  of  the  den- 
tist. Soon  she  would  know.  Soon.  .  .  . 
She  could  hear  papa  talking  inside,  very 
wordy,  very  bombastic,  in  his  best  stage 
voice.  She  could  hear  Grandmother 
Rogers,  very  quiet,  saying  very  little. 
Papa  would  spoil  it  all  .  .  .  ruin  it  .  .  . 
he  was  saying  something  about  "the  loss 
of  my  child  ...  all  I  have  left  now  ..." 
He  was  saying  it  in  his  sob-voice.  Jonquil 
felt  like  screaming  out,  "He's  a  liar  .  .  . 
he  has  Rosie!"  but  she  didn't. 

She  sat  quiet,  tensed,  a  rigid  strip  of  a 
girl.  Now  they  were  coming.  They  were 
coming  out  to  tell  her  .  .  .  by  the  time 
they  reached  her  she  would  be  dead  if  her 
heart  did  not  stop  its  mad  pounding  .  .  . 
papa  was  speaking  to  her.  .  .  . 
(To  be  continued) 


N, 


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Impressions  of  Hollywood 


(Continued  from  page  44) 


just  about  finished  "Bardelys  the  Magni- 
ficent" and  expects  to  get  a  hair  cut  in 
about  a  week,  and,  what  do  you  think? — 
he  has  promised  me  all  the  cuttings ! 
Girls,  what  would  you  not  give  for  a 
lock  of  John  Gilbert's  hair?  Haven't  de- 
cided yet  what  I  shall  do  with  it — it's 
quite  a  bunch,  you  know,  and  I  dont  need 
another  hair  mattress  just  now.  Perhaps 
I  shall  auction  it  off  and  build  a  hospital 
with  the  proceeds. 

Enjoys  Jam 

Vou  might  think  that  John  Gilbert  is  rav- 
enously fond  of  red  meat,  coarse  bread, 
limburger  cheese  and  all  that  sort  of 
thing.  I  sat  next  him  at  table  recently 
and  I  was  soon  convinced  that  he  is  noth- 
ing but  a  big  overgrown  boy — he  ate  noth- 
ing but  bread  and  jam,  mostly  jam,  and 
he  ate  several  portions  and  not  much  else. 

Not  knowing  that  Jack  was  a  real 
athlete  in  training,  I  foolishly  challenged 
him  to  a  jumping  contest.  Of  course,  he 
beat  me,  but  only  by  an  inch  or  two. 
Later  he  and  I  played  together  at  tennis 
doubles,  and  we  won  easily.  Jack  can 
do   anything   well — even   act. 


Warner's    Philosophy 


W' 


rE  have   outgrown   God,"    said   H.    B. 

Warner  to  me  at  the  lunch  table  the 
other  day.  No,  he  is  not  blasphemous,  and  he 
explained  the  remark  quite  philosophically. 
H.  B.  is  a  thinker  and  a  man  of  ideas.  I 
asked  him  what  was  man's  greatest  asset 
that  makes  for  happiness,  and  promptly 
came  the  answer  — -  "Health."  "And 
what  next?"  I  asked  and  just  as  quickly 
came  the  answer — "A  normal  brain."  Think 
it  over — there's  a  lot  of  food  for  thought 
in  that  answer.  I  dont  know  what  his 
normal  complexion  is,  but  on  this  occa- 
sion it  was  red.  He  had  been  out  fishing, 
of  which  sport  he  is  passionately  fond, 
and  the  sun  had  certainly  been  making 
love  to  his  nose  and  cheeks. 

Everybody  seems  to  like  "Silence"  ex- 
cept H.  B.  Warner,  its  star.  He  com- 
plained to  me  bitterly  about  the  "happy 
ending"  which,  he  says,  does  not  belong. 

The  Busy  Harry  Carr 

I— Iarry  Carr,  who  for  the  last  four 
months  has  been  the  Chief  Ambassa- 
dor to  the  Court  of  von  Stroheim,  repre- 
senting the  Famous  Players-Lasky  mon- 
archy, works  all  night  and  sleeps  all  day. 
Why  this  pair  cant  do  their  work  by 
daylight,  like  other  civilized  people,  I 
haven't  yet  learned,  but  I  do  know  that 
they  are  working  hard  and  expect  to  have 
something  worth  while  to  show  for  it. 
And  when  it's  all  over,  Harry  is  again 
going  to  make  his  typewriter  talk  for 
Brewster   Publications. 

The  Versatile  Victor 

Wictor  McLaglen's  meteoric  career  re- 
minds  one  of  that  of  Carl  Dane.  He 
hits  the  bull's  eye  in  "What  Price  Glory" 
and  now  he  has  written  his  autobiography. 
Very  colorful,  too  —  soldier,  professional 
boxer,     wrestler,      prospector,     Chief     of 


Police  of  old  Bagdad,  circus  performer, 
vaudeville  artist,  screen  star  and  now  an 
author. 

Beatrice  Signs 

Deatrice  Lillie  made  a  big  hit  in 
"Chariot's  Revue"  which  was  recently 
playing  here  and  on  the  strength  of  her 
personality  she  has  been  signed  up  by 
M.  G.  M.  to  do  comedy  features.  Bea- 
trice is  far  from  beautiful,  but  she  has 
personality  and  charm  and  a  good  figure 
— I  saw  it  in  Marion  Davies'  bathing  pool. 

A  Real  Western  Star 

("'oloxel  Tim  McCoy,  famous  as  "The 
friend  of  the  Indian"  and  one  of  the 
most  colorful  figures  of  the  modem  West, 
has  left  his  Wyoming  ranch  and  signed  up 
with  M.  G.  M.  to  play  the  lead  in  a 
series  of  Western  pictures.  From  all  ac- 
counts we  are  to  expect  something  new  in 
the  way  of  Westerns — not  the  old-fash- 
ioned kind,  but  something  artistic  and 
high-class  as  well  as  stirring. 

Items  of  Interest 

Ctrictly  confidential  —  dont  breathe  a 
word,  but  by  the  time  you  read  this 
there  will  probably  be  a  Lloyd  Hughes, 
Jr.,  or  a  Gloria  Hope,  Jr.,  as  the  case 
may  be. 

Don  Ryan,  who  is  well  known  to  our 
readers  (particularly  to  Classic  readers), 
is  writing  the  titles  for  "Manon  Lescaut," 
in  which  John  Barrymore  is  starring  for 
Warner   Brothers. 

Irene  Rich  certainly  struck  twelve  in 
"Lady  Windermere's  Fan"  and  now  (about 
July  1-20)  she  is  playing  a  somewhat 
similar  part  in  "My  Official  Wife,"  which 
Clara  Kimball  Young  did  a  dozen  years 
ago.  She  is  fortunate  in  her  leading  man 
— Conway   Tearle. 

Anxious  to  repeat  his  great  success  in 
"The  Ten  Commandments,"  which  he 
made  for  Paramount,  and  being  deprived 
of  the  right  to  produce  "The  Deluge" 
because  Warner  Brothers  had  a  prior 
claim,  Cecil  B.  De  Mille  has  selected 
"The  King  of  Kings,"  which  will  center 
around  the  life  of  Christ.  In  spite  of  a 
remark  I  made  in  a  previous  paragraph  I 
think  H.  B.  Warner  will  be  the  Christus. 

Warner  Brothers  think  they  have  a  real 
"find"  in  Myrna  Loy.  She  is  one  of  the 
most  unusual  types  in  pictures.  You  will 
soon  see  her  as  the  half-caste  girl  in 
"Across  the  Pacific,"  in  which  Monte 
Blue  is  to  star. 

Jack  Hoxie  feels  quite  at  home  these 
days  because  he  is  playing  the  part  of 
Buffalo  BUI  in  "The  Last  Frontier"  for 
De  Mille.  Here  we  have  a  real  Westerner 
in  a  real  Western,  for  Jack  was  once  a 
snow  -  shoed  mailman  operating  from 
Thunder    Mountain    to    Pael    Lake,    Idaho. 

Walter  Long,  they  say,  introduces  a 
new  style  of  villainy  in  "West  of  Broad- 
way," in  which  Priscilla  Dean  is  starring. 
Walter  works  his  eyes  instead  of  his 
muscles,  recalling  the  most  villainous  eyes 
that  ever  were  screened — those  of  Ernest 
Torrence  in  "Tol'able  David." 


86 


FRECKLES 


OTHINE 

Removes  This  Ugly  Mask 

There's  do  longer  the  slightest  need  i>t 
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move these  homely  Bpots. 

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disappear,  while  the  lighter  ones  have  van- 
iahed  entirely.  It  is  seldom  that  more  than 
an  ounce  is  needed  to  completely  clear  the 
skin  and  gain  a  beautiful  complexion. 

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PERSONAL 
Appearance 


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Adolphe  the  Elegant 

1    never    would   ii 

woman  had  nj    hi  ime   li£e  b©  n   | 

.mm!  rest  ml  .        peao    u  I  what 

I    most    desired   .  .   "     A 

Job  ...  .i  peace  loving,  law  abiding  •>•  >>il 

with   w  Ik  >m    Little    Mabel   itorementioncd 

might  li.i\ e  gi ''"'  '"  l  •'" "  •""'  '  "  '•    •  •  • 


Third   Stage 

Adolphe    on    tin-    Screen    and 


in     tli 


at   \\"ik 
.   .  the 


Flesh. 

Some  subtle  chemical  lias  been 
.  .  .  a  fusion  Has  taken  place 
suave  sophisticate  "t  the  screen  and  the 
simple  kindly  in. in  have  become  tubtlj 
and  indefinably  blent.  .  .  .  The  one  li.<s 
become  the  other  ,  .  .  Adolphe  is  to  be 
seen  off  tin-  screen  as  well  as  on,  debon- 
air, dangerous.  ...  He  is  to  be  seen  in 
a  swanky  car,  a  Follies  girl  at  his  side 
.  .  .  that  slight,  suggestive  smile  upon  liis 
lips.  .  .  .  No  longer  does  he  huddle  in 
hotel  lobbies,  the  horn-rimmed  glasses 
sliding  comfortably  down  his  nose.  .  .  . 
At  the  studio,  at  Sherry's,  at  tea-time, 
Adolphe  is  become  one  and  the  same  pet 
son  .  .  .  the  Sorrows  oi  Satan  may  have 
become  Adolphe's  sorrows  now  ...  a 
Man  you  would  not  permit  Little  Mabel 
to  step  out  with  lest  she  return  with  a 
bruised  gardenia   in  lieu  of  a  heart.  .  .  . 

Thus  the  Menjou. 


The  Hollywood  of  France 

{Continued  from  page  66) 

"Nobody  can  see  Mr.  Lachmann  today, 
I'll   show  you   where  his  secretary   is." 

"Oh,  Mr.  Phillips?"  said  the  secretary's 
secretary.  "Why,  both  Mr.  Lachmann  and 
Mr.  Ingram  waited  nearly  a  halt-hour 
for  you.     They   have  gone  to   Nice!" 

I  had  been  there  all  the  time  trying  to 
get  to  them.  However,  another  car  was 
put  at  my  disposal  with  an  American 
chauffeur  and  we  trailed  Rex  Ingram  to 
Les  Grandes  Bleues,  the  bathing  beach, 
where  I  chatted  with  him  in  his  abbrevi- 
ated bathing  suit. 

Making  "The  Magician" 

"\Y/i'.  are  hard  at  work  on  a  story  of  W, 
Somerset  Maugham's,  'The  Magi- 
cian,' "  he  told  me.  "We  did  a  scene 
last  night  that  kept  us  at  it  until  after 
three  this  morning.  Naturally,  we  did 
not  work  this  morning  but  are  going  to 
begin  right  after  lunch.  This  bath  is  the 
thing  that  will  take  the  sleep  out  of  me." 

He  took  a  plunge  into  the  Mediterra- 
nean. Later  we  went  up  and  had  lunch  in 
the  studio  dining-room,  where  it  is  cooked 
by  a  French  chef  in  hotel  style  and  served 
by  Italian  women  in  a  cozy  dining-hall. 
None  of  your  "Beef-and"  hand-outs,  but 
a  delicious  dinner.  They  charged  about 
thirty  cents  for  it.  I  forgot  to  say  that 
this  included  wine. 

The  whole  company  had  assembled  for 
dinner  prepared  to  work.  Rex  Ingram 
sat  silent  as  usual  with  Alice  Terry, 
his  wife,  talking  to  Petrovich,  the  leading 
man  of  the  company,  and  said  to  be  a 
remarkable  dramatic  discovery.  Paul 
Wegener,  the  "heavy"  of  the  cast,  sat 
next  to  me  on  the  left,  with   Lachmann. 

\\  e  had  just  lit  cigarets  when  a  gong 
rang.  It  was  the  signal  to  get  on  th. 
Suddenly  silence  descended  like  a  blanket 
—  it  was  really  Rex  coming  in,  and  every- 
body knew  it.  The  entire  attention  was 
riveted  on  him.  And  that  is  the  magic 
of  Rex  Ingram  and  his  remarkable  work. 


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88 


Pigs  run  wild  in  Florida.     W.  C.  Fields  discovered  the  peregrinations 

of  the  porkies  when  he  tried  to  stage  an   outdoor  dinner  at   Ocala. 

They  came  right  up  to  him  and  ate  out  of  his  hand 


The  Up -to -Date  Old -Timer 

(Continued  from  page  39) 


he  would  have  come  in  handy  ;  and  besides, 
you  would  have  been  building  him  up  all 
the  time. 

Comedies  Should  be  Built  Like  a  House 

"A  comedian  should  be  given  a  well- 
•^  worked-out  skeleton  framework — and 
then  told  to  add  the  bricks  and  ornaments 
as  he  goes  along." 

And  "bricks  and  ornament"  are  of  the 
greatest  interest  to  Mr.  Fields.  Wild  gags 
born  in  the  midst  of  action ;  little  traits  and 
quirks  of  character,  trivial  in  themselves, 
but  whose  sum  is  a  definite  and  well-drawn 
character. 

His  next  picture,  "So's  Your  Old  Man," 
is  to  be  one  such  as  this.  A  good  skeleton 
— Julian  Street's  "Mr.  Bisbee's  Princess," 
the  story  that  won  the  O.  Henry  prize — 
passed  thru  the  hands  of  Tom  Geraghty, 
whose  wild  Irish  imagination  should  add 
something,  and  then  to  himself  for  more 
"bricks  and  ornament" — to  emerge  a  tale 
of  the  tribulations  of  a  well-defined  char- 
acter, a  small-town  Babbit  jeweler. 

But  all  these  plans  dont  seem,  to  me, 
quite  to  fit  in  with  the  character  of  the 
typical  screen  comedian. 

"Then  you  dont  intend  to  do  as  Chaplin, 
Lloyd  and  Keaton — develop  a  certain  char- 
acter, with  set  make-up,  and  carry  him 
thru  different  adventures?" 


N 


Will   Submerge   His   Personality 

o — not  at  all.  I  intend  to  make  the 
development  of  the  character  I'm 
playing  more  important  than  the  register- 
ing of  my  own  personality.  But  all  the 
characters  will  probably  be  more  or  less 
related  types. 

"I  might  make  an  instant  success  if  I 
were  to  continue  making  pictures  in  the 
make-up  of  Eustace  McGarglc,  for  in- 
stance— yet  I  might  be  just  a  fad,  and  die 
quickly  as  they  always  do.  But  the  basic 
human  types  never  become  old  and  stale — 
no  more  than  landscapes  do. 

"But  then  again,  Chaplin  and  Lloyd  are 
no  fads — they'll  never  die.  I  wonder 
which  the  public  prefers — I  wish  I  knew." 


Here  we  have  the  key  to  this  man.  All 
that  has  gone  before  is  merely  the  effect 
of  a  cause.  The  alert  old-timer ;  the  user 
of  past  experiences ;  the  reasoner — all 
these  are  merely  the  effect  of  a  cause. 
And,  of  course,  a  cause  is  always  of 
greater  importance  than  its  effects.  So, 
the  fact  that  he  is  one  who  wonders  and 
puzzles  things  out  is  more  important  than 
that  it  has  kept  him  progressing  and  look- 
ing forward  beyond  the  point  where  others 
stop  and  look  behind. 

A  Sound  Philosophy 

T  am  not  drawing  the  long-bow  of  exag- 
geration— /  mean  it.  If  a  small  boy  had 
not  wondered  why  steam  made  the  lid  of 
a  tea-kettle  dance,  we  would  not  have  the 
locomotive ;  without  the  locomotive,  we 
would  still  have  had  the  boy.  And  he 
might  have  turned  out  other  things. 
Therefore : 

"Why  is  it  that  small  towns  are  always 
harder  to  please  than  the  larger  cities?" 
"I  didn't  know  they  were." 
"They  are — very  much  so.  And  it  isn't 
only  myself — it's  true  of  many  other  acts 
and  pictures  besides  my  own.  Maybe  it's 
because  they're  not  so  appreciative ;  they 
dont  appreciate  the  differences  between 
two  similar  things..  And  you  cant  do  any- 
thing new — perhaps  a  difference  in  treat- 
ment but  they  dont  notice  that  difference. 
I  f  there's  the  slightest  similarity,  it's  al- 
ways :    'I've  seen  that  before.' 

"But,  of  course,  some  things  are  uni- 
versal. I  was  in  Southampton  (perhaps 
the  most  'ultra'  of  the  Long  Island  re- 
sorts) last  summer,  and  who  do  you  think 
was  the  reigning  screen  idol?  Tom  Mix! 
All  classes — he's  universal." 
There's  no  doubt  of  it ! 
His  grey  eyes  twinkled. 

In  Search  of  New  Ideas 

"  A  ND  where  under  the  sun  am  I  to  find 
■^   a  new  idea  for  a  chase?" 

I  murmured  a  few  inarticulate  "ers" 
and  "ahs" — but  no  new  idea  was  born. 

"Everything's    been    done.      Of    course, 


.>nc  who  u.n  •  omcthing  new 

>.i\  ■  thai  ,  but   • 

"I  w ish  I  tiirtt 

It  u  ■  job,  when  one  thinks  ol  it     Vii 
planes,  cops,  boat  .  elephants,  cows,  even 
11  ipples    .ill  have  been  used. 

I   could   think   ui    nothing   and   became 
uncomfortable.      I    murmured    again    and 
prayed  to  -ill  the  goda  to  exert  then   in 
Huence  to  have  him  change  the  subject.     I 
prayed  >nd  waited. 

\n,l  he  did! 

"Win  is  it  th.it  in  two  theaters  in  tin- 
Mine  town  one  can  be  .1  dismal  Hop  and 
a  howling 

"I    once    played    in    the    Olympic 
Olympia,   I    forget  now     in  Liverpool  and 
1  think  I  came  nearer  to  being  an  absolute 

flop  than  at  an>    Other  tunc  in  m\    In. 

While  1  was  there,  .1  benefit  perform 
ancc  was  staged  in  another  theater,  and  I 
was  invited  to  participate.     I  did    .mil  was 
a  howling  success,  tho  1  didn't  do  a  quar- 
ter of  my  stuff ! 
"I  wonder  why     I  wish  I  knew." 
\nil,  on  this  note,  we  end. 


Hollywood s'  Pet 
Extravagances 

ntinued  from  page  ~-  > 

that  he  purchased  in  London.  If  the 
pup  continues  Ins  present  remarkable 
growth,  live  years  from  now  he  will  re- 
quire very  little  disguise  to  pass  for  an 
elephant. 

Pat  O'Malley's  pet  foible  is  pipes,  and 
his  collection  ranges  from  the  native 
dhudetn  of  Ireland  to  Turkish  and 
Persian  narghiles  and  hookahs.  Tat  cele- 
brated St.  Patrick's  day  last  March,  by 
presenting  a  number  of  his  friends  with 
very  doggy  little  brier  pipes  made  espe- 
cially to  bis  order  by  a  famous  firm  in 
Dublin. 

Everyone  to  His  Taste 

Golf  forms  a  real  extravagance  for 
Huntly  Gordon,  who  spends  enough  on 
clothing  and  clubs  to  ransom  a  fairly 
valuable  king.  Horses  and  their  trap; 
are  now  helping  keep  Edmund  Lowe 
broke.  Willard  Louis  has  a  home  in  Glen- 
dale  that  has  all  the  horticultural  attri- 
butes of  an  ancient  Roman  estate.  Louis 
buys  rare  shrubs  and  plants  from  all  over 
the  world,  and  is  a  frequent  winner  in 
local  horticultural  and  floral  shows,  as 
well  as  having  a  home  that  is  a  miniature 
Garden  of   Eden — without   the  snake. 

Syd  Chaplin  goes  in  for  aviation,  being 
interested  both  in  intricate  little  model 
planes  and  their  big  brothers.  Syd  is  a 
veteran  pilot,  having  headed  one  of  the 
first  commercial  plane  ventures  in  the 
West.  Louise  Fazenda  is  a  genuine  book- 
collector,  and  is  an  inveterate  follower 
of  all  local  auctions  in  which  books  are 
liable  to  be  included.  John  Barrymore 
has  an  expensive  craving  for  rare  old 
first  editions,  and  has  a  really  fine  collec- 
tion. Hoot  Gibson  has  a  weakness  for 
weapons  of  warfare,  from  the  armor  of 
the  Middle  Aces  down  to  the  six-gun  of 
today.  Jean  Herscholt  is  an  enthusiastic 
stamp-collector. 

William  Collier,  Jr.,  has  for  his  pet 
extravagance  a  valet. 

"Sure,  I  know  it's  an  extravagance," 
Collier  grins  when  his  friesds  kid  him 
about  his  man  servant. 

"Sometimes  I  get  the  idea  that  my  valet 
is  the  real  boss  of  my  household.  Then 
he  is  a  liability. 

"Other  times,  when  I  have  an  early 
morning  call  for  a  location  trip  he  be- 
comes a  real  asset. 


Class  Will  Tell 


Ever  since  the  CLASSIC  entered  the  publication 
field,  it  has  been  called  the  de  luxe  magazine  of  the 
screen.  There's  a  reason.  It  reflects  class.  With 
seventy-four  of  its  pages  devoted  to  Rotogravure,  its 
readers  are  assured  of  seeing  its  articles  and  photo- 
graphs presented  in  the  most  artistic  and  entertaining 
fashion.  There's  nothing  old-fashioned  or  hackneyed 
about  the  CLASSIC.  It  is  dedicated  to  the  purpose  of 
offering  unusual,  distinctive  and  sparkling  pages. 
Moreover,  it  is  generally  recognized  as  the  best  edited 
of  motion  picture  publications.  It  gets  off  the  beaten 
track  with  its  illuminating  articles — which  are  written 
fearlessly  and  authoritatively.  You  cant  afford  to  miss 
a  single  issue. 

The  October  Classic 

will  feature  the  first  of  a  series  of  absorbing  stories  about  the  old 
days  in  the  movies — entitled  "Them  Were  the  Happy  Days."  There 
will  also  be  a  highly  entertaining  article  about  the  "Broken  Hearts 
of  Hollywood." 

Henry  Albert  Phillips  will  conclude  his  series  of  interest  in.: 
interviews  with  leading  British  and  Continental  authors  on  the 
subject  of  motion  pictures.  In  the  October  Classic  you  will  find 
the  opinions  of  John  Galsworthy,  Margaret  Kennedy  and  Lord 
Dunsany. 

Another  striking  feature  will  present  an  interview  with  F.  W. 
Murnau,  who  has  come  to  America  to  make  pictures.  And  Ma! 
St.  Clair  will  tell  you  his  impressions  of  the  stars  he  lias  directed — 
together  with  his  own  caricatures  of  them. 

And  a  dozen  or  so  other  big  features,  including  the  second 
instalment  of  Faith  Service's  interesting  Serial  Story,  "Painted 
People." 

The  Classic  passes  them  all.  Order  your  October  number  now. 


89 


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The  Celluloid  Critic 

(Continued  from  page  51) 


but  theatrical  melodrama.  It  contains  a 
kick,  nevertheless,  since  the  action  must 
paint  the  event  in  crude  colors.  The 
father  refuses  to  allow  his  daughter  to 
marry  his  erstwhile  partner — a  man  who 
has  found  redemption  thru  love.  In  the 
end  the  girl  plunges  a  knife  into  her 
parent's  back,  discovering  too  late  that 
she  is  his  daughter. 

Italian   Sentiment 

A  tolerably  neat  little  number  is  ex- 
posed in  "Puppets,"  which  tells  a 
tale  of  Italian  love,  vengeance  and  senti- 
ment. For  half  its  length  it  never  wavers 
in  its  story,  but  as  it  progresses  it  carries 
too  great  a  burden — and  fails  to  contain 
the  appeal  and  charm  of  its  early  scenes. 

There  are  some  good  situations  in  it, 
however.  The  central  figure,  an  Italian 
from  New  York's  East  Side,  runs  a 
puppet  show — and  on  the  eve  of  his  de- 
parture for  France  to  fight  in  the  Great 
War  he  gives  due  warning  that  his  sweet- 
heart belongs  to  him.  When  he  returns 
he  is  afflicted  with  deafness  —  a  touch 
which  will  remind  you  of  a  much  better 
one  in  "The  Dark  Angel,"  wherein  the 
hero  came  back,   minus   his   eyesight. 

A   Wild   Western 

""There  have  been  Westerns  and  West- 
erns,- but  I  truly  believe  that  "Born  to 
the  West"  bests  them  all  for  the  assort- 
ment of  crowded  heroics,  gunplay — and 
what  not.  This  Zane  Grey  story  simply 
defies  all  the  realities  in  its  approach  to 
theatric  melodrama.  It  spans  several 
years  in  its  plot,  starting  off  with  a  boyish 
feud  in  the  crinoline  days  and  continuing 
the  feud  after  its  characters  have  reached 
maturity. 

The  hero  is  a  mauve  decade  edition  of 
Frank  Merriwell.  He  bobs  up  every- 
where to  rescue  the  distressed  heroine  or 
to  save  his  comic  pal,  played  with  breezy 
abandon  and  picturesque  color  by  Ray- 
mond Hatton.  Once  he  locates  his  erst- 
while   enemy — who    is    still    pursuing    the 


girl  that  innocently  established  the  feud — 
no  quarter  is  given.  He  escapes  from  his 
hand-cuffs  by  a  ruse — and,  almost  single- 
handed,  routs  the  conspirators  who  con- 
trol and  inhabit  the  honky-tonk.  These 
venders  of  vice  are  hopping  mad  over  the 
strike  of  gold  up  there  in  Nevada's  hills. 
So  the  climax  represents  a  gun  battle 
between  the  lucky  miners  and  the  idlers 
who   remained   behind. 

Bebe  Daniels  Has  Adventure 

A  pretty  large  order  was  given  Bebe 
Daniels  when  she  was  cast  for  "The 
Palm  Beach  Girl,"  a  picture  which  pre- 
sents a  series  of  adventurous  episodes 
spiced  with  hokum  humor.  Coming  from 
the  corn  belt  to  Florida,  she  starts  off  on 
one  of  Mack  Sennett's  earliest  tricks. 
Her  face  is  blackened  thru  looking  out  of 
the  car  window  and  catching  the  soot 
from  some  smoke-stack.  Which  isn't  a 
very  neat  way  of  introducing  oneself  to 
Palm   Beach. 

The  film  is  pleasant  enough  and  is  shot 
with  enough  humor  to  while  away  any- 
body's time.  Bebe  gets  into  one  tight 
jam  after  another  —  and  while  she  is 
deserving  of  something  more  substantial, 
this  particular  number  should  make  her 
feel    fairly   contented   with  her   lot. 

Not  So  Bright 

\W  .  C.  Fields  has  reached  stardom  and 
"It's  the  Old  Army  Game"  which 
starts  him  off  on  the  high  road,  cannot 
be  called  a  masterpiece  of  comedy.  In 
fact,  it  is  quite  inconsequential — and  is 
forced  to  rely  upon  a  series  of  gags  and 
slapstick  —  ideas  which  formerly  deco- 
rated the  Follies  when  Fields  was  the 
star  comedian. 

Transplanted  to  the  screen,  the  episodes 
are  not  so  productive  of  laughs.  And  it 
may  be  that  the  director  didn't  time  them 
correctly.  Fields  is  one  of  the  best  of 
pantomimists — and  he  needs  the  camera 
all  to  himself  to  put  him  over.  More- 
over, he  needs  the  camera  up  close  enough 
so  one  can  appreciate  his  tomfoolery. 


They  Say — 

(Continued  from  page  8) 


Chance"  and  "Womanhandled,"  and  he 
will  become  even  more  popular  in  "The 
Quarterback." 

]■'.   R.,   Roosevelt,  L.  I. 

THIRD    PRIZE 
Votes   from   Illinois 

Editor,  Classic  : 

I  have  recently  read  that  Warner  Baxter 
is  to  play  the  leading  role  in  Paramount's 
filming  of  Scott  Fitzgerald's  brilliant  "The 
Creat  Gatsby,"  which  should  indeed,  in  the 
right  hands,  make  a  splendid  picture.  But 
Mr.  Baxter  as  Gatsby  is  absolutely  awful. 
Why  buy  the  rights  to  the  novel  at  all  if 
lie  is  the  only  actor  they  can  think  of  to 
play  Gatsby?  I  believe  Ronald  Colman 
would  be  the  most  satisfactory,  and  I 
would  very  much  like  to  see  Greta  Nissen 
as   Daisy. 

Anyway,  if  Mr.  Baxter  plays  Gatsby,  I 
shall  expect  to  see  Warner  Brothers  pre- 
sent "The  Green  Hat"  with  the  matronly 
Irene  Rich  as  Iris  March. 

And  this  is  the  time  to  repeat  what  wise 
persons  have,  already  suggested:  that 
Blanche   Sweet   is   the  one   actress   on   the 


screen  who  could  play  the  role  of  Iris  as 
it  should  be  played.  Miss  Sweet  has  the 
subtlety,  the  grace,  the  "tiger  tawny"  hair, 
and  the  mannerisms  of  Michael  Aden's 
famous  lady.  And  what  a  picture  it  would 
be  if  some  producer  should  make  "The 
Green  Hat"  with  Blanche  Sweet,  directed 
by  George  Fitzmaurice,  and  with  Ronald 
Colman  in  the  part  of  X  a  pier!  If  Blanche 
and  Ronald  could  lift  a  foolish  story  like 
"His  Supreme  Moment"  to  the  distinction 
that  they  did,  what  couldn't  they  do  to 
"The   Green   Hat"? 

I  think  that  Gloria  Swanson  has  a  legiti- 
mate grudge  against  the  critics  because  of 
their  comments.  I'll  admit  that  her  per- 
formance as  the  mother  in  "The  Coast 
of  Folly"  was  bad;  she  made  her  much 
too  aged,  she  exaggerated,  she  was  un- 
convincing. Why  not  also  admit  that  she 
had  sincerity*  and  force,  and  that  her  act- 
ing as  the  daughter  was  all  that  anyone 
has  a  right  to  expect  ?  All  that  she  re- 
ceived from  the  critics  was  verbal  brick- 
bats. 

Ward  D.   Seidler, 
207  State  Street, 
Calumet  City,  111. 


90 


The  Screen  Observer  Has  Her  Say 


ami  the  nearest  railroad  station  town  ii 
i  twenty  miles  awaj .  containing  about 
foui  hundred  inhabitants;  but  right  here 
mi  tins  God  forsaken,  desolate  plain  the) 
tre  building  ■  i  it)  foi  the  wle  purpo 
making  .1   mo> 

in  Denver,  Reno,  Sacramento  and 
everywhere  the)  brought  nun,  women  .uul 
children  and  in  a  night  th<  Bar 

bara  Worth  sprang  up,  and  in  ten  days 
they  had  hank-,  saloons,  ehurcl 
and  dance  halls  with  six  01  seven  hundred 
people  to  patronize  them.  Carload 
ice,  huge  tanks  of  water,  five  thousand 
tons  "I  food  daily,  and  hundreds  of  horses, 
mules,  oxen  and  cattle  wen-  brought 
hither,  and  all  the  wink-  the  can* 
grinding,  and  the  actors  were  performing, 
Samuel  Goldwyn  was  drawing  huge 
checks— just  to  give  you  people  a  great 
picture.  Henr)  King,  who  became  im- 
mortal for  having  directed  "Stella  Dallas," 
the  beautiful  and  charming  Vilma  Bahky 
who  has  just  finished  a  wonderfull)  color- 
ful part  in  "Sen  of  the  Sheik."  Ronald 
Colman,  who  has  gradually  gone  to  the 
top  of  the  ladder  of  screen  popularity,  and 

a  do.-en  more  artists  of  equal  merit  in  their 
particular   lines   are   all   doing  their   utmost 

to     make     "The     Winning     of     Barbara 

Worth"   an   epoch- making    picture. 

All  for  the  Sake  of  Realism 

Tut    thermometer    registered    around    115 

degrees  in  the  shade,  the  sunlight  is  al- 
most blinding,  and  the  driving  clouds  of 
dust  are  often  excruciatingly  painful  and 
dangerous  to  the  eyes  and  ruinous  to  the 
complexion,  and  yet  all  these  people  en- 
dure it  with  a  smile  and  without  complaint. 
Yes.  the  wind  Mows  occasionally,  hut  it 
is  a  hot  wind  and  with  it  comes  clouds  of 
dust  and  sand.  The  tents  in  which  most 
of  the  inhabitants  of  this  mushroom  city 
live  are  large  and  comfortable,  but  in  the 
daytime  they  are  like  ovens.  During  one 
of  these  sand  storms  it  is  like  being  in  a 
square-rigger  in  a  squall,  so  loud  is  the 
boom  of  the  flapping  canvas,  and  after  it 
is  over,  everything,  everywhere  is  covered 
with  tine  white  sand.  But  after  the  sun 
goes  down  it  is  simply  glorious,  cool,  re- 
freshing, invigorating,  and  you  never  saw- 
so  much  sky  in  your  lite,  or  so  main-  stars, 
unless  you  have  been  on  the  desert.  Every- 
body knows  everybody,  like  one  large 
family,  and  everybody  is  happy.  And  talk 
about  types  !  When  I  sat  in  the  one  big 
common  dining  -  room  and  watched  the 
populace  come  in.  till  up.  and  go  out,  I 
thought  to  myself  that  nowhere  on  earth 
could  one  find  such  a  variety  of  human 
creatures — every  nation,  color,  size,  type 
and  character  were  represented  with  no 
duplication.  The  exquisite  Vilma  and  the 
hideous  Indian  squaw,  the  aristocratic 
Ronald  and  the  uncouth  mountaineer, 
negroes  and  Mexicans,  grotesque  cow- 
■  and  long  bearded  trappers,  all  mingle 
together  and  partake  of  the  same  rat 
which,  by  the  way,  are  far  better  than 
most  of  them  ever  had  before  or  will 
ever  have  again. 

Should   Be   Another   Epic 

A  xd  in  another  ten  days  or  so  it  will  all 
be  over.  Half  a  million  dollars  will 
have  changed  hands,  the  city  will  have  dis- 
appeared like  Atlantis,  or  Pompeii,  or  a 
mushroom,  but  the  world  will  have  another 
epoch  picture — something  on  the  order  of 
"The  Covered  Wagon,"  only  covering  a 
later  period  of  our  country's   growth  and 


development.    Wh)    Bancroft  and  Ridpath, 

when      nun      like      laiin  imuel 

Goldwyh,   Henr)    Ring  and   William 

can   write  histor)    in  pictun 

bod)  <■  an  undo  stand  ami  enjoj   and  i 

forget,  anil  that  will  make  the  kiddie-, 
scoot     to    s,  hool     rathei     ill. in     pla\     hi 

l!ut  dont  think  Sam  Goldwyn  is  so  philan 
thropic  as  all  that     he  will  get  his  millions 

hack    again    and    more    loo.    and    he    kl 
1  nd    \  et    he   ij   one   of    the   world'-.    1 

factors  Besides  that,  he  is  an  awful  good 
fellow  and  generous  to  a  fault. 

Arbuckle   Out  of   Oblivion 

lr  will  he  very  interesting  to  see  what 
RoSCOe  Arbuckle  has  done  with  "  I  In 
Red  Mill,"  in  which  he  has  just  finished 
directing  Marion  Davies.  The  expenses 
on  this  special  piled  up  so  that  Metro 
Goldwyn  called  iii  King  Vidor  and  Ulrich 

Bush     to    help    finish    some    of    the     minor 

scenes  of  the  picture.     Hut   Fatty  handled 

all  those  in   which   Marion   Davies  appears. 

The  saving  of  money  cm  have  been  the 

only  object   in  rushing  this   picture  to  i 
pletion,    because    Marion's    next    production 

is  not  scheduled  to  start  until  September. 
Sin-  has  caught  the  comic-strip  fever,  and 
will  immortalize  "Tillie  the  Toiler." 
Frances  Marion  is  scenarioizing  Russ 
W  estover's  epic  of  the  beautiful  dumbbell. 

Wanted— A  Job 

1V/T  atritz  Stiller  is  out  of  a  job  again. 
When  he  became  too  temperamental 
to  linger  within  the  broad  walls  of  Metro- 
Goldwyn,  Paramount  welcomed  him  as  the 
one  man  who  could  direct  Pola  Negri 
superbly.  The  idea  was  to  match  temper- 
ament with  temperament,  and  everyone 
was  sure  Pola  and  Mr.  Stiller  would 
understand  each  other  beautifully.  It  is 
not  told  which  of  them  first  found  it  im- 
possible to  understand  the  other — but  Pola 
has  a  new-  director,  and  Mr.  Stiller  is 
without  a  picture.  Altho  he  has  been 
hailed  by  all  the  great  foreign  directors 
as  the  real  genius  among  them,  he  has 
failed  to  give  evidence  of  it  since  coming 
to  America.  The  inference  is  that,  like 
D.  W.  Griffith,  he  was  a  great  genius. 
And  his  preoccupation  with  Greta  Garbo, 
whom  he  considers  the  one  superb  actress, 
limits   him  still   further. 

Rudy  Will  Play  Italy's  Bad  Boy 

Wai.kxtixo's  next  picture  seems  to  have 
a  good  chance  of  being  another  "Mon- 
sieur Beaucaire,"  which  fans  have  been 
clamoring  for.  It  will  be  a  drama  based 
on  the  life  of  Benvenuto  Cellini,  and  the 
scenario  will  be  written  by  Edwin  Justus 
Mayer,  author  of  "The  Firebrand."  Altho 
Joseph  Schenck  purchased  the  screen 
rights  to  "The  Firebrand,"  that  highly 
ssful  stage  play  was  found  to  be 
quite  censorable  and  unfit  for  the  screen, 
so  Mr.  Mayer  has  been  called  upon  to 
produce  other  incidents  from  the  very 
full  life  of   Benvenuto. 

It  is  a  spirited  role  Rudy  will  play,  said 
to  he  ideally  suited  to  his  screen  per 
ality,  altho  it  has  never  seemed  to  me  that 
s pirit  was  the  dominant  quality  in  Rudy's 
acting.  The  picture  will  he  directed  by 
Fred  Niblo,  who  managed  to  make  Valen- 
tino do  some  real  acting  in  "Blood  and 
Sand" — and  what  with  the  lavish  produc- 
tion promised  by  Mr.  Schenck.  and  the 
flock  of  beautiful  women  who  must  be  in 
any  faithful  story  of  Signor  Cellini,  it  bids 
fair  to  be  at  least  an  entertaining  picture. 


'^-'  y     *  1  "In 

Tin.  lrl»m-.»i.I.  1. j  -'«fc    m 

■>     III,*.  ■•« 

Moll  i  I     Ciaail      I 

Y^E'Z^Y.  Send  for  Catalog 

■ .         .  i-.  ,,i.. 

■  vrrythiog.     V.  ,uality 

S.IM*ll<)n  (XMf jntrtij 
or  Hoik*  Rrluntfri). 

TIRMI:    All  ..,.I.T«.ln. 

1  III 

ch»*»  prlr.;  h*l.nr*  In    **T***»>>*a**Sa^^ 

LOFTIS  BROS.  A  r  O.  N..tion.i  j«w*.T.". 

Oapt.DI.10  toe  North  Stat*  Sir**,.  Chicago.  IIIImii 


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91 


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magazine  of  its  kind,  has  fearlessly,  accurately  and  authoritatively  presented 
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EDWARD  LANGRR  PRINTING  CO..  INC., 
JAMAICA,  NEW  YORK  CITT. 


Every-day  magic 

c'haiks  thai  tlop  into  beds  .  .  .  bags  thai  suck  up 
dirt  .  .  .  tiny  ticking  things  thai  counl  all  day  long 
for  yOU.  Daylight  any  night  just  by  pushing  a 
button.  A  stream  that  never  stops  till  you  turn 
off  a  faucet.  Any  voice  you  want,  talking  to  you 
from  a  eage  on  your  desk  or  wall.  Actions  of 
yesterday,  of  people  miles  away,  going  on  on  a 
curtain  before  you.  Stilled  throats  singing  to  you 
from  dises;  distant  throats  singing  to  you  from 
nothing! 

Uncanny,  daily  magic — this,  due  to  national 
advertising.  Advertisements  have  given  you  flash- 
lights, telephones,  typewriters,  automobiles,  eold 
creams,  motion  pictures.  They  have  given  you  new 
eyes,  new  ears,  new  hands,  new  feet,  new  faces,  new 
emotions.  They  have  urged  such  wide  use,  so 
lowered  prices,  that  almost  wishes  are  autos.  almost 
beggars  can  ride.  Through  advertisements  you've 
laid  down  the  shovel  and  the  hoe.  You  can  buy  a 
whole  harvest  ready-to-eat  in  cans.  You've  hung 
up  the  fiddle  and  the  bow.  for  a  radio.  There's 
little  old-time  work  left  in  this  age  of  amazing 
short-cuts. 

Read  the  advertisements — they  keep  you 
to  the  fore  of  modern  life 


IDEALS  of  BEAUTY 


i  * 


Physical  Perfection 


That  Schoolgirt 
Complexion 


It    you    wish    to  gain   them,  tollow   nature's   laws  —  and,  above  all,  this 
natural  rule  in  skin  care  which  has  proved  ics  effectiveness  to  the  world 


PALMOLIVE  is  a  beauty  soap 
made  solely  tor  one  purpose; 
to  foster  good  complexions. 

In  France,  home  of  cosmetics, 
Palmolive  is  the  second  largest 
selling  soap  and  has  supplanted 
French  soaps  by  the  score.  In 
beauty-wise  Paris,  Palmolive  is  the 
"imported"  soap. 


RIGHT  living,  right  diet  and  proper 
.  exercise  are  the  factors  leading  ex- 
perts urge  for  physical  perfection.  For 
skin  perfection  these  experts  urge  natu- 
ral ways  in  skin  care. 

Thus,  on  expert  advice,  the  artificial 
beauty  methods  of  yesterday  have  largely 
been  discarded. 

Foremost  beauty  authorities  have  found 
be auty  insurance  starts  with  proper  cleans- 
ing  of  the  skin.  They  urge  the  soothing 
lather  of  olive  and  palm  oils  as  blended 
in  Palmolive  as  the  safe,  natural  way  in 
skin  care.  Most  of  the  pretty  skins  you 
see  today  are  due  to  it. 

Use  Palmolive  according  to  the  simple 
rule  here  given.  Note  the  difference  a 
single  week  will  make.  It  is  nature's  for- 
mula to  "Keep  That  Schoolgirl  Com- 
plexion." 

Start  today  with  this  simple  care — 
Note  how  your  skin  improves 

Wash  your  face  gently  with  soothing 
Palmolive  Soap,  massaging  the  lather 
softly  into  the  skin.  Rinse  thor- 
oughly, first  with  warm  water,  then 
with  cold.  If  your  skin  is  inclined 
to    be  dry,  apply  a  touch    of  good 


cold  cream  -  that  is  all.  Do  this  regularly, 
and  particularly  in  the  evening.  Use 
powder  and  rouge  if  you  wish.  But 
never  leave  them  on  over  night.  They 
clog  the  pores,  often  enlarge  them. 
Blackheads  and  disfigurements  often  fol- 
low.   They  must  be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treat- 
ment given  above.  Donotthinkanygreen 
soap,  or  one  represented  as  of  olive  and 
palm  oils,  is  the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake!  So  little 
that  millions  let  it  do  for  their  bodies 
what  it  does  for  their  faces.  Obtain  a  cake 
today.  Then  note  what  an  amazing  dif- 
ference one  week  makes. 

Soap  from  trees! 

The  only  oils  in  PalmoliveSoap  are  the 
soothing  beauty  oils  from  the  olive  tree, 
the  African  palm,  and  the  coconut  palm  — 
and  no  other  fats  whatsoever.  That  is  why 
PalmoliveSoap  is  the  natural  color  that  it 
is— for  palm  and  olive  oils,  nothing  else, 
give  Palmolive  its  natural  green  color. 

The  only  secret  to  Palmolive  is  its 
exclusive  blend  — and  that  is  one  of  the 
world's  priceless  beauty  secrets. 


THE    PALMOLIVE    COMPANY    (Del.   Corp.).    CHICAGO.    ILLINOIS 


Brett  litho.Co..  N.Y. 


,  ST.  CLAIR 

TiODUCES 

AND 

[ETCHES 
S  STARS 


\ 


V 


0<S 


OCTOBER 
% 

J^urnaii 

Talks  of 

•Pictures 

And 

People 


Ot('+-<r- 


^Jj  urcr'fo— 


ginning  The  Pioneer  Days  Of  The  Aovie; 


METRO- 

GOLDWYN 

MAYER 

WEEK 

SEPT.  12th 

TO 
SEPT.  18th 


I'reiented  by 

JOSEPH  M.  SCHENCK 

From  the  play  produced  by 

(It-orge  Choos  \\  ith  Selwyn  &  Co. 

Book  by  Stanley  Brightman 

and  Austin  Melford 

Lyrics  by  Douglas  Kurber 

Music  by  Philip  Braham 

American   Music  by 

Walter  I..  Rosemont 

Adapted  by 

Ballard  MacDonald 

Screen  Adaptation  by 

Paul  Gerard   Smith 

Albert  Boasbrr^ 

Charles  Smith 

Duelled  by 

BUSTER  KEATON 
A  Afftro-Goldwyn- Mayer 

Pulure 


BUSTER  KEATON  in 
BATTLING  BUTLER 

BUSTER  Keaton 

THAT  great  giggle  getter 
LANDS  the  biggest  knockout 
OF  his  frozen-faced  career 
IN  Battling  Butler! 
FROM  the  opening  gong 
TO  the  final  flop 
EVERY  round's  a  riot! 
AND  Sally  O'Neil  falls  too— 
FALLS  hard  for  Buster  Keaton! 
DO  you  know  why? 
YOU  ought  to! 
READ  on  the  right  .... 


\^x\Q^oldwi) Thayer 

"More  stars  than  there  are  in  Heaven" 


You  can  win 
one  of  these 

Valuable 
Prizes 

Can  you   answer 

Norma  Shearer  *s 

questions? 

Do  you  "glance"  or 
Do  you  really  see? 

EVERY  Metro-Goldwyn-Mayer 
fan  has  a  chance  to  win  one 
of  the  valuable  prizes  I  am 
offering  this  month.  All  you  have 
to  do  is  to  keep  your  eyes  open 
and  your  mind  alert  when  you  go 
to  see  a  Metro-Goldwyn-Mayer 
picture.  Don't  be  a  "glimpser" — 
be  a  "seeker".  You  may  be  one 
of  the  winners. 

To  the  person  who  writes  the  best 
answers  to  all  the  questions  in  this 
column,  I  will  present — if  it  be  one 
of  the  fair  se* — the  hand  bag  I  use 
in  "The  Waning  Sex"  and  a  cash 
prize  of  $50.  If  a  man  is  the  lucky 
one,  Buster  Keaton  will  present 
and  sign  the  boxing  gloves  he  uses 
in  "Battling  Butler"  together  with 
a  cash  prize  of  $50. 

To  the  next  fifty  lucky  ones,  I  will 
send  my  personally  autographed 
photograph  finished  in  a  sepia  style 
suitable  for  framing. 

(io  to  it  and  best  of  luck. 


-71 


Yours  cordially, 


9f\AAA.CV 


Norma' s  six 

questions 

Iln  what  Metro-Goldwyn-Mayer 
picture  does  a  Mollusk  play  a 
prominent  part?  Who  is  the  di- 
rector? 


Who   plays   Musette   in 
Boheme? 


I. 


3  In    what    picture    does    Sally 
O'Neil   fall  for  Buster   Keaton 
and  why? 

4  In  what  Metro-Goldwyn-Mayer 
picture  does  Lon  Chaney  play 
the  partof  Singapore  Joe?  Describe 
his  "make-up"  in  not  more  than 
fifty  words. 

5  Where  are  the  Metro-Goldwyn 
Mayer  Studios? 

6  What    animal    is    the    King  of 
Beasts  anil   where  is   he  most 
often  seen? 

Write  your  answers  on  one  side  ol  a 
single  sheet  of  paper  and  mail  to 
M-G-M.  1542  Broadway,  New 
York.  All  answers  must  reach  us 
by  October  15th.  Winners'  names 
will  be  published  in  a  later  issue 
of  this  magazine. 

In  the  event  of  ties,  each  tying 
contestant  will  be  awarded  a  prize 
identical  in  value  with  that  tied  for. 


MOTION  VICTUXl 


Vol.  XXIV  OCTOBER,  1926  No.  2 


Notable  Features  in    This  Issue: 


F.   W.   MURNAU   COMES  TO  AMERICA  Matthew  Josephaon      16 

m  ilm  v  i.. i  talks  about  movie*  and  men 
THEM   WERE   THE   HAPPY   DAYS  Bert  Ennia     18 

The  inside  »tory  ol  the  earl)  \.-.us  ,,i  the  motion  picture,  ii"  insi  Instalment  revemllnj  ti"-  Vltagraph  years 
CHARMED  LIVES  AND  RECKLESS  Selma  Robinaon     20 

leramen  and  theli  faring  exploits 
MORE   INSIDE   FACTS  ABOUT  THE  EXTRA  Percy  Knighton     22 

\  remarkable  ttory  aboul  the  people  who  trv  yeai  aftei  yeai  t"  i>r,aW  into  ti»'  moviei     illustrated  by  Sejrmoui  Ball 
HOLLYWOOD'S   UNION  JACK  CLUB  Cedric  Belfrage     38 

When  It's  tea  lime  lot  the  English  players  In  Beverly  Hills 


The  Classic  Gallery  11-15 

i  Shearer,  Helen*  Coatello,  AUeen  Pringle,  Loii  Moran  and  Nell  Hamilton 

A  Better  Man  Than  Gunga  Din  24 

Portraits  ol  Ben  Lyon 
The  Charge  of  the  Alien  Army  on  Fort  Hollywood  .  Ellison  Hoover     25 

Three  More  Authors  Consider  the  Films  Henry  Albert  Phillips     26 

The  last  ol  the  series  ol  t.ilks  with  famous  writers — Jobn  Galsworthy,  Margaret  Kennedy!  Lord  Dunsany 
"We  Respectfully  Suggest" .  Ken  Chamberlain     28 

Some  caricatures  of  suggestions  for  the  producers 
Painted  People Faith  Service     30 

Second  instalment  ol  (  >  mating  serial  story — Illustrated  by  Douglas  Ryan 

The  Keystone  Kop  Who  Became  a  Director  Peter  Milne     34 

Mai  St.  Clair  talks  about  the  movies  and  the  stars  who  have  worked  for  him — With  sketches  by  the  director 
Cella  Lloyd  Vamps  the  Big  Director John  Held,  Jr.     36 

Further  adventures  of  Cella  Lloyd 
The  Fine  Art  of  Falling  Hal  K    Wells     40 

Billy  Bevan  demonstrates  before  a  slow  motion  camera  how  to  execute  some  famous  falls 
Richard  Dix ...  42 

Portrait  of  the  star  in  his  newest  r61e 
What  It  Costs  to  Be  a  Weil-Dressed  Clubman.  Warren  Dow     43 

The  equipment  of  Ramon  Xovarro's  sartorial  effects  (evening  edition) 
.  Impressions  of  Hollywood Eugene  V.  Brewster     44 

Further  notes  of  Coast  activities  by  the  Editor-in-chief 
Big  Vic,  a  Soldier  of  Fortune Joseph  Mattern     48 

An  interview  with  Victor  McLaglen 
Holland  in  Hollywood .  52 

PictUI                         from  Marion  Davies'  new  picture.  "The  Red  Mill" 
The  Gentle  Gypsy Gladys  Hall     53 

Carol  Dempster  philosophizes  on  life  and  love — Caricature  by  Armando 
Walter  Pidgeon  (Portrait) 54 

Pity  the  Assistant  Director  Irene  Burns     55 

The  most  abused  man  in  the  studio 
Villainy  versus  Lunacy  .  Scott  Pierce     56 

The  heavies  are  giving  up  their  villainous  style  of  acting  to  emerge  as  human  beings 
Standing  Pat  with  O'Malley  Ralph  Sutter     58 

Interview  with  Pat  O'Malley 
Paging  Mr.  Ringling ...  62 

New  pictures  of  Charlie  Chaplin  in  "The  Circus" 

Charles  Ray 63 

New  portrait  of  the  star  in  "The  Fire  Brigade" 


The  CLASSIC'S  Famous  Departments 

Our  Own  News  Camera 45 

The  incidents  of  the  film  world  told  in  pictures 
The  Celluloid  Critic Laurence  Reid     50 

The  new  screen  plays  in  review 

The  Screen  Observer  Has  Her  Say Elizabeth  Greer     60 

Amusing  gossip  of  celluloidia 
The  Answer  Man 64 

Cover  Portrait  of  Louise  Brooks,  by  Don  Reed,  from  a  Photograph  by  Edward  O.  Bagley 


LAURENCE  REID,  Editor 

Adele  Whitely  Fletcher,  Supervising  Editor  Colin  Cruikshank,  Art  Director 

Classic  comes  out  on  the  12th  of  every  month,   Motion    Picture  Magazine  the  1st 


Subscription   $2.50  per   year,   in  advance,   including   postage,   in  the   United    States,  Cuba,   Mexico  and  Philippine  Islands.     In  Canada   $3.00;   Foreign 
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once  of  any  change  in  address,  giving  both  old  and  new  address. 


Published  Monthly  by  Brewster  Publications,  Inc.,  at  18410  Jamaica  Ave.,  Jamaica,  N.  Y. 

Entered  at  the  Post  Office  at  Jamaica,  N.  Y.,  as  second-class  matter,  under  the  act  of  March  3rd,  1S79.      Printed  in  V.  S.  A. 

Eugene   V.    Brewster,    President  and  Editor-in-Chief :    Duncan   A.  Dobie,   Jr.,    Vice-President  and  Business  Manofr; 

L.    G.   Conlon,     Treasurer;    E.    M.    Heinemann,    Secretary. 

EXECUTIVE   and    EDITORIAL   OFFICES,    175    DUFFIELD    ST.,    BROOKLYN,   N.   Y. 

Hollywood    Office,    6064    Selma    Avenue.     Phone    Gladstone    3564 
Copyright,  1926.  by  Brewster  Publications,  Inc.,  in  the  United  States  and  Great  Britain. 


CLASSIC'S  Late  News  PAGE 


CLIVE  BROOK  has  been  signed  to  a  long-term 
contract  by  Famous  Players.     His  first  role 
will  be  under  the  direction  of  Mai  St.  Clair 
in  "The  Popular  Sin." 

Incidentally,  Famous  Players  have  taken  Ernst 
Lubitsch  under  their  wing.  His  contract  with 
Warner  Brothers  has  been  settled  by  mutual 
arrangement  and  hereafter  with  the  single  ex- 
ception of  one  production  he  will  handle  the 
megaphone  for  the  Paramount  stars. 

According  to  the  Associated  Press,  the  movie 
cowboys  resent  the  use  of  Government  troops  in 
the  films  and  have  filed  formal  protest  against  it. 
They  declare  the  troopers  to  be  unfair  competi- 
tion. 

Lou  Tellegen,  who  has  confined  his  screen 
work  to  acting  before  the  camera,  will  now  con- 
centrate as  a  director.  He  will  produce  "His 
Wife's  Honor"  for  Fox — with  Dolores  de  Rio  in 
the  leading  role. 

Altho,  Gloria  Swanson  has  purchased  "Eyes 
of  Youth,"  an  entirely  new  story  is  being  written 
for  her  first  United  Artists  production.  The 
story  once  served  Clara  Kimball  Young — and  it 
is  understood  it  was  bought  for  its  central  theme. 

George  Jessel,  the  stage  star,  who  makes  his 
screen  debut  in  "Private  Izzy  Murphy,"  will  ap- 
pear in  a  screen  version  of  his  stage  hit,  "The 
Jazz  Singer,"  which  is  soon  to  strike  out  on  a 
tour  of  the  principal  cities. 

Good  old  "Bertha,  the  Sewing  Machine  Girl," 
is  to  take  up  her  work  in  the  movies.     The  Fox 
forces  have  bought  the  rights  to  the  celebrated 
melodrama  —  and 
will  present  Madge 
Bellamy    in     the 
title  role. 

Which  reminds 
us  that  another 
old  -  timer  of  the 
days  of  the  high 
"bike"  will  soon 
reach  the  celluloid 
state.  We  intro- 
duce "McFadden's 
Row  of  Flats,*' 
which  will  fly  the 
First  National  ban- 
ner. Charlie  Mur- 
ray, who  figured 
prominently  in  the 
stage  -  play,  will 
have  the  same  role 
on  the  screen. 

"Hurry  -  Up" 
Yost,  the  famous 
football  coach  of 
the  University  of 
Michigan,  has  ar- 
rived in  New  York 
to  handle  some  of 
the  football  se- 
quences in  Richard 
Dix's  new  picture, 
"The  Quarter- 
back." 

The  role  of 
Jesus  of   Nazareth 


LAST  MINUTE  REVIEW 


n 


THERE  is  an  irresistible  glamour  about  any  costume  picture 
which  revolves  around  court  intrigue,  provided  it  concerns 
the  adventurous  amours  of  a  great  lover  bent  upon  defying  the 
powers  behind  the  throne.  Such  a  picture  is  "Don  Juan" — which 
visualizes  with  great  beauty  and  compelling  sweep  and  power 
the  sway  of  the  Borgias — with  the  conflict  and  drama  centering 
around  the  Spanish  lover  and  his  amours. 

It  is  a  far  jump  from  "The  Sea  Beast" — but  John  Barrymore 
has  negotiated  it  with  plenty  to  spare.  The  film  presents  him 
in  the  type  of  role  which  is  most  adaptable  to  his  talent  and 
personality. 

The  profiled  John  "goes  Valentino  and  Fairbanks"  in  the 
way  he  conquers  the  hearts  of  the  ladies  and  rescues  the  dis- 
tressed heroine.  If  he  could  restrain  himself  during  a  death 
scene,  he  would  pass  the  examination  without  an  error.  As  it 
is,  we  give  him  a  mark  of  98.  From  the  moment  that  he,  as  the 
elder  Don,  surprises  his  faithless  wife  and  commits  himself  to 
the  pastime  of  "loving  'em  and  leaving  'em,"  the  film  carries  the 
interest  at  a  high  pitch.  He  dresses  the  part  and  his  sumptuous 
quarters  are  just  made  for  romance. 

And  so  it  builds  from  one  intrigue  to  another — saturated  as  it 
is  with  plot  and  counterplot.  There  is  no  let-down  in  interest. 
Barrymore  makes  the  most  of  his  amorous  adventures — and  the 
suspense  becomes  overwhelming  as  one  wonders  how  he'll  fare 
with  Lucretia — who  has  set  her  cap  for  him.  To  defy  a  Borgia 
spells  death — and  death  lurks  constantly  for  the  dashing  Don. 
But  he  makes  miraculous  escapes  and  routs  his  playful  enemies. 

The  duel  scene  is  an  exciting  moment — and  Barrymore  and 
Montague  Love  are  immense  in  their  sword  play.  Estelle 
Taylor  makes  a  fascinating  Borgia,  while  the  others  are  perfectly 
cast. 

The  film  is  handsomely  mounted — the  atmosphere  suggesting 
perfectly  the  period  of  its  settings. 


in  the  Cecil  B.  De  Mille  production — to  be  known 
as  "The  King  of  Kings,"  has  been  assigned  to 
H.  B.   Warner. 

Lois  Weber,  the  only  woman  director  in  the 
movies,  who  divorced  Phillips  Smalley,  has  cast 
her  former  husband  for  an  appearance  in  "The 
Sensation  Seekers." 

Raymond  Hitchcock,  the  famous  "Hitchy"  of 
the  stage,  has  returned  to  the  silversheet  after 
many  years'  absence.  He  will  play  one  of  the 
leading  roles  in  Marshall  Neilan's  new  produc- 
tion, "Everybody's  Acting." 

The  first  Milton  Sills  picture,  "Men  of  the 
Dawn,"  to  be  made  on  the  Coast  in  over  a  year, 
is  now  in  production. 

Kathryn  Menjou  was  awarded  the  largest 
amount  of  alimony  ever  given  in  Los  Angeles 
courts  when  Judge  Hollzer  ordered  Adolphe 
Menjou  to  pay  $500  a  week  for  his  wife's  sup- 
port, pending  trial  of  the  husband's  suit  for  di- 
vorce, set  for  October. 

Famous  aces  of  the  A.  E.  F.  will  take  part  in 
"Wings,"  the  film  of  the  world-war  air  conflicts 
which  is  being  produced  by  Famous  on  the  Coast. 
Many  Americans  who  flew  over  the  German  lines 
as  well  as  French,  British  and  other  flyers  will 
appear  in  the  picture.  Charles  Farrell  and  Clara 
Bow  have  the  leading  roles. 

Greta  Nissen  has  been  signed  to  play  in  "The 
Popular  Sin."  She  is  now  appearing  in  Ziegf  eld's 
Revue. 

Lupino  Lane  has  returned  from  London  to  re- 
sume his  comedy  career  in  Hollywood — for  Edu- 
cational. 

Production  has 
started  on  "The 
Charleston  Kid," 
which  is  the  name 
for  the  screen  ver- 
sio  n  of  "E  v  en 
Stephen."  In  the 
cast  are  Dorothy 
Mackaill,  Jack 
Mulhall,  Louise 
Brooks  and  Wil- 
liam  Collier,  Jr. 

The  w.  k.  song 
hit,  "Valencia,"  is 
destined  for  the 
movies.  It  will  be 
turned  into  a 
screen  play  for 
Mae  Murra  y — 
carrying  some- 
thing of  the  same 
flavor  as  "The 
Merry  Widow." 
Spain  will  be  the 
locale. 

"The  Black 
White  Sheep"  is 
the  title  of  Richard 
Barthelmess'     next 


Don  Juan" 


picture. 

After  "The  Red 
Mill,"  Marion  Da- 
vies  will  appear  in 
"Tillie  the  Toiler." 


r 


1 


You  Want 
This  Book! 

"BEHIND  THE 
SCREEN" 

(Illustrated) 

by  Samuel  Goldwyn,  the 
well-known  producer 


"/pHARLIE  CHAPLIN 
^s"  and  liis  moods j  Mary 
Pickford  and  Douglas  Fairbanks, 
drawn  together  by  tlu-ir  com- 
plete absorption  in  pictures;  the 
beginnings  of  the  romance  be- 
tween Geraldine  Parrar  and 
Lou  Tellegen — and  the  bes,rin- 
ning  of  its  end;  the  rivalry  be- 
tween Pauline  Frederick  and 
Farrar;  the  fiasco  of  Mary  Gar- 
den in  films;  the  discovery  of 
Valentino;  the  rise  of  Harold 
Lloyd  ;  the  unhappy  isolation  of 
Eric  von  Stroheim;  the  eccen- 
tricities of  Elinor  Glyn  —  these 
are  some  of  the  topics  to  regale 
the  eager  devourer  of  'fan'  food." 

*4^jp,HERE  js  jntense  drama  (n 
«  Mr.  Goldwyn's  description 
of  the  scene  in  which  Geraldine 
Farrar,  sensing  the  company's 
disappointment  in  the  results  of 
her  pictures,  voluntarily  tore  up 
a  contract  worth  $250,000." 


4<T7X    appearance, 
^i   feminine,   M 


so  typically 
Mary  Pickford 
gives  to  the  romance  of  business 
all  of  a  man's  response." 


Order  This  Now 


BREWSTER    PUBLICATIONS,    Inc. 
175    Duffield    Street,    Brooklyn,    N.    V. 

Gentlemen:  For  the  enclosed  $-50, 
please  send  me  a  copy  of  "BEHIND 
THE    SCREEN." 


WHY  BE  LONELY? 

Tl  I  E  M"i  [ON  IV  11  K I  (  l  Wh  . 
bright,  snappy  and  beautiful 
solves  the  problem.  When  you  fin< 
yourst.li  wondering  what  to  do  oi  an 
evening — just  take  up  the  Classic.  It 
generates  warmth  and  friendship  and 
drives  dull  care  away.  You  will  find 
a  full  evening's  entertainment  in 
every  issue  of  Motion  Picture 
(   I  VSSIC. 


The  Classic  is  the  magazine 
screen — the  de  luxe 
publication  of  the 
celluloid  world. 
There  is  no  other 
magazine  like  it  in 
the  vigor,  liveli- 
ness, youth,  charm 
and  authority  of  its 
scintillating    pages. 


~*~ 


2*£  NOVEMBER  CLASSIC 

will  be  full  of  interesting  things.  There  will  be  striking 
articles  by  the  best  writers  of  the  films.  B.  F.  Wilson 
will  tell  you  about  Anita  Loos,  who  wrote  "Gentlemen 
Prefer  Blondes."  Bert  Ennis  will  acquaint  you  with 
the  second  of  his  series,  "Them  Were  the  Happy  Days" 
— featuring  the  Keystone  years.  There  will  be  highly 
illuminating  articles  covering  a  wide  range  of  subjects 
by  such  authorities  as  Dunham  Thorp,  Gladys  Hall, 
Robert  Donaldson,  Charles  Adair,  Helen  Carlisle, 
Dorothy  Manners  and  a  host  of  others. 

Charming  drawings  will  adorn  its  pages  by  such 
famous  artists  as  John  Held,  Jr.,  Armando,  Chamber- 
lain and  Leo  Kober. 

There  will  be  absorbing  personality  stories.  Faith 
Service's  serial  romance,  "Painted  People,"  is  reaching 
new  heights  of  interest. 

There  will  be  a  generous  display  of  beautiful  photo- 
graphs of  screen  folk — photographs  that  carry  real  tone 
and  quality  reproduced  thru  rotogravure. 

You  cant  afford  to  be  without  the  CLASSIC.  Order  your  November  Issue  now. 


u 


THEY  SAY 


V 


LETTERS  from  CLASSIC  Readers 


$15.00   LETTER 
Fair  Play 

EDITOR,  CLASSIC: 
The    "movies"    no    longer   need   any- 
one   to    defend    them,    but    it   doesn't 
hurt    to    point   out   occasionally   the   "real" 
in  reels,  and  that  is  where  I  now  enter  the 
picture. 

The  world  today  runs  in  three  gears : 
those  who  take  it  slow  and  digest  a  good 
movie  once  a  month ;  those  who  travel  at 
a  steady  gait  of  about  two  a  week ;  and 
the  real  fans  who  take  'em  as  they  come, 
thick  and  fast,  good,  bad  and  indifferent. 
They  are  the  little  depositors  who  have 
boosted  the  motion  picture  business  until 
it  is  roosting  right  near* the  top  of  the 
ladder  of  Successful  Business. 

This  baby  of  commerce  was  born  about 
the  time  Henry  Ford  pointed  his  nose 
towards  success  and  it  has  been  a  neck- 
and-neck  race  ever  since  to  see  which  one 
could  grow  the  faster.  Both  have  had  an 
abundance  of  ridicule,  criticism  and  hard 
knocks,  but  both  have  proved  the  old  say- 
ing that  you  "cant  keep  a  good  man 
down."  Henry  is  now  our  richest  man 
and  gives  work  to  thousands  of  men  and 
women  and  the  movies  do  the  same  and 
even  makes  millionaires  of  a  few  over- 
night, and  any  industry  that  can  do  that 
cant  be  all  bad,  as  some 
people  seem  to  think. 

Aside  from  the  three  speeds 
spoken  of,  there  are  a  few 
persons  who  have  never  seen 
a  motion  picture,  or  who  have 
seen  only  one  or  two,  "just 
to  see  if  they  were  as  wicked 
as  they  were  painted."  These 
are  they  who  ask :  "Can  any 
good  thing  come  out  of 
Hollywood?"  They  think 
every  actress  is  a  cigaret- 
smoking  vamp  and  every 
actor  a  drunken  sheik.  To 
them,  moving  pictures  are  an 
invention  of  the  devil,  de- 
signed to  lead  the  present 
generation  right  home  to 
Papa  in  Hades.  And  they 
are  sure  all  films  are  de- 
signed to  teach  the  young 
hopefuls  how  to  hold  up  a 
stage,  separate  happily  mar- 
ried couples  and  show  the 
human  figure  a  la  natural, 
without  going  to  jail  for  it. 
Well,  after  viewing  some 
pictures  one  must  admit  that 
a  life  class  in  a  Paris  art 
school  could  go  no  further 
and  once  in  a  while  the  thing 
looks  like  a  lesson  in  vamp- 
ology. 

But  I  fail  to  recall  a  single 
picture  that  showed  where 
immorality  or  villainy  got 
away  with  it.  And  instruc- 
tions to  writers  who  hope  to 
break  thru  the  Golden  Gate 
(which,  by  the  way,  has  been 
moved  from  San  Francisco 
to    Hollywood),    via    a    high- 


priced  scenario  are  clear  on  one  point.  If 
you  introduce  a  hold-up,  a  vamp,  murder 
or  immoral  feature,  dont  let  'em  get  away 
with  it !  "The  wages  of  sin  is  death" 
in  a  motion  picture  and  anyone  who  really 
studies  a  movie  will  see  that  this  is  a  fact. 

Once  in  a  while  a  character  who  starts 
out  all  wrong  because  of  unfortunate  cir- 
cumstances or  environment,  may  find  hap- 
piness in  the  last  few  feet  of  film,  but  only 
after  great  suffering  and  atonement.  The 
villain  may  "pursue  her,"  and  even  catch 
her,  but  the  stalwart  hero  generally  over- 
hauls the  coward  in  the  third  reel  and  with 
well-manicured  mitts  and  a  two-by-four 
jaw  firmly  set,  reduces  the  cringing  cur 
to  a  kneeling  position  begging  for  his 
life. 

Fair-minded  people  have  to  admit  the 
movie  is  an  educator  in  something  besides 
crime.  Now  they  know  that  the  Esquimo 
and  always-noble  Mounted  Police  lie  off 
to  the  north ;  that  New  York  with  its 
Statue  of  Liberty  and  its  gilded  restau- 
rants is  situated  on  our  eastern  boundary ; 
they  know  what  Mexico  and  Texas  have 
to  offer  on  the  south,  and  they  begin  to 
suspect  the  Great  Open  Spaces  beyond 
the   Rockies  of  almost  anything. 

Movies  have  shown  the  dwellers  of  the 
cities  how  some  of  our  big  outdoor  in- 
dustries are  carried  on  and  the  most  ig- 


We  Want  to  Know 

What  you  think  of  the  movies  and  the  stars. 
This  page  is  devoted  to  CLASSIC'S  readers, 
who  are  invited  to  write  about  their  impres- 
sions of  the  pictures  and  players.  Be  as  brief 
as  possible,  as  letters  must  not  exceed  200 
words.  We  also  suggest  that  you  be  entirely 
fair  in  your  views.  In  other  words,  CLASSIC 
would  like  to  receive  constructive  criticism  or 
arguments  about  the  productions  and  per- 
formances. 

Fifteen  dollars  will  be  paid  each  month  for 
the  best  letter,  ten  dollars  for  the  second  and 
five  dollars  for  the  third.  Besides  these  three 
prizes,  we  will  also  pay  one  dollar  for  any 
other  letters  printed.  If  one  or  more  letters 
are  found  of  equal  merit,  the  full  prize  will  go 
to  each  writer. 

Anonymous  letters  will  not  be  considered. 
They  should  be  neat  and  bear  the  writer's 
full  name  and  address.  This  is  your  depart- 
ment. We  want  you  to  take  advantage 
of  it.  Letters  must  be  addressed :  The  Letter 
Box,  CLASSIC,  175  Duffield  Street,  Brook- 
lyn, N.  Y. 


norant  New  Yorker  knows  now  that 
shingles  dont  grow  in  bunches  nor  do 
five-dollar  gold  pieces  come  out  of  the 
ground  all   ready  to  spend. 

And  manner!  The  most  untrained 
hick  has  learned  how  to  rise  when  a  lady 
enters  the  room ;  how  to  give  his  som- 
brero and  spurs  to  the  butler  and  how  to 
enter  a  lady's  boudoir,  either  as  a  burglar 
or  a  casual  caller.  Tom  Mix  has  taught 
every  cow-puncher  west  of  the  Mississippi 
just  how  to  treat  a  lady  and  if  he  doesn't 
look  quite  like  Tom  it  is  because  the  local 
tailor  is  short  on  style ! 

There  are  many  pictures  which  children 
should  not  see.  Yes,  but  there  are  many 
books  in  the  library  which  a  child  should 
not  read.  That  is  one  excuse  for  having 
parents — they  are  designed  to  act  as  shock 
absorbers  to  the  youth  of  the  land.  The 
old  Hebrew  law  used  to  forbid  a  young 
man  under  twenty-one  from  reading  a 
certain  book  in  the  Bible  and  yet  it  would 
be  absurd  to  forbid  them  the  whole  Bible 
on  that  account. 

If  young  people  hold  up  the  stages, 
murder  and  go  wrong  because  they  saw  it 
done  in  the  motion  pictures,  they  are  like- 
wise going  to  sacrifice  themselves  for 
right  ideals,  be  brave  and  true  and  loving 
and  kind,  for  there  is  a  lot  of  that  sort  of 
thing  to  be  seen,  too! 

Very  truly  yours, 

Nellie  B.  Parker. 
102  S.  Vendome  St., 
Los  Angeles,   California. 


$10.00  LETTER 
Not   All   Progress 

Editor,   Classic  : 

In  your  July  issue,  Mr. 
Henry  Albert  Phillips  struck 
the  key-note  of  one  serious 
trouble  that  threatens  to  re- 
tard motion  picture  produc- 
tion, both  as  an  art  and  as  a 
popular  medium  of  entertain- 
ment. He  tells  us  what  we 
have  long  known,  that  in  buy- 
ing the  works  of  noted  au- 
thors for  motion  pictures,  the 
producer  is  really  "buying 
their   name,   not    their   story." 

They  may  get  a  good  pic- 
ture story  in  the  transaction, 
but  in  nine  cases  out  of  ten — 
perhaps  oftener  —  they  get 
merely  a  "skeleton,"  as  Mr. 
Phillips  calls  it.  This  skele- 
ton they  hand  over  to  their 
own  scenarists,  who  obligingly 
reclothe  it  in  suitable  screen 
flesh.  And  so,  the  public  is 
cheated,  the  producer  is 
cheated  (altho  he  seems  not 
to  realize  it),  while  the  au- 
thor waxes  fat  on  his  repu- 
tation. 

Now  a  man  may  be  ever 
so  good  a  writer  of  stories, 
yet  be  a  failure  on  screen 
material.  For  a  story  may  be 
supported  mainly  by  its  psy- 
(Contimted  on  page  91) 


8 


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nality 
or  Singl* or  Color 


to  see  oursels  as  others  see  us!" — Robert  Burns 


a&  follow  yourself  ^ 


cP 


ef* 


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club  some  afternoon,  what 
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gave  so  much  time  and  effort 
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up  where  it  shouldn't,  pulls 
in  where  it  ought  not  to.  In- 
stead of  being  effective,  its 
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curved,  you  can  actually  see 
ridges  where  your  corsets  end ! 

If  this  could  happen  to  you, 
don't  blame  your  dress  or 
your  figure.  But  do  see  that 
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before  you  wear  the  dress 
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The  new  Bon  Ton  Founda- 
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S(h 


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els.   For  the  larger  figure. 


10 


Muray 


_i 


■»^t^t 


NORMA   SHEARER 

The  favorite  of  the  younger  set — the  carefree 
collegiates  and  their  girls  who  wear  the  big 
chrysanthemums.  From  Princeton  to  Purdue 
Norma  has  captured  <-hem  completely.  With 
her  perfect  profile  and  her  winning  ways  she 
has  made  them  jump  their  geometry  for 
Shearer   sessions  in  celluloid 


MOTION  PICTURE 

(^lASSIC 


OCTOBER,    1926 


HELENE    COSTELLO 

They  had  always  played  together — these  Costello  girls.  They  took  Dolores  away  to 
illuminate  the  canopy  of  stars  while  Helene  was  left  in  the  background.  Youth  and 
winsomeness  have  won  and  the  younger  sister  is  now  coming  along  to  decorate  the 

starry  kingdom. 


Apeda 


AILEEN   PRINGLE 

Ever  since  Elinor  Glyn  coined  the  two-letter  word,  "IT" — all  of  the  celluloidians  have 
been  wondering  where  they  stand  on  the  personality  question.  The  Pringle  person  was 
the  first  to  be  awarded  with  Personality's  short  synonym.     Madame  didn't  guess  wrong 


Kenneth  Alexander 


LOIS    MORAN 


Likespying  into  an  old-fashioned  garden  and  seeing  a  slip  of  a  girl  in  a  crinoline  dress. 

That's  the  impression  that  most  everyone  has  formed  of  Lois  Moran.     She  has  a  charm 

that  weaves  a  pattern  of  lavender  and  old  lace 


i 


Harold  Dean  Carscy 


NEIL    HAMILTON 


A  Griffith  discovery  is  Neil  Hamilton — which  means  that  he  was  as  good  as  over  the 
minute  D.  W.  shouted  "Camera!"  He  has  advanced  steadily  without  any  fanfare  of 
trumpets — his  personality  and  talent  carrying  him  into  the  close-up  of  roles  worth  while 


F.  W.   MURNAU 

The  German  Genius  of  the  Films 


SIMPLICITY! 
Greater  and 
greater  simplicity 
— that  will  be  the  key- 
note of  the  new  fijms." 

Murnau  was  speaking 
with  ardor,  gesticulating 
with  his  long  limbs, 
whenever  his  English, 
altho  correct  and  with- 
out foreign  accent, 
failed  him. 

"Our  whole  effort," 
he  went  on,  "must  be 
bent  toward  ridding  mo- 
tion pictures  of  all  that 
docs  not  belong  to  them, 
of  all  that  is  unneces- 
sary and  trivial  and 
drawn  from  other* 
sources — all  the  tricks, 
gags,  'business'  not  of 
the  cinema,  but  of  the 
stage  and  the  written 
book.  That  is  what  has 
been  accomplished  when 
certain  films  reached  the 
level  of  great  art.  That 
is  what  I  tried  to  do  in 
The  Last  Laugh.'  We 
must  try  for  more  and 
more  simplicity  and  de- 
votion to  pure  motion 
picture  -  technique  and 
material." 

Exactly  what  I  had 
longed  to  hear  someone 
say  here.  Exactly  what 
I  hoped  this  giant  of 
the  moving  pictures 
would  say.  But  then 
Murnau  went  on  to  say 
something  which  gives 
his  own  spirit  and  per- 
sonal style  completely. 
Listen : 

"In  the  film  you  give  a  picture,  for  instance,  of  an 
object,  a  thing,  and  it  has  drama  for  the  eye;  because  of 
the  way  it  has  been  placed,  or  photographed,  because  of 
its  relation  to  the  other  people  or  things  in  this  film,  it 
carries  on  the  melody  of  the  film." 

This  is  Murnau,  the  man  who  created  the  most  vivid 
drama  we  have  ever  seen  out  of  the  simplest  and  lowliest 
things  in  "The  Last  Laugh" ;  who  made  brass  instru- 
ments ring  with  music  on  the  screen,  or  lit  up  faces  so 
that  they  were  loud  with  speech ;  probably  the  finest 
director  who  has  come  to  us  from  Germany. 

His  Influence  Is  Felt 

\17hat  will  his  influence  be  here,  I  wondered?     It  has 

*  *  been  very  great  already.     It  is  not  as  if  we  have  been 

backward,  for  in  the  last  year  or  two  a  number  of  film 

16 


By 

Matthew  Josephson 


Caricature  of  Murnau  by  Leo  Kobcr 


masterpieces  made  by 
American  or  American- 
trained  directors  follow 
the  same  tendencies  as 
those  of  Murnau.  They 
are  simple  to  the  utmost 
and  built  solidly  on  the 
resources  of  the  cinema 
— pictures  like  Vidor's 
"Big  Parade,"  Craze's 
"Covered  Wagon," 
Henry  King's  "Stella 
Dallas."  And  yet  there 
are  people  who  grumble 
at  the  inroads  of  foreign 
film  stars  and  directors. 
How  silly !  If  they 
could  only  see  the 
mountains  of  inferior 
American  celluloid  that 
are  shipped  to  foreign 
countries  and  blissfully 
consumed  by  the  popu- 
lace. 

F.  W.  Murnau  ar- 
rives at  exactly  the  psy- 
chological moment,  as 
we  are  on  the  verge  of 
an  era  of  truly  great 
motion  pictures.  In  his 
valise  he  brought  with 
him  a  new  epoch-mak- 
ing film,  "Faust,"  which 
is  to  have  its  first  show- 
ing in  America.  At  the 
very  moment,  "Variety," 
a  seriously  inspired 
German  picture,  was 
playing  to  filled  houses 
with  the  temperature  at 
ninety.  He  is  deeply  in- 
terested in  America ;  he 
has  few  false  ideas 
about  it,  least  of  all  that 
it  is  impossible  to  do 
anything  fine  over  here. 
And  he  is  here  at  the  behest  of  the  Fox  Film  Company, 
seldom  noted  hitherto  for  artistic  films,  but  now  going  in 
for  bigger  things. 

He  is  not  merely  a  giant  of  the  films  as  I  have  de- 
scribed him,  but  in  stature  towers  some  six  feet  and 
several  inches.  He  is  red  haired ;  he  has  keen,  steady- 
eyes  and  quiet  hands.  He  is  a  calm  man,  not  easily 
ruffled  or  thrown  into  despair.  His  manner  is  uncon- 
ventional, not  at  all  formal  or  formidable  as  that  of  many 
Europeans.  He  is  young,  not  much  over  thirty-five ;  his 
understanding  and  his  knowledge  are  broad.  I  think  that 
his  abilities  will  make  him  respected,  and  his  quiet,  per- 
sonal charm  (so  happily  lacking  in  useless  "tempera- 
ment") will  make  him  liked. 

Murnau  was  born  of  good  family  in  a  small  town  of 
Westphalia.     He  was  well  educated.     He  became  inter- 


Comes  to  America 

Talks  of  Movies  and  Men 


ested  in  the  theater  a  few  years  before  the  war,  al  a  time 
when  great  thin^  were  being  done  in  the  theater  by  men 
like  Gordon  Craig,  Max  Reinhardt  and  Granville  Barker. 

He  worked  under  the  Wring  of   M;i\  Reinhardt  U  an  actor 

and  stage  director  in  the  world-famous  Grossts  Schau- 
spielhaus  of  Berlin.  He  was  doing  small  things,  but 
learning  much  under  the  brilliant  Reinhardt,  whose  pro- 
duction, "The  Miracle,"  has  thrilled  so  many  thousands  of 
Americans.  Another  young  German  was  working  quietly 
with  Murnau  under  Reinhardt.  They  became  friends, 
and  were  destined  to  become  masters  of  a  new  art.  The 
other  young  fellow's  name  was  Ernst  Lubitsch. 

When  the  Great  War  came,  young  Murnau  found  him- 
self in  the  first  line  of  infantry,  in  the  Royal  Guards. 
Then  for  a  year  he  was  an  officer  in  the  aviation  corps. 
Like  many  of  us,  he  was  glad  when  it  was  all  over,  and 
he  turned  from  the  art  of  the  theater  to  the  budding 
motion  picture  industry. 

Some  of  the  most  famous  German  actors,  Emil  Tannings, 
Werner  Krauss,  Paul  Wegener,  went  into  motion  pictures. 

Few  Good  Ones  in  Germany 

U/e  talked  about  the  German  situation.     What  Murnau 
*v  said  will  surprise  many  people. 

"Contrary  to  the  impression  prevailing  here,  very  few 
good  pictures  are  being  made  in  Germany.  There  are  few 
good  directors  or  actors ;  there  are  few  people  who  know 
anything  about  the  cinema. 
The  big  companies  are 
loaded  with  deadwood, 
sheep.  They  follow  the 
tide,  just  as  it  is  followed 
here.  When  an  interesting 
experiment  turns  out  to  be 
a  hit,  as  'Caligari'  did 
over  there,  they  all  imitate 
it.  Or  'Variety.'  They 
are  all  doing  circus  pic- 
tures now.  Those  who 
have  really  been  doing 
things,  the  talented,  far- 
sighted  men,  have  simply 
been  feeling  their  way 
along.  The  artists  who 
made  'Caligari'  had  no  idea 
when  they  started  out 
what  their  results  would 
be.  And  yet  they  discovered 
some  wonderful  things, 
they  were  pioneers." 

"Too  much  influence  of 
the  modern  stage,"  I  sug- 
gested. 

"Exactly.  I  have  had  to 
forget  everything  I  learned 
about  the  stage.  We  have 
had  to  throw  overboard 
everything  that  suggests 
the  theater." 


"Simplicity  will  be  the 
keynote  of  the  new  films. 

"Pictures    must   be   rid 
of  stage  tricks  and  gags. 

"Very  few  good  pictures  are 
being  made  in  Germany.  There 
are  few  good  directors  or  actors. 

"What  we  need  is  a  Max 
Reinhardt  of  the  cinema. 

"We  dont  need  trained  stage  actors  for 
the  movies.  There  is  splendid  material 
everywhere  which  directors  must  take 
over  and  mold  for  the  films. 

"Few  people  really  know  how  to  play 
before  the  camera.  Jannings  is  superb  be- 
fore it.  The  secret  of  his  power  is  that  he 
uses  his  whole  body  for  suggestion. 
.  "In  'The  Last  Laugh'  I  wanted  a  story 
that  could  be  told  in  a  sentence.  The 
highest  point  of  the  drama  was  reached 
when  Jannings  removed  his  hotel  uniform. 

"Chaplin  is  the  genius  of  the  screen.  He 
is  always  doing  something  absolutely 
fresh  and  unconscious." 


more  about  the  theater  than  anybody  living.    I  can  w 
tell  in  words  bow  much  association  with  him  meant  to  me 

He    seems    to   know   everything,    follow    everything,      He 
was  the  most   inspiring  Of  men  t  I   work   under.      He   ; 

old  man  now  ami  \ci\  tired:  but  he  is  deepl)  interested 

in  what   we  are  doing  in  the  screen.      What   w<-  need 
Max    Reinhardt  of  the  cinema." 

"Most  of  the  film  stars  in  Europe,  like  Jannings,  come 
from  the  stage?"  I  asked. 

"Yes,  but  that  isn't -  necessary,"  said  Murnau.  "We 
dont  need  trained  stage  actors  for  the  movies.  There 
is  splendid  material  everywhere  which  directors  must 
take  over  and  mold  for  the  purposes  of  the  film." 

Like  most  of  the  fine  German  directors.  Murnau  has  a 
passion  for  perfecting  each  detail  of  his  picture.  That 
is  one  of  the  distinguishing  features  of  the  better  impor- 
tations. In  a  pinch.  Murnau  told  me,  he  would  rather 
have  a  raze,  untrained  person,  who  had  never  played  be- 
fore, than  a  seasoned  star. 

Working  over  his  last  picture,  "Faust,"  he  searched 
for  many  months  before  he  found  a  young  female  appa- 
rition who  suited  the  part  of  Grctchen ;  she  is  the 
beautiful   Camilla   Horn,   a   discovery   he   is   particularly 

proud  of.  Her  face 
had  just  the  degree  of 
innocence  and  child- 
like beauty  he 
wanted.  What 
a  search  it  must 
have  been  in 
these   times ! 

"In     that 
w  a  y,"     said 
Murnau,    "I   get 
exactly     the     effect, 
the    feeling    I    want 
into      the      picture. 
"For    the    character 
of  Faust  I"  found  a 
truly    old    man,    a    Swede. 
Gosta  Ekman,  who  had  sel- 
dom played  before  on  the 
screen." 


Here,    Murnau    spoke    with   utmost    feeling    and    rev- 
erence for  Max  Reinhardt. 

"I    feel   unbounded   admiration    for   him.      He   knows 


High  Praise  for  Jannings 

"  Rut  Jannings  is  an  amaz- 
ing    screen    actor,"    I 
said. 

"Yes,   one   of   the   finest 

in    the    world,    and    a    dear 

friend    of    mine.      Do    not 

misunderstand     me.       Few 

people  really  know  how  to 

play     before     the     camera. 

Jannings   is   superb   before 

it.     The  secret  of  his  power 

is   that   he    uses   his    whole 

body    for   suggestion.      He 

is  like  this  — (Murnau  was 

puffing  out  his  chest  and  throwing  up  his  sboulders)  big 

as  a  mountain  when  he  is  playing  a  king.     And  when  he 

(Continued  on  page  84) 

17 


THEM   WERE   the 


The  Vitagraph  Years 

By 

Bert  Ennis 


John    Bunny    was    im- 
mensely   popular,     the 
Chaplin  of  his  time 


Norma  Talmadge  did  her 

first      screen      work      foi 

Vitagraph 


LEST  the  impression 
be  created  thru  the 
title  of  these 
stories,  together  with  the 
atmosphere  of  the  dim 
movie  past  which  flavors 
them,  that  the  chronicler 
is  a  patriarch  with  flow- 
ing white  beard  and 
joints  of  Ford-like 
propensities  for  creak- 
ing, may  he  say  now  that  he,  thirty-five,  is  still  recognized 
as  an  able-bodied  press-agent  and  manages  to  cover  the 
distance  between  his  home  and  the  offices  of  the  Brewster 
magazines  without  the  aid  of  a  wheel-chair.  So  kaleido- 
scopic, so  fast  moving,  so  ever-changing,  is  this  business 
of  the  movies  and  its  personalities  that  sixteen  years  in 
the  studios  may  encompass  experiences  and  mark  transi- 
tions which  a  normal  industry  could  bring  about  only  in 
a  stretch  of  time  twice  the  period  set  forth. 

Looking  back  thru  the  years  from  1910,  the  days 
of  the  Bunnys,  the  Costellos,  the 
Turners,  the  Lawrences,  the 
Johnsons,  the  Fullers,  the  Bag- 
gotts,  the  Blacktons,  the  Inces,  the 
Sennetts,  the  Broncho  Billys  and 
Alkali  Ikes,  the  single  stage  studio 
and  the  double  lens  camera,  the 
split  reel  and  the  custard-pie  com- 
ics, the  cold  finger  of  fact  may 
point  and  point  to  the  Moores,  the 
Lloyds,  the  Langdons,  the  Negris, 
the  Swansons,  the  Fairbanks,  the 
Stroheims,  the  Coogans,  the  mag- 
nificent ten-stage  studios,  the 
great  salaries,  the  stereoscopic 
cameras,  the  huge  spectacles — 
point  to  it  all  in  its  immensity  and 
its  improvement.  But  to  those 
who  made  the  movies  in  1910 — 
"Them  were  the  happy  days." 

Those    Early    Vitagraph    Days 

T  was    fortunate   enough    in   that 


Wally  "Curie"  Van,  the 
juvenile  comedian,  dis- 
covered the  Sidney  Drews 


year  to  join  the  ranks  of  those 
pioneers,     Blackton,     Rock     and 


18 


Wally. Reid  got  his  start  with  Vitagraph, 
playing  atmosphere 


Mary     Maurice    was    the 
first  to  play  mother  roles 


Smith,  in  the  capacity  of 
publicity    man     for    the 
aggregation     of     movie 
players    known    as    the 
Vitagraph     stock     com- 
pany.    The     word    pub- 
licity then  in  connection 
with      motion      pictures 
meant    simply    the    bare 
announcement      of      the 
title  of  the  film,  a  brief 
synopsis  of  its  story  and  at  rare  intervals  the  names  of 
the  players  who  appeared  in  it.     To  Sam  Spedon,  now 
dead,  must  go  the  credit  for  being  one  of  the  first  men 
of  the  movies  quick  to  recognize  the  tremendous  public 
interest  evinced  in  players  of  the  screen  and  to  gratify 
that  interest  by  acquainting  the  early  fans  with  the  names 
of  their  favorite  troupers  and  with  information  concern- 
ing their  personalities.     As   Spedon's  assistant,  I  had  a 
hand  in  the  work  of  "telling  the  world"  about  the  early 
Vitagraph  performers,  a  work  which  today  involves  the 
use  of  departments  of  specialized 
writers,     artists     and     advertising 
men.     Two  of  us  did  it  then. 

The  Vitagraph  company  in 
1910  was  located  in  what  was 
then  an  obscure  part  of  Flatbush, 
a  suburb  which  existed  only  so 
that  vaudeville  monologists  could 
pull  wheezes  about  it.  The  studio- 
was  a  one-stage  affair,  glassed  in. 
Its  entire  lighting  equipment 
would  be  hardly  sufficient  for  the 
illumination  of  a  single  set  in  one 
of  the  average  program  films  of 
today.  Despite  this  fact  I  ran 
thru  my  fingers  recently  a  strip  of 
old  Vitagraph  negatives — one  of 
the  first  pictures  in  which  John 
Bunny  appeared.  The  images 
were  perfect,  the  photography 
clear  and  sharp,  the  film  itself  in 
excellent  condition.  The  cameras 
were  cumbersome  affairs,  made 
more  so  by  the  use  of  double 
lenses,     which     meant     that     two 


HAPPY    DAYS 


The  First  of  a  Series  of 
Articles  About  the  Pioneer 
Days  of  the  Motion  Picture 
— Before  It  Became  a  Highly 
Specialized  Industry 


Above,  Kenneth  Casey, 
the  first  child  actor  to  ap- 
pear on  the  screen.  At 
the  right  is  Clara  Kim- 
ball Young,  who  rose  to 
fame  as  an  emotional 
actress 


negatives  were  made  at 
the  same  time — one  for 
release  in  this  country 
and  one  for  foreign 
consumption. 

To  the  Yitagraph  of  the  old  days 
belongs  the  greatest  credit  for 
making  American  manufactured 
movies  the  most  popular  in  the 
world.  To  strengthen  the  hold 
which  their  films  were  acquiring  on 
the  early  fans  of  Great  Britain  and 
the  Continent.  Messrs.  Blackton, 
Rock  and  Smith  on  various  occa- 
sions sent  John  Bunny  and 
Maurice  Costello  abroad.  The  per- 
sonalities of  the  rollicking  fat 
comic  and  the  dashing  leading  man 
on  these  tours  increased  by  many 
thousands  the  followers  of  Vita- 
graph  movies  in  foreign  lands. 

Many   Stars   Discovered 

And  what  a  parade  of 
present-day  celebrities 
passed  before  the  lens  of 
those  old-fashioned 
double-action  cameras,  in 
many  instances  making 
up  the  meagre  handful  of 
extras  who  supplied  the 
necessary  background  at- 
mosphere for  the  work  of 
Florence  Turner.  Cos- 
tello, Bunny,  Flora 
Finch,  Lillian  Walker, 
Earle  Williams,  Wally 
Van,  Edith  Storey  and 
other  former  idols  of 
screendom. 

I  have  stood  on  the  side 
lines  of  a  set  in  the  old 
days    watching    the    late 


In  the  center  is  Flora  Finch,   who  played  opposite   Bunny. 

Above  is  a  scene  from  a  Vitagraph  comedy  with  Wally  Van, 

Lillian  Walker  and  Kate  Price  in  the  foreground 


Above,  Maurice  Costello, 
who  did  more  to  establish 
the  star  system  than  any 
other  player  on  the  screen. 
At  the  left  is  Florence 
Turner,  one  of  the  bul- 
warks of  Vitagraph 


and    much    loved    Wally 
Reid      playing       atmos- 
phere,    the     present-day 
widely      known      Harry 
Morey      appearing      in 
three  small,  but  distinct  characters 
in   the    one   film    (because    of    his 
constant    portrayal   of    a   policeman 
Harry       was       familiarly       known 
around    the    studio    as    "the    Yita- 
graph   cop").      I    have    seen    Con- 
stance Talmadge  third  in  a  row  of 
sweet     young     extras      supporting 
Wally  Van  in  one  of  his  comedies 
while    the    then    unknown    Norma, 
her    sister,    was    just    beginning    to 
attract     the     watchful     eye     of     J. 
Stuart   Blarkton    with   her   promise 
of  dramatic  ability  in  minor  roles. 

I  have  seen  Ralph  I  nee,  later  to 
be  one  of  the  screen's  greatest  de- 
lineators of  Abraham  Lincoln  and 
among  the  present  day's 
most  competent  directors, 
nonchalantly  assisting  in 
the  erection  of  a  set, 
hammer  in  belt,  and  af- 
terwards playing  a  small 
role  in  support  of  Ken- 
neth Casey,  the  fir.-t  child 
artist,  on  the  same  set. 
The  bright-eyed,  trim 
little  girl  who  filed  her 
name  '  for  work  with 
Harry  Mayo,  the  first 
casting  director  of  the 
production  field,  used  a 
name  which  goes  up  regu- 
larly today  in  electric 
lights  on  the  marquees  of 
the  world's  biggest  movie 
houses — Norma  Shearer. 
(Continued   on   page  65) 


19 


International 
Newsreel 


An  airplane  view  of  the  stream  of  white 

hot  lava,  from  the  side  of  Manna  Loa, 

pursuing  the  course  of  destruction 


Willard    Vanderveer    and    Robert    Donahue    of 

Pathe  News.     Vanderveer  is  holding  the  only 

picture  camera  that  actually  went  to  the  North 

Pole.     It  was  operated  by  Byrd,  himself 


Pathe 


-«Sm 


The  newsreel  boys  were  on  the  job  when 

General    Villa    was    cutting    up    didoes. 

They  "shot"  the  Mexican  bandit  when 

he  crossed  the  American  border 


Pathe 


Remember  the  battles  in  Ireland?    Here 

are    the   Irish    Free    State    troops   in    a 

street  fight  with  the  rebels  during  the 

crisis  of  Erin's  civil  war  struggle 


20 


CHARMED  I 


Lives   and 
RECKLESS 


THE  newsreel  cameraman.  Let's  give  this  little  boy  a  hand, 
folks ;  Heaven  knows  he  hardly  ever  gets  it.  Tho  he  travels  in 
jungles  with  snakes  trying  to  pierce  his  boots,  tho  he  makes  his 
tortuous  way  on  chilblained  feet  in  the  north  country,  tho  he  climbs 
mountains,  and  penetrates  fire  and  water  for  an  unusual  picture, 
nobody  ever  hears  about  him,  and  tho  movie  audiences  sometimes 
wondex  how  a  certain  effect  could  be  achieved  in  the  face  of  evident 
danger,  they  seldom  take  their  curiosity  out  of  the  theater  with  them. 

A  few  months  ago,  film  patrons  were  thrilled  to  behold  the  vast 
whiteness  of  the  North  Pole  spread  out  before  them  upon  the  screen ; 
lazy  icebergs  floating  imperceptibly,  masses  of  snow  and  ice  with 
scarcely  a  break  between,  and,  like  a  bee,  a  swift  airplane  that  darted 
thru  the  frozen  solitude  to  write  a  brilliant  page  in  aerial  history. 

And  a  few  weeks  before  that,  on  the  same  motion  picture  screens, 
a  cataract  of  steaming  lava  was  shown  plunging  its  way  down  a 
Hawaiian  countryside,  sweeping  before  the  terrible  majesty  of  its 
power  native  huts  and  giant  palm  trees  as  if  they  were  cardboard 
toys.  Audiences  were  properly  awed  to  see  before  them  these 
distant  phenomena  while  they  themselves  sat  safely  and  comfortably 
in  the  upholstered  chairs  of  their  favorite  theaters. 

Always  On  the  Job 

U/hy  is  a  news  cameraman?  He,  least  of  anyone,  can  tell  you  the 
"  *  reason.  I  asked  half  a  dozen  of  the  veterans  and  the  only  answer 
I  got  was,  "I  dont  know.  It  sort  of  gets  you  and  first  thing  you 
know,  you  cant  get  along  without  it."  Anyone  who  has  known  the 
smell  of  newsprint,  or  that  indefinable  odor  that  exists  only  back- 
stage, or  the  acrid  aroma  of  tanbark  in  the  circus,  or  the  particular 
poignancy  of  any  job  that  one  loves,  knows  just  how  the  camera- 
man feels. 

Money  ?  The  news  picture  man  is  well  paid,  but  not  exorbitantly. 
Comfort?  Dont  make  him  laugh  by  mentioning  it.  Stability?  Ex- 
cept to  the  topnotchers,   work  is  an  intermittent  affair.      Meeting 


Pathe 

On  the  left  the  news-reelers  succeeded  in  capturing  the  high  spots  of  the 

famous  evolution  trial  at  Dayton,  Tennessee.    On  the  right  is  a  close-up 

of  the  surrender  of  Abd-el-Krim 


On  Life's  Big  Sets  the  Ncwsreel  Photog- 
raphers Set  Up  Their  Cameras.  With  Un- 
daunted Courage  They  Scoop  the  Facts  That 
Make  the  World  a  Stage  of  Unceasing  Drama 

By  Selma  Robinson 

celebrities?  Being  a  [>art  of  a  mad,  mad  chSM  for  adventure? 
Variety?  Romance?  Wanderlust ?  Not  any  of  these  tilings  and 
\ct  I  mixture  of  all  of  tliem  keeps  the  news  photographer  on  his 
job  in  winter  or  summer,  day  or  night,  sun  or  storm,  in  all  the  ex- 
tremities you  can  name. 

A  cat  may  look  at  a  king,  hut  a  cameraman  may  give  him  orders. 
When  titled  personages  visit  our  shores,  they  are  told  how  to  stand, 
how  to  sit,  how  to  smile,  to  talk  and  to  walk  for  the  benefit  of  the 
movie  camera.  What  is  more,  most  of  them  obey.  The  cameraman 
must  know  not  only  how  to  work  his  machine ;  he  must  be  able  to 
sell  an  idea  to  the  person  he  wants  to  photograph,  for  some  people 
are  notoriously  camera  shy. 

"Smile,  your  Majesty,"  a  cameraman  told  the  King  of  Belgium 
when  he  visited  Manhattan,  and  the  King  smiled.  Another  directed 
the  Prince  of  Wales  to  look  up  at  the  Woolworth  Building  in  amaze- 
ment. You  probably  remember  the  shot  of  his  royal  shyness  doing 
exactly  that.  He  takes  personalities  like  Gloria  Swanson  and 
Suzanne  Lenglen,  known  for  their  temperament,  and  makes  them  do 
what  he  wishes  by  suavely  whispered  words  of  advice. 

Goes   Everywhere,   Sees   Everything 

attempt  to  count  all  the  newsreel  men  in  this  country  would  be 
a  pretty  hopeless  job.  The  corps  of  photographers  needed  by  a 
news  film  agency  spreads  like  a  network  over  the  face  of  the  whole 
nation,  the  whole  world.  A  gO(5d  picture  may  happen  anywhere.  A 
fire,  a  parade  of  negro  children,  a  Chinese  wedding  festival,  the  birth 
of  quadruplets — if  you  go  to  the  movies  at  all,  you  know  that  the 
news  camera  goes  everywhere  and  sees  everything. 

Since  it  would  be  beyond  the  power  of  even  million-dollar  con- 
cerns to  employ  regularly  this  immense  army  of  photographers,  the 
newsreel  works  in  much  the  same  way  that  a  newspaper  does.  A 
metropolitan  newspaper  has  a  staff  of  reporters  who  are  given  assign- 
ments in  their  own  city  and  occasionally  sent  out  of  town  to  "cover" 
a  story.  In  addition  to  the  regular  staff  there  are  district  men  whose 
duty  it  is  to  keep  watch  over  their  particular  fields,  the  police  courts, 
the  suburbs  and  so  on.  But  besides  all  these  men,  there  are  the 
space  writers  who  are  scattered  all  over  the  country  to  report  any 
(Continued  on  page  70) 


T. 


The  polar  ship,  l.haniitr,  and  the  Byrd 

polar  plane  are  shown  here  just  before 

the  start  of  the  Byrd  expedition  over 

the  North  Pole 


Nr  t 


Pathe 

The     news     cameramen     caught     the     Russian 

Revolution  in   1917.     The  view  shows  Trotzky 

addressing  thousands  of  persons  at  the  national 

capital 


International  Ntwsrcti 

A  photo  taken  by  a  daring  cameraman  who  felt 
the  heat  of  the  lava  as  he  clicked  his  shutter. 
The  eruption  wiped  out  the  village  of  Hoopuloa 


eathe 


George  A.  Allison,  left,  International  Newsreel's  European  manager,  flew 

from  Stockholm  to  Southampton  with  the  polar  films.    On  the  right  is  a^ 

seme  that's  always  good  "copy."     It  shows  the  coronation  ceremonies 

for  King  George  and  Queen  Mary  at  Bombay,  India 


The    big    airship,    Norge,    which    carried 

Amundsen  to  the  North  Pole,  is  "shot" 

by    the    cameraman    as    she    arrives    at 

Spitzbergen 


21 


More  INSIDE  FACTS 


By  Percy  Knighton 


Drawings  by  Seymour  Ball 


THE  Classic  of  the  April  issue  contained  an  article, 
"Inside  Facts  About  the  Extra."  That  story  cov- 
ered a  portion  of  the  problems  of  the  extra,  not  all 
the  troubles  and  trials  were  mentioned.  This  is  a  sequel 
story. 

Since  the  publication  of  the  article  already  mentioned, 
a  new  method  of  getting  work  has  been  established,  it  is 
more  difficult  now  to  break  down  the  barriers  which  lead 
to  even  an  ordinary  day's  work.     Here  goes  the  blow ! 

For  the  first  time  in  the  last  century  I  managed  to 
corner  a  very  well-known  and  attractive  young  lady  who 
does  the  greater  part  of  the  casting  for  a  large  produc- 
tion unit.  She  was  chosen  because  she  handles  a  great 
army,  an  army  that  outnumbers  the  World  War  forces 
in  action  and  desire,  and,  after  telling  her  of  my  purpose, 
she  sighed  and  said,  "Oh,  I  would  like  to  write  a  book 
about  the  movies  and  Hollywood !"  She  sighed  again 
and  added,  "There  is  so  much,  so  much,  I  wonder  why 
people  kid  themselves,  I  wonder?" 

In  case  you  are  in  doubt  about  her  deep  sigh  and  her 
intense  desire  to  write  volumes  about  Hollywood,  then, 
take  a  few  moments  and  read  on,  read  this  artless  tale 
which  is  written  for  your  guidance,  providing  of  course, 
you  are  planning  a  picture  career.  And  if  you  are  not 
bent  upon  the  movie  profession,  if  you  do  not  intend  to 
board  the  movie  train,  then,  read  it  to  see  "why  people 
kid  themselves !" 

The  Day  of  Reckoning 

Evidently,  Mr.  Will  Hays  had  the  same  thought,  and, 

the  same  question  to  solve.  For  not  very  long  ago  an 
organization  was  born  overnight.  It  was  The  Central 
Casting  Bureau.  It  is  now  The  Central  Casting  Bureau. 
This  baby  of  the  movies  is  owned  and  operated  by  the 
world's  largest  producers.    And  it  had  to  be  done  !   Why  ? 

So  far,  many  hundreds  of  good,  intelligent  people  who 
hitherto  had  worked  in  pictures  for  a  long  time,  and, 
those  who  were  fairly  successful,  now  find  it  al- 
most impossible  to  get  work  anywhere.  A  pass- 
port to  Heaven  would  be  an  easy  task  in  com- 
parison to  getting  a  job,  direct  or  indirect,  or 
thru  the  Central  Office.  Herein  lies  a  story — 
one,  which  may  add  insult  to  indigestion.  But  I 
shall- tell  the  truth  and  go  on  playing  faithfully 
my  role — the  jackass. 

During  the  "old  days"  when  most  of  us  were 
doing  fairly  well,  averaging  a  meal  every  other 
day  or  so,  there  was  in  full  force  and  existence  a 
firm  known  as  Screen  Service  of  Los  Angeles. 
This  body  of  classic  gentlemen  handled  an 
enormous  business  which  seemed  legitimate, 
popular  and  efficient.  Ah !  'twas  many  a  slice 
of  bread  Dear  Old  Screen  Service  passed  the 
professional  extra  who  knew  his  or  her  business. 
(They  couldn't  be  registrants  of  "Screen"  un- 
less they  knew  their  stuff.) 

And  Screen  Service  took  seven  per  cent.  (7%)  of  your 
salary  for  getting  the  job  for  you.  Merely  a  crumb  from 
the  whole  loaf.  And  so  far  as  the  eagle  eye  could  see, 
everybody  seemed  happy,  prosperous  and  pure.  With  the 
exception  of  a  few  "favorites"  whom  screen  service  offi- 
cers boosted  and  kept  busy  most  of  the  time,  there  was 

22 


little  reason  for  kick  or  complaint  from  any  person. 
Everything,  as  the  song  writer  said,  is  hotsy  totsy  now 
— only  it  was  then.  You  could  get  work  at  the  studio 
casting  offices  then.  In  exceptional  cases  some  get  work 
that  way  now.  But  most  every  person  is  gotten  from 
The  Great  Central  Office. 

Now  there  crept  thruout  the  United  States  a  monster 
serpent  of  desire  among  other  jackasses  who  well  deserve 
their  title  because  they  wanted  "to  go  to  Hollywood  and 
become  famous  overnight  and  send  Ma  and  Pa  a  thou- 
sand silver  seed  the  next  morning  after  arrival." 

From  Every  Walk  of  Life 

The  hour  of  reckoning  came  when  Old  Screen  Service's 
files  bulged  from  a  burden  of  thousands  of  names ; 
names  of  people  who  made  a  list  ranging  from  a  Podunk 
graduate  of  some  dramatic  school  to  a  model  for  neck- 
ties and  hats.  Yes,  names  !  names !  names  making  a  cross- 
word puzzle  look  flimsy.  There  was  the  beautiful, 
golden-curled,  perfect  stage  child,  the-  fancy-vested  swain 
who  could  tell  you  the  price  of  butter  and  eggs. 

Indeed,  there  were  the  big  chicken  dealers,  hobos,  farm- 
hands, cowboys,  swindlers,  consumptives,  tired  business 
men  seeking  adventure,  cripples,  safe  crackers,  weak- 
minded  and  brilliant,  the  society  damsel  and  the  dollar 
clivers,  the  wets  and  drys,  Republicans  and  Democrats, 
radicals,  black  and  white,  pale  and  pink,  short  and  long, 
blondes  and  brunettes,  soldiers,  sailors  and  slackers,  prize- 
fighters, wrestlers,  barbers  and  boiler-makers,  and,  assur- 
edly, ladies  and  gentlemen !  Ah  !  ladies  and  gentlemen. 
It  is  true  that  each  of  us  will  believe  ourselves  the  latter. 
But  it  will  be  best  for  you  to  take  the  pair  of  shoes  that 
fits  and  take  a  walk — a  walk  back  home 
to  old  trails  and  past  efforts.  And 
you'll  succeed,  get  along  in  the 
world. 

The    tidal-wave    brought    the 
thousands  from  all  parts  de- 
manding    their      share      of 
movie   fame   and   fortune. 


, 


4 


ABOUT  the  EXTRA 

A  Remarkable  Real  Life  Document  of  the  Many  Who  Call 
and  the  Few  Who  Are  Chosen 


\inl  some  of  those  thousands  descended  upon  OKI  Screen 
Service  like-  a  cloudburst  "Why  do  the)  Will  themselves, 
I  wonder?" 

And  along  <. aim-  Mr.  Will  Haw  to  make  the  thousandth 
and  ontl  He  left  behind  a  wonderful  job  (can  you  bea1 
it5)  in  Washington,  D.  C  .  to  join  the  rest  of  us.  Mm  he 
came  to  be  the  Great  Leader  That's  different  And 
he  has  done  well.  Not  long  was  it  until  the  people — all 
those  mentioned,  made  a  plea  to  Mr.  Hays  to  help  them. 
Ik'  did,  too.  He  sent  a  mob  "back  home  and  broke" 
But  those  who  refused  lingered  On  -till  hoping,  still  de- 
manding, something  which  never  existed  for  them.  And 
they  had  to  pick  on  Screen  Service  as  their  objective  of 
Trouble  and  Turmoil.  Why  should  there  be  an  organiza- 
tion to  take  from  us  a  percentage  "i  our  salaries?  (Most 
of  them  never  drew  a  dollar  from  motion  pictures.) 

Trouble  brewed  and  stewed  worse  than  your  home- 
made beer.  Finally,  such  pressure  was  brought  to  sur- 
face that  only  one  outlet  seemed  available ;  only  one  ave- 
nue of  escape  or  relief  seemed  near  or  possible.  Yes! 
kill  Screen  ,  Service !  Ah !  there  is  the  Shiver  in 
Screenland ;  the  Shake  in  the  Service ;  the  "nigger"  in 
the  wildwood ;  the  odor  in  Smellville.  Or  the  decomposed 
nicotine  in  Copenhagen ! — Hollywood.  Do  away  with 
such  graft!  We  appeal  to  you,  Mr.  Hays,  to  help  us. 
Great  problems  came  to  Mr.  Hays,  greater  than  some  of 
those  in  his  past  affiliations  with  the  Government.  Be- 
fore and  After. 

Still  Kidding  Themselves 

Dvt  he  did  the  trick,  he  gave  the  poor  fools  what  they 
^  wanted — and  they're  still  kicking,  crying  and  belly- 
aching, and,  flocking  to  Hollywood.  Nay,  I  say  unto  you. 
fair  little  casting  director  or  "directress,"  "Why  do  they 
kid  themselves,  I  wonder?" 

( )n  several  occasions  I  have  given  little  talks  to  people 
in  the  movies.  In  one  instance  it  was  a  group  of  aspir- 
ants who  had  never  worked  a 
day  in  pictures.  In  the  other 
instance  it  was  a  group  of  "old 
timers"  with  whom  I  have 
worked  at  different  times.  And 
be  it  known  that  I  really  thought 
these  people  wanted  the  truth. 
Did  they?    NO! 


M\    popularit)    probably  fell  below  sea  level  when   I 

told    them    that    then    own    predicament    was    due    tO   tlun 

own  shortsightedness  and  stupidity  ;  that  their  food  sup 

I)ly   I  they  do  not   need  COal  in  California)    was  diminished 
tecause,  as  that  song  writer  said,  the)   f  wget  to  remem 

her.      And    those    who,    apparently,    have    beer    left    in    the 
rain  without  umbrellas   forgOl   to  take  a  peep  at  the  black 
sky  made  that  way  by  means  and  manners  already  stated, 
plus  that   same  complex   which  daily   finances   Hollywood 
bound  trains.     They  forgol  to  remember  I 

When    the    big    day    dawned,    came    reveille    tragically 
Spreading  its  weird  note  of  defeat    for  those  now  in  hope- 
less  combat    with    their    enemy.      And    if    this    is    mutely 
demonstrated,  then,  it  is  certainly  obvi- 
ous to  those  who  could  help  in  a 
way,  that  to  shun  an  act  of  "get- 
ting them  in"  is  only  indica- 
tive   of    a    decision    in    the 
negative    because    of    the 
silly,  foolish  methods  of 
past     activities.       And 
on  the  parts  of  those 
mentioned. 

It     is     true     that 
many    clubs    have 
been    orga-nized, 
studio-actors- 
u  p  1  i  f  t-c  i  v  i  c 
clubs   they   are 
(Cont'd    on 

page  67) 


M 


They  come  from  every  walk  of  life — these  extras,  and  their 

names  would  make   a  cross-word  puzzle  look  flimsy.     A 

passport  to  Heaven  would  be  an  easy  task  in  comparison 

to  getting  a  job  in  the  movies 

23 


^k  ff*$ 


A 
BETTER 

MAN 

than 

GUNGA 
DIN 


Ball 


Ben  Lyon  has  advanced  and  given  the 
countersign.  It  is  Bigger  and  Better  Pic- 
tures. Safely  in  the  First  National  en- 
campment, he  will  execute  some  military 
maneuvers  in  "The  Great  Deception."  This 
is  a  picture  in  which  the  blithesome  Ben 
clicks  his  heels  as  a  student  of  Heidelberg 
and  takes  the  air  as  an  aviator  in  the  Royal 
Flying  Corps  of  England.  The  top  photo- 
graph shows  Ben  in  the  gay  uniform  of 
student  days — and  the  bottom  photo  shows 
him  in  the  uniform  of  an  English  lieutenant 
of  aviation.  As  the  dual  role  is  the  most 
substantial  he  has  ever  had,  there  is  no 
question   but   his   public   will   Lyonize   him 


24 


Ohio  California- 
fca^  cJbvc ! 


Wanna, 
wffeiba. 


By 
ELLISON   HOOVER 


THE  CHARGE  OF  THE 

ALIEN   ARMY 
ON  FORT  HOLLYWOOD 


25 


Three  More  Authors 


Keystone  View  Co. 


John  Galsworthy 


Courtesy  of  Doubleday,  Page  Co. 

Margaret  Kennedy 


By  Henry  Albert  Phillips 


/OHN  GALSWORTHY  is  considered  one  of 
England's  greatest  novelists  and  playwrights. 

Without  thinking  at  all,  one  would  think  that 
the  whole  ''rotten"  condition  of  the  Movies 
could  be  rectified  in  a  twinkling  by  this  biggest- 
cahbred  English  dramatist  of  the  day.  Here 
was  the  Hercules  who  takes  the  whole  movie 
earth  on  his  shoulders  and  walks  off  with  it. 

For  the  man  who  had  written  novelsjike  "The 
Forsyte  Saga"  and  "The  Patrician,"  and  plays 
like  "Loyalties"  and  "Justice,"  surely  the  writ- 
ing of  a  little  photoplay  would  be  less  than 
child  s  play.  I  determined  to  run  up  and  have 
a  little  chat  with  Galsworthy  about  it,  since  I 
happened  to  be  in  London  at  the  time. 

John  Galsworthy  lives  in  one  of  the  most 
charming  as  well  as  select  suburbs  of  London, 
Hampstead.  It  is  a  zig-zag  journey  out  there, 
altho  Hampstead  is  actually  in  London.  '  You 
take  the  Underground  at  Piccadilly,  change  at 
Oxford  Circus  for  the  Central  London  where 
you  ride  to  Tottenham  Court  Road  and  change 
again  for  the  City  and  South  London  Line  that 
takes    you    straight   to    Hampstead.      But    when 

(Continued 

26 


JyTARGARET    KENNEDY   is   one   of   the 

•^  newcomers  among  the  novelists.     By  the 

single  stroke  of  writing  "The  Constant  Nymph" 
she  has  sprung  into  enviable  fame.  To  reach 
her  I  climbed  five  nights  of  stairs  to  the  top  floor 
of  one  of  those  grim-looking  houses  that  front  on 
Cornwall  Gardens  in  Kensington. 

I  found  Miss  Kennedy  just  as  retiring  and  re- 
served as  her  book  had  been  forward  and 
loquacious.  She  confessed  almost  in  the  first 
words  that  she  liked  the  films. 

Weren't  they  going  to  film  the  "Nymph,"  I 
asked. 

"It  cant  be  filmed — in  America,  where  I  be- 
lieve that  practically  all  of  the  filming  is  being 
done,  I  understand.  You  see  the  book  has  been 
censored  and  therefore  cant  be  done.  I  cant  see 
what  they  object  to.  The  children  in  the  story 
were  too  young,  or  something  of  that  sort. 
Fancy!  When  I  look  about  and  see  what  they 
are  doing !" 

"What?  Who?"  I  asked.  "The  children  or 
the  films?" 

"Both,"  she  smiled.     "The  Film  Company  has 

on  j>age  77) 


Consider*  the  Films 


"What  I  resent  in  the  films  is  that  you 
get  thoroly  emotionalized  sitting  there  for 
two  or  three  hours  waiting  for  something 
worthwhile  to  happen — and  then  you  find 
that  you  have  been  scuffered.  It  isn't  that 
they  dont  try  to  give  you  something.  They 
do,  and  fail!" — John  Galsworthy. 


"The  movies  are  always  making  a  mis- 
take by  writing  down,  and  I  dont  think 
anything  is  ever  accomplished  by  writing 
down,  to  the  public.  It  is  a  backward  step 
to  be  always  underestimating  the  calibre  of 
the  public  mind." — Margaret  Kennedy. 


"Motion  pictures  are  intricacies — and  in- 
tricacies are  concerned  with  the  mind  and 
not  the  emotions.  It  is  my  theory  that  a 
good  player  or  story  is  bound  to  hold  a 
house  full  of  human  people — and  human 
people  are  bound  to  be  held  thruout  the 
portrayal  of  any  great  emotion." — Lord 
Dunsany. 


Lord  Dunsany 


Keystone  View  Co. 


The  Sixth  and  Concluding  Talk  About  Motion  Pictures 
With  Famous  English  and  Continental  Writers 


j\  LL  said  and*  done,  the  successful  produc- 
*^^  tion  of  a  gratifying  photodrama  is  a  work 
of  Art.  In  this  Anno  Domini,  this  film  Art 
reaches,  entertains  and  moves  more  people  than 
all  the  other  Arts  put  together.  Finally,  the 
Movies  is  the  simplest  of  the  Arts  by  far. 
Neither  a  special  nor  even  a  general  education 
is  necessary  in  order  either  to  understand  or  be 
entertained  by  it.  The  only  equipment  requisite 
for  an  audience  seems  to  be  a  normal  heart,  a 
set  of  healthy  emotions,  a  smattering  of  human 
interest  and  a  wee  bit  of  imagination.  Being 
gifted  with  too  many  brains  will  often  spoil  the 
show. 

The  above  does  not  sound  like  a  definition  of 
an  Art  at  all.  It  might  be  a  calisthenic  exercise, 
or  an  international  kindergarten  formula.  It  all 
seems  too  low-brow  and  too  easy  for  an  Art 
thesis.  Wherein  lies  any  glory  for  "artistic" 
people  who  are  always  seeing  things  in  Art 
works  that  the  common  herd  never  can  see — or 
never  want  to?  Art  has  always  been  "difficult, 
both  to  make  and  to  understand.  Therefore, 
calling  this  new  upstart  of  an  entertainment  an 

(Continued 


JORD  DUNSANY'S  plays  lend  themselves 
J~^'  admirably  to  film  translation.  "The  Gods 
of  the  Mountains,"  "The  Golden  Doom,"  and 
'The  Glittering  Gate,"  are  gossamer  sort  of 
works  to  which  only  a  "drama  of  silence  and 
shadows"  can  do  full  justice.  We  have  not  be- 
gun to  see  and  feel  the  wonders  that  the  screen 
conceals  in  its  power  to  portray  mysterious, 
ghostly,  far-off  things  such  as  Lord  Dunsany 
writes. 

I  asked  Lord  Dunsany  to  explain  to  me  why 
he  always  sought  out  ancient  and  mysterious 
problems. 

I  portray  them  because  the  oldest  emotions 
are  the  deepest.  Things  that  concern  New 
York  and  London  are  no  older  than  New  York 
and  London.  The  whole  world  is  filled  with  in- 
tricacies and  intricacies  are  concerned  with  the 
mind  and  not  the  emotions." 

Among  the  intricacies  I  knew  that  he  num- 
bered the  motion  picture,  for  he  is  not  sold  on 
the  motion  picture  idea,  altho  he  goes  to  see 
them. 

It  is  my  theory  that  a  good  play  or  stoiy  is 
on  page  77) 


27 


(( 


We  Respectfully 


By  Ken  Chamberlain 


To  First  National.  Anthony  lightly  tossed  away 
an  empire  and  Cleopatra  must  have  had  plenty  of 
"IT"  to  win  the  toss,  hence  we  suggest  Harry 
Langdon  and  Colleen  Moore  for  the  roles,  just  to 
be  different  J- 


To  William  Fox.    Tom  Mix  falling  off  his  horse 

would  be  a  novelty.    Why  not  have  him  do  "The 

Life  of  the  Prince  of  Wales"? 


To  Warner  Brothers. 
Wont  you  loan  Dolores 
Costello  to  United 
Artists  and  let  them 
use  her  with  Buster 
Keaton  in  that  w.  k. 
tragedy  of  love,  "Romeo 
and  Juliet"?  Buster  has 
the  most  tragic  face  in 
the  films,  and  we 
haven't  seen  Miss  Cos- 
smile  much  either 


To  United  Artists.  We  hope  that  you  will  en- 
courage John  Barrymore  to  continue  in  juvenile 
roles  such  as  Little  Lord  Fcuintleroy,  for  instance 


28 


.. 


Suggest 


yy 


If  the  Producers  Are  Really  Serious  in  Giv- 
ing the  Public  Something  New,  Classic  Is 
Willing  to  Aid  Them  With  These  Suggestions 


To  Cecil  De  Mille. 
While  on  Biblical  sub- 
jects, why  not  start  at 
the  beginning?  The 
Creation  of  the  World 
might  be  a  bit  beyond 
you,  but  you  could  give 
a  real  Garden  of  Eden 
at  last — with  Wally 
Beery  as  Adam,  some 
gal  from  Mack  Sen- 
nett's  as  Eve,  and  Lon 
Chaney    as    the    snake 


To  Universal.  Now  that  the  North  Pole 
has  become  a  tourist  resort  and  there  is  a 
screen  star  from  practically  every  other 
country,  why  not  let  Laura  La  Plante  and 
Reginald  Denny  double  for  the  Eskimos 
until  they  have  a  beauty  contest  and 
produce  a  star 


To  Metro-Goldwyn.  "Hamlet"  has  been  staged  in  modern  dress  and  settings.  Why 
didn't  you  do  the  same  with  "Ben-Hur"?  Novarro  in  a  tin  chariot  and  plus  fours  might 
have  been  even  more  interesting  than  in  a  tin  helmet  and  minus  most  everything  else 


29 


Jonquil  loved  the  Bible  readings  on  Sunday  evenings.    She  and  Grandmother  Rogers  would  sit  under  the 
lamp  in  the  parlor  and  Grandmother  would  read  brimstony  passages  in  her  ice-cold  trickle  of  a  voice 


Synopsis  of  Preceding  Chapters 


JONQUIL  is  a  child  of  the  theater.  With  parents 
associated  with  a  traveling  repertoire  company,  the 
little  girl  is  throzvn  constantly  into  a  shabby  make- 
believe  world  that  jars  her  sensibilities.  She 
loathes  everything  connected  with  the  lives  of  show 
people — the  ill-smelling  dressing-rooms,  the  grease- 
paint, the  shoddy  hotel  rooms,  the  badly  cooked  meals 
— and,  above  all,  she  cannot  take  her  parents  seri- 
ously, especially  when  they  play  tragic  roles. 

Jonquil  longs  for  the  things  of  life  associated  with 
velvet  lawns  and  shady  trees.  She  wants  to  be  like 
other  little  girls — play  with  dolls  and  wear  becoming 
dresses.  She  has  no  place  she  can  call  home.  Her  life 
is  spent  between  watching  her  parents  or  playing  child 


roles — or  crying  herself  to  sleep  in  an  unkempt  room. 

After  her  mother's  death.  Jonquil  grew  out  of  child 
roles  and  her  father,  frankly  disappointed  with  her, 
takes  her  to  her  grandmother's  country  home.  He 
is  determined  to  be  rid  of  her  and  advises  her  that 
if  her  grandmother  doesn't  want  her,  she  will  have 
to  be  sent  to  an  orphanage. 

Jonquil's  joy  at  leaving  the  stage  is.  mixed  with 
sadness.  She  anticipates  an  aloofness  on  the  part  of 
the  grandmother,  whose  idea  of  stage  people  is  some- 
thing not  to  be  encouraged.  Tremblingly  she  pro- 
ceeds to  make  herself  at  home  and  wanders  over  her 
reception. 

Now  you  can  begin  with  the  current  instalment. 


30 


PAINTED    PEOPLE 


By  Faith  Service 


Illustrated  by  Douglas  Ryan 


P\P\  was  speaking 
in  his  most  sonorous, 
most  po  r  t  enl  0  U  S 
voice.  He  was  clearing 
his  throat  a  great  deal 
ami  breaking  out  into 
lit tK-  husky  silences.  It 
ust  as  if  he  were  de- 
livering  an  oration  or  one 
of  those  curtain  speeches 
he  made  whenever  there 
was,  or  was  not.  the 
faintest  opportunity.  It 
did  seem  as  it"  papa  might 
know  that  this  was  the 
supremely  one  time  NOT 
to  talk  like  this.  It  did 
seem  that  he  might  sense 
that  this  was  not  the  way 

to  talk  in  Three  Trees,  on  Grandmother  Roger's  cleanly- 
swept  front  porch,  in  front  of  Grandmother  Rogers  her- 
self. It  came  to  Jonquil  as  a  faint  far  instinct  that  this 
was  the  reason  papa  had  not  got  very  far  in  his  profes- 
sion.   He  didn't  ever  sense  anything. 

Funny  that  he  didn't  see  the  look  of  contempt  on 
Grandmother  Roger's  face — when  it  was  so  painfully 
evident. 

Grandmother  Roger's  face  was  thinner  than  the  face 
Jonquil  had  dreamed  of.  It  had  sharp  little  angles,  like 
pin-pricky  places.  She  had  dreamed  of  a  rosier  face, 
more  comfy.  .  .  .  Oh;  well,  you  cant  have  everything 
and  after  all,  it  was  a  great  deal  to  have  a  Grandmother 
Rogers  with  a  white  and  green  house  in  a  white  and  green 
New  England  town  .  .  .  with  nice  people  .  .  .  particu- 
larly a  great  deal  when  you  happened  to  be  the  child  of 
Percival  de  Vere.   .    .    . 

.  Grandmother  Rogers  might  have  called  out  to  you  and 
told  you  to  "run  along"  when  she  saw  you  advancing  so 
fantastically  up  her  garden  path.  That  garden  path  .  .  . 
those  glimpses  of  wallflowers  and  zinnias  and  petunias 
and  quaint  stiff  sweet-william  and  droopy  asters,  rosy 
and  violet  and  white  .  .  .  perhaps  they  would  let  her 
help  take  care  of  the  flowers  .  .  .  oh,  but  what  was  she 
thinking?  Why  did  she  run  on  the  way  she  did?  When 
Grandmother  might  not  even  be  going  to  let  her  stay? 
Her  face  did  look  forbidding.  Cold.  Edged.  Her  lips 
a  little  blue  and  drawn  like  a  taut  thread  across  the 
tombiness  of  her  teeth. 

Papa  was  saying,  "Well,  daughter  .  .  ."  (he  had 
never  called  her  daughter  before  in  his  life)  "Well, 
daughter  .  .  .  ahem  .  .  .  your  grandmother  has  very 
•  kindly  consented  to  .  .  .  ahem  .  .  .  take  charge  of  you 
for  the  .  .  .  ahem  .  .  .  trial  period  of  one  year.  Very- 
kindly.  Very.  She  makes  the  stipulation  that  you  .  .  . 
ahem  .  .  .  behave  yourself  like  the  .  .  .  ahem  .  .  . 
little  lady  your  poor  dear  mother  and  .  .  .  ahem  .  .  . 
and  I  have  always  trained  you  to  be  to  the  best  of  our 
.  .  .  ahem  .  .  .  poor  powers  ...  I  have  told  your 
grandmother  that  this  is  the  .  .  .  ahem  .  .  .  final  sacri- 
fice for  me  .    .    .  the  final  .    .    .  well,  shall  we  say  giving 


Stories  of  the  theater  are  ever  fascinating. 
They  become  particularly  fascinating  when  they 
depict  a  highly  sensitized  character  determined 
to  escape  the  tinsel  of  the  show  world.  Such  a 
character  is  the  heroine  of  Faith  Service's  story, 
"Painted  People."  The  author  has  written  an 
absorbing  tale  of  a  girl  reared  in  the  atmosphere 
of  the  theater — who  tries  to  find  expression  in 
the  things  that  count  in  life.  Readers  of  the 
CLASSIC  will  find  in  Faith  Service's  serial 
story  all  the  elements  that  enliven  the 
•  imagination. 


lip?      But   a    father's   dutj 

.   .    .  paternal  protective 

ncss   .      .   all  those  cotuid 
(■rations    enter    in     .     .     . 

the  separation  will  cut  mj 

.  .  .  ahem  .  .  .  heart 
strings  .  .  .  will  leave 
me  vet  v  much  alone  .  .  . 
sadly  desolate  .  .  .  hut  I 
feel  it  to  he  the  .  .  . 
ahem  .  .  .  best  thing  for 
you  .   .   .   I  .   .   ." 

It  was  Grandmother 
Rogers  who  finally  cut 
the  declamation  short. 
Just  in  time,  too,  Jonquil 
felt.  Her  father  seemed 
to  be  working  himself  up 
to  a  bigger  "scene"  than 
she  had  ever  seen  him  portray  upon  the  stage.  He 
seemed  to  be  throwing  himself  into  this  suddenly  con- 
ceived and  fantastically  executed  part  with  a  gusto  that 
was  really  alarming.  The  veins  on  his  forehead  stood 
out  alarmingly.  The  pulses  in  his  thick  throat  seemed  to 
be  tiny  hammers  of  horrid  force.  Again  Jonquil  had  the 
uncanny  intuition  that  he  was  doing  all  this  so  dramatic- 
ally because  he  so  much  didn't  want  her,  not  because  he 
so  much  did. 

She  felt  an  almost  unbearable  scorn  of  him.  Did  he 
feel  that  he  was  deceiving  anyone?  Did  he  think  that 
they  believed  him  ? 

Grandmother  Roger's  voice  when  it  broke  in  was  like 
the  tinkle  of  thin. ice  .  .  .  those  long  blue  slivers  of  ice 
that  can  cut  your  hands  so  abominably. 

"It  isn't  necessary,  Mr.  de  Vere,"  she  said,  "to  draw 
this  preposterous  scene  out  any  longer.  T  have  told  you 
that  I  will  take  the  child.  If  she  is  quiet  and  well  behaved 
she  may  remain  with  me — because  she  is  a  child,  not 
because  she  belonged  to — your  wife.  It  seems  to  be  my 
duty.  The  ways  of  Almighty  God  are  inscrutable  and 
no  one  knows  this  so  well  as  myself.  The  child  may  re- 
main— my  one  stipulation  is  that  you  do  not  put  in  an- 
other appearance  unless  sent  for." 

Percival  made  a  gesture  intended  to  be  a  compound  of 
finally  bitter  resignation,  despair  and  martyrdom.  It  was 
a  masterly  effort.  It  occurred  to  Jonquil  that  he  was 
playing  all  this  much  more  professionally  than  many 
scenes  she  had  watched  him  blunder  thru  behind  the 
footlights.  It  was  because  it  meant  so  much  to  him — to 
get  rid  of  her.  It  was  so  that  he  could  be  alone  with 
Rosie,  with  the  girls  who  smelled  of  rank  perfume  and 
giggled  and  sent  for  orange  juice.   .    .    . 

His  footsteps  resounded  as  they  departed  down  the 
trim  garden  path.  Jonquil  supposed  that  the  old-fash- 
ioned flowers,  the  murmurous  trees  had  never  seen  such 
another  spectacle. 

She  and  Grandmother  Rogers  were  left  alone.  She 
felt  a  sort  of  yearning  well  up  in  her  thinly  rounding 
breasts.  It  wasn't  homesickness  for  her  father.  Not 
that.     She  hoped  passionately  that  she  need  never  see  him 

31 


A  Story  of  the  Footlights  and  Kleigs 


again.  It  wasn't  anything  to  do  with  the  old  life.  .  .  . 
It  was,  rather,  the  simple  craving  for  human  contact.  If 
Grandmother  Rogers  would  open  her  arms  to  her  .  .  . 
fold  her  against  her  breast  .  .  .  comfort  all  the  little 
wounds  .  .  .  the  little  insulting  wounds  that  were  not 
little  to  her  .  .  .  the  terrible  little  wounds  of  child- 
hood. .    .    . 

She  felt  heavy  tears  pressing  against  her  throat  and 
at  the  backs  of  her  eyes.  She  knew  that  they  mustn't 
come  thru.  That  same  fine  sensitiveness  to  what  was 
expected  of  her  that  was  to  make  her  shadow  perform- 
ances such  delicate  etchings  in  the  years  to  come  re- 
strained her,  made  her  know  that  Grandmother  Rogers 
would  not  be  tender  to  heavy,  thuddy  tears  .  .  .  the 
bursty  kind.   ... 

She  wanted  to  sob  out,  "I'm  going  to  stay  .  .  .  I'm 
going  to  stay.  ..."  She  wanted  to  run  down  and 
kiss  the  trim  door-step,  the  tiny  bluets,  the  comforting 
small  faces  of  the  pansies  .  .  .  but  she  felt,  surely, 
that  Grandmother  Rogers  would  despise  such 
theatricalism. 

You  would  have  to  hold  yourself  in  with  Grand- 
mother Rogers.  You  would  have  to  cut  a  little 
pattern  for  yourself.  You  would  have  to  fit  into 
it  and  stay  fitted  into  it.     Neatly.     Nicely. 

She  looked  at  her  Grandmother  with  eyes  that 
were  clouded  densely  with  the  held-back  tears. 

She  went  over  to  her  and  slipped  her  hand  thru 
her  arm.  She  couldn't  help  that  one  little  gesture. 
She  had  to  allow  herself  that.  She  needed  human 
contact  so. 

"You  needn't  worry,  Grandma,"  she  said,  "he 
wont  ever  come  back." 

He  never  did. 


"There   were   whole   days   and   weeks   and   months 

when  Jonquil  loved  it. 

She  loved  it  so  that  she  wanted  to  take  the  whole 
neat  green  and  white  town,  including  the  George 
Inn  where  General  Washington  had  slept,  to  her 
eager  little  breast. 

She  loved  her  Grandmother's  house  especially. 
She  felt,  at  first,  that  it  would  be  enough  for  her, 
always,  that  it  would  satisfy  her,  that  she  would  be 
able  to  live  and  dream  in  it,  alone. 

The  parlor  with  the  dully  shining  floor  and  the 
oval  braided  rugs  and  the  lovely  pieces  of  old 
mahogany,  dulled,  too,  to  an  everlasting  polish. 
Beautiful  sheen  to  them,  beautiful  to  pass  your 
fingers  over  them,  softly.  Beautiful  dignity,  be- 
cause they  had  stood  just  there  for  so  many  years, 
had  been  so  carefully  tended. 

She  loved  the  white  winding  stairway  and  the 
flowered  wall-papers  and  the  tall  four-poster  beds 
with  their  gay  patchwork  quilts.  She  could  amuse 
herself  for  hours  figuring  over  one  of  the  patch- 
work quilts.  That  bit  of  gay  damask,  that  bit  of 
cherry  taffeta,  that  incongruous  triangle  of  per- 
cale. .    .   . 

Clean  .  .  .  clean  .  .  .  the  fresh  smell  of  mat- 
ting and  soap-suds  and  beeswax  .  .  .  the  fresh 
swish  of  laundered  curtains  in  the  breeze.  .    .    . 

The  old  attic.  Old  trunks  and  chests  and  corded 
boxes  and  piles  of  magazines.  Hoarded  things. 
Things  that  people  had  lived  with  and  loved  and 
kept. 

She  loved  the  food.  The  fresh  eggs,  the  home- 
made bread  and  pickle  and  preserve,  the  smell  of 


32 


cake  and  pie  on  baking  days.  Even  the  boiled  New 
England  dinners. 

She  took  a  personal  pride  in  the  vegetables,  because 
she  often  picked  them  herself  from  the  kitchen  garden; 
because  she  had  helped  old  Elijah,  the  hired  man,  hoe 
them  and  weed  them.  Old  Elijah  told  her  stories  about 
her  mother  when  she  was  a  little  girl  .  .  .  her  mother 
had  helped  in  the  garden,  too,  had  planted  flower  seeds 
and  tended  bulbs  .  .  .  how  could  she  ever  have  gone 
away  with  Percival  de  Vere,  red-faced,  bulbous? 

She  loved  helping  Grandmother  Rogers  in  the  sunny 
kitchen  in  the  mornings,  wiping  the  old  willow  dishes  to 
a  shining  freshness,  laying  them  away  in  piles  in  the 
white-papered  cabinets.  Oh,  everything  was  so  clean 
...  so  shiny  and  sudsy  and  fresh  .  .  .  how  could,  how 
could  her  mother  have  left  such  a  heaven-life  for  Per- 
cival de  Vere  with  his  cheap,  silly  suits,  his  loud,  put- 
on  voice? 


Jonquil  never  quite  knew  how  it  all  happened,  but  she  got  the 

stench  of  dark  unhappy  things  in  the  gossip  that  went  on 

among  the  old  ladies.    It  was  cruel  gossip  that  flayed  pretty 

young  things  and  hurt  and  stung  like  whip  lashes 


. 


And  How  a  Girl  Solves  Her  Destiny 


She  even  loved  the   Bible  readings  Sunday   evenings 
when  she  .md  Grandmother  Rogen  would  sit  under  the 
lamp  in  tin-  parlor  and  Grandmother  would  read  brim 
•tony  passages  in  her  ice-cold  trickle  oi  ■  voice. 

Now  and  again  when  Grandmother  was  reading  the 
Bible  aloud  to  her,  there  came  the  thin  little  thread  of 
the  thought  that  Grandmother  hated  her.  Hut  that,  oi 
course,  was  absurd.  Grandmothers  never  hate  their 
grandchildren.  It  was  just  Grandmother  Roger's  wa) 
It  was  because  she  was  neat  and  precise  and  cool  and 
had  always  looked  on  peaceful,  shiny  things.  It  was  be- 
cause she.  Jonquil,  had  been  used  to  hoi  greaaj  kisses, 
fierce  sudden  embraces,  the  smotheration  of  pel  names, 
and  lollipops  and  gewgawy  presents. 

Grandmother  Rogers  took  her  to  church  every  Sunday. 
too.  It  was  a  long  service,  but  Jonquil  didn't  mind.  She 
was  doing  now,  what  all  nice  little  girls  with  nice  houses 
and  front  porches  and  decent  gingham  dresses  did.  Even 
the  sermons  didn't  seem  too  dull  to  her.  She  could  sit 
verv  erect  in  the  pew,  feel  elegant  and  nice.  Some  of 
the  other  little  girls  stared  at  her.  but  they  couldn't  stare 
at  her  as  little  girls  in  other  towns  had  done,  because  now 
she  was  Crandmother  Roger's  child  and  had  nothing  to 
do  with  the  stock  company  or  Percival  de  Vere.  She 
wished  that  her  Grandmother  would  introduce  her  to 
some  of  the  little  girls.     It  would  be  fun  to  have  little 


girl   friends,  to  go  off  mi  bcrrvinj  lie  had 

some  ui  the  town  children  doin^.  ,,n  picnics  in  tin-  *■ 

and  to  the  lakes   where   tlieic   was   wading   and   swimming. 

But,  of  course,  you  cam  have  everything  .  .  .  no  doubt 
Grandmother  was  waiting  to  see  that  she  behaved  hei 

self  like  a  little  lady  and  then  all  the  rest  would  follow 
.  .  .  Betides,  in  the  fall,  she  would  go  to  school  and 
then  she  would  gel  to  know  the  girls  .  .  .  there  would 
be  little  clubs  and  things.    .    .    . 

She  didn't  like  to  sa>  anything  to  Grandmother  about 

little  girls,  for  fear  Grandmother  would  think  she  was 
lonely,  complaining    .    .    .    when  she  wasn't      very. 


Was    there 


LJow  she  came  to  hate  it  I 

Was    she    always    to    hate    everything' 
nothing  for  her  to  love?     No  one? 

But  this  hate  was  worse,  if  possible,  than  the  hate  of 
the  grease-paint  and  the  leading  women  and  her  father 
and  the  smell  of  back-stage.  This  hate  was  cold  and  thin 
like  knives  running  into  you.  It  was  frightful  because 
it  was  love  turned  to  hate  and  there  is  no  hate  quite  so 
frightful  as  that. 

The  very  things  she  had  loved  so  .  .  .  the  flowers 
.  .  .  petunias  and  gladioli  and  stock  and  marigold  .  .  . 
lovely  fragrant  names  turned  to  gall  on  her  lips  .  .  . 
smug  things  that  she  could  not  touch,  that  she  was  not 
allowed  to  touch.  .  .  .  "What  do  you  know  about 
flowers,  Miss?" 

How  she  hated  the  house,  too.     The  furniture  with  its 
smug    self-assurance,    its    air    of    being    invincibly    right, 
beyond  reproach.    The  priggy  clean  sheets  smelling,  self- 
consciously,  of   lavender.     The   smugger   little   bedroom 
which  was  hers,  the  smell  of  the  matting  on  the  floor,  the 
fresh  wall-paper  on  the  wall,  the  beeswax  on  the  floor. 
The  dampish  odor  that  exuded  from  it  all  when  it  rained 
out  of  doors.   The  plain,  wholesome,  now-savourless  food 
eaten  with  that  holy  air  of  beneficence  and  a 
false  air  of  humility  and  gratitude.     The  front 
porch  where  you  sat  and  rocked  and   rocked 
and  then  rocked  some  more  and  watched  the 
other  girls  in  the  town  go  by,  arms  locked,  in 
twos  and  threes  and  fours,  pretending  not  to 
see  you  there  when  you  knew  so  painfully  well 
that  they  did  see  you,  that  they  were  talking 
about  you.   .    .    . 

The  "nice"  girls  of  the  town.  Too  nice  for 
Percival  de  Vere's  daughter.  Their  sideway 
glances,  their  giggles,  their  titterings. 

Their  little  mean,  scimped  ways.  The  ways 
they  were  nice  to  you  in  school  when  the 
teacher  was  around,  when  she  was  looking, 
the  ways  they  waited  to  show  you  that  you 
were  an  outsider  and  always  would  be  when 
they  were  unobserved. 

The  insulting  way  you  got  invited  to  some 
of  the  bigger  parties  in  town,  the  school  and 
community  parties  to  which  everyone  was  in- 
vited, even  the  factory  girls  in  the  class.  The 
way  you  were  omitted  from  the  small  informal 
gatherings  where  all  the 
good  times  were  held. 

That  bold  brassy  girl, 
Hilda  Helm,  who  had  said 
to  you  one  day,  "Well,  you 
needn't  look  at  us  as  tho 
we  are  crucifiers  .  .  .  your 
own  grandmother  told  our 
(Continued  on  page  66) 


33 


The  Keystone  Kop 
Who  Became 

a  DIRECTOR 


Chester  Conklin 


By  Peter  Milne 


fa.* 


Pola  Negri 


IT  appears  to  be  a 
popular  illusion 
among  magazine  edi- 
tors that  motion  picture 
directors  are  not  inter- 
esting enough  to  be 
brought  before  the  pub- 
lic in  a  close-up. 

As  Jesse  Lasky  would 
say,  let  us  proceed  to  debunk 
this  theory. 

I  hold  that  Erich  von  Stro- 
heim  is  as  interesting  as 
Rudolph  Valentino ;  that  D. 
W.  Griffith  is  as  interesting  as 
Charles  Ray  and  that  Charles 
Chaplin,  the  director,  is  every 
whit  as  interesting  as  Charles 
Chaplin,  the  comedian. 

In  rare  instances  only  do  players  have  the  ascendency 
of  interest  over  directors.  To  your  own  favorite  stars 
add  Ben  Turpin  and  you  have  a  complete  list. 

At  present  the  most  interesting  director  on  this  side 
of  the  horizon  is  Malcolm  St.  Clair,  the  stormy  petrel  of 
the  Famous  Players-Lasky  studios. 

As  one  who  knew  him  when  he  recurrently  fell  into 
Echo  Park  Lake  in  Los  Angeles,  dressed  up  as  a  Key- 
stone Kop,  it's  rather  hard  to  call  him  anything  else  but 
Mai.  But  in  the  light  of  "The  Show  Off,"  "The  Grand 
Duchess  and  the  Waiter,"  "A  Woman  of  the  World,"  and 
"Are  Parents  People?"  I  suppose  the  "I  knew  him  when" 
stuff  should  be  put  aside  and  the  formal  Malcolm  adopted. 
Having  decided  this,  I  shall  continue  to  call  him  Mai. 

The  Keystone  Kop  Is  Hired 

A  scant  two  years  ago  Mai  was  pleading,  almost  tear- 
fully,  for  Jesse  Lasky  to  give  him  a  chance  directing 
a  Paramount  picture.  Today  only  Lubitsch  and  von  Stro- 
heim  are  ranked  above  him  by  photoplay  critics  voting 
in  a  national  poll  of  newspapers  and  magazines. 

A  big  accomplishment  for  a  man  on  whom  his  thirtieth 
year  has  not  yet  set. 

And  today  also  he  chooses  what  stories  he  will  direct 
and  what  stars.  This  is  because  he  is  pleasantly  tyran- 
nical in  his  directorial  method.  He  will  not  adapt  his 
style  to  that  of  some  set  star.  He  has  made  his  high 
mark  by  breaking  thru  old  barriers.  For  a  time  he  fol- 
lowed the  revolutionary  Lubitsch.  Now  he  follows  no 
one  and  has  his  own  disciples. 

Ten  years  ago  Mai  St.  Clair  was  a  member  of  the  art 
department  of  the  old  Los  Angeles  Express.  He  perpe- 
trated a  sport  cartoon  now  and  then.     But  he  was  a  movie 


34 


fan  and,  being  at  the  seat  of  production,  naturally 
yearned  to  become  associated  with  pictures. 

He  knew  Lige  Conley,  a  present-day  comedy  star,  who 
was  at  the  time  one  of  Mack  Sennett's  Keystone  Kops. 

"Lige  told  me  to  come  out  to  the  Keystone  studio," 
Mai  says.  "I  went  out  but  Lige  couldn't  get  me  beyond 
the  studio  gate.  He  appealed  to  Owen  Moore  who  was 
then  playing  opposite  Mabel  Normand.  Owen  got  me 
in  and  got  me  in  to  Sennett.  Lige  must  have  sold  me 
good  and  proper,  for  Owen  said  to  Sennett :  'Here's  a 
second  Rube  Goldberg.' 

The  First  "Gag  Man" 

"Tn  the  words  of  the  ads,  I  got  the  job.  Sennett  was 
making  'My  Valet'  then  in  which  Raymond  Hitch- 
cock starred  and  in  which  Sennett 
himself  played  an  important  part. 
Sennett  took  me  out  to  the  location 
in  his  automobile.  I  was  then  what 
today  is  known  as  'gag  man.'  I 
guess  I  was  the  first.  I  was  sup- 
posed to  suggest  funny  business  to 
Sennett.  Because  I  rode  out  to  lo- 
cation in  his  car  everybody  else  in 
the  company  thought  I  was  made. 
They  went  to  location  by  trolley. 

"I  was  a  kid  then  and  didn't 
know  much.  All  day  long,  when- 
ever Sennett  worked  before  the 
camera  I  burst  my  sides  laughing. 
When  Hitchcock  or  somebody 
else  did  their  stuff,  I  was  silent. 
I  wanted  to  get  in  right  with 
Sennett. 

"When  the 
day's  work 
was  done, 
Sennett  rode  home  without  me. 
He  didn't  speak  to  me  for  six 
months.  He  hates  'yes  men.'  He 
had  me  figured  out  as  one.  And 
that's  how  I  learned  not  to  be 
one.  Instead  of  a  glorified  gag 
man,  riding  in  the  boss'  car,  I  was 
a  member  of  the  Keystone  Kops  and 
fell  into  the  lake  at  the  end  of  every 
picture. 

"Still,  I  was  in  good  company. 
The  other  Kops,  at  that  time,  were 
Chaplin,  Eddie  Cline,  Al  St.  John 
and  Conley.  We  were  permanent. 
Others  came  and  went."  Ford  Sterling 


b°OtS(T  £RCoK3 

Louise  Brooks 


>^rj 


• 


Mai  St.  Clair   Has   Made   Big 
Strides  Since  His  Keystone  and 
Cartoon  Days.    Here  Is  a  Cameo 
of  His  Film  Career  and  Some 
Impressions  of  the  Players  Who 
Have  Worked  for  Him 

Drawings  by  Mai  St.  Clair 

He  Elevated  Chester  and  Ford 


\<  a  Kop,  Mai  St.  Clair  supported  all  the  comedy 
stars  of  the  day,  DOtably  Chester  Conklin  and 
Ford  Sterling,  And  now  that  he  is  a  feature  director 
he  has  taken  Conklin  and  Sterling  out  of  the  two-reel 
comedy  class  and  made  featured  players  and  stars  of 
them. 

Conklin  was  sick  of  pictures  and  about  to  retire  from 
them  to  devote  all  his  time  to  his  bean  ranch  in  California 
when  Mai  put  him  in  "The  Woman  of  the  World"  with 
Pola  Negri.  Conklin's  stock  went  skyrocketing.  Today 
he  is  "under  a  feature  contract  with  Paramount  and  prob- 
ably will  star  soon. 

Mai  insisted  that  Sterling  play  the  title-role  in  "The 
Show  Off."  He  is  starred  in  it.  He  has  ar  abiding  faith 
in  the  old  Keystone  players.  Incidentally,  he  told  me'  that 
Chester  Conklin's  father  looks  just  like  him,  only  his 
mustache  is  real. 

Mai  is  a  native  Calif ornian  but 
he  has  so  much  Irish  in  him  that 
there's    almost    a    brogue.      He 
very  tall.     I  dont  think  anyone 
has    ever    measured    his     full 
height.      He    must   have    snow 
on  his  head  the  year  round. 

He  used  to  come  stooping 
into  my  apartment  out  in  Hol- 
lywood after  the  day's  work  in  direct- 
ing George  O'Hara  in  the  "Fighting 
Blood"  series,  for  after  becoming  a 
Sennett  director,  he  branched  out. 
That  was  only  three  years  ago  and 
he'd  never  been  to  Xew  York.  He 
liked  to  hear  about  it.     Today  Mai  is 

known     on 
Park  Avenue 

and  Broadway.  He  draws  an 
enormous  salary  and  gets  full 
.value  out  of  it.  Yet  some  of  his 
fondest  memories  are  of  the 
times  that  Mabel  Xormand  used 
to  buy  the  entire  Keystone  com- 
pany lunch  because  the  rest 
didn't  have  the  price  and  because 
she  was — and  is — the  most  gen- 
erous girl  in  the  world. 

Tried  His  Talents  on  the  Dog 

AXfHEN  Mai  started  directing 
features,  he  was  given  Rin- 
Tin-Tin  as  a  star.  He  made  two 
pictures  with  the  dog  and  then 
thought  it  would  be  nice  to  have 
a  two-legged  star.     He  got  one 


TO /vi 

Tom  Moore 


Adolphe  Menjou 


and  made  a  picture  but  the  company  thought  it  was '  so 
bad  that  he  was  fired.  Later  the  film  was  picked  as  one 
of  the  six  best  of  the  month  in  which  it  was  released. 

It  was  after  this  that  Mai  started  his  campaign  on 
Jesse  Lasky.  To  get  this  extremely  high  person  out  of 
his  way  at  the  studio  Lasky  finally  gave  him  "Are 
Parents  People?"  to  direct.  The  understanding  was  that 
if  it  was  good  he  was  to  receive  a  year's  contract. 

Following  the  picture's  completion,  Mai  was  at  liberty. 

Naturally,   no  one  knew   until  the   picture  was   released 

whether  or  not  it  was  a  success.     Fans  and  critics 

hailed  it  when  it  glittered  on  the  silver  screens  of 

the  nation's  theaters. 

And  then,  helter-skelter,  came  the  rush  for  the 
director's  services.  Lasky  reached  him  first,  waving 
his  year's  contract,  but  close  behind  him  were  the 
production  heads  of  other  companies. 

Today  Mai  St.  Clair  can  write  his  own  ticket  with 
Lasky  or  with  anyone  else. 

In  his  directing  Mai  always  takes  the  unusual 
angle.  Not  the  unreal.  But  the  refreshing  and 
original  way  to  tell  the  real.  And  he  sees  the  unusual 
angle,  the  unusual  side  of  people. 

What  Mai  Says  About  Them 

[   asked  him  to  name  the  outstanding  characteristics  of 

the  various  stars  and  players  he  has  directed. 

"What  about  Adolphe  Menjou?"  I  asked. 

"Menjou?  His  enthusiasm  and  his  naivete  are  out- 
standing," Mai  said. 

The  suave  and  sophisticated  Menjou  naive !  I  almost 
collapsed. 

"Then  who  is  the  most  sophisticated  star  you've  di- 
rected?" I  asked,  "Pola  Negri?" 

"Never!"  he  said,  "Pola  Negri  is  the  supreme  optimist. 
Every  part  that  Pola  gets  it's  a  case  of  'Ach,  this  is  the 
greatest  performance  of  my  life!'  No,  not  Pola,  the 
most  sophisticated  is  Betty  Bronson." 

Menjou  naive!     Bronson  sophisticated! 

Add  two  more  wonders  of  the  world ! 
(Continued  on  page  81) 


35 


CELLA   LLOYD   VAMPS 


,/v 


»^>. 


WHAT'S    GONE    ON 
BEFORE 

Cella  Lloyd  has  always 
blamed  her  lack  of  good 
pictures  on  bad  direction. 
She  feels  that  Claude  de 
Focus,  the  Big  Director, 
could  bring  out  all  her 
hidden  charms  and  talent. 
But  how  to  attract  his 
attention?  Ah,  she  will 
vamp  him  in  her  one- 
piece  bathing  suit.  Now 
read  on! 


Claude  de  Focus,  the  master  of  the  mega- 
phone, has  met  Cella  Lloyd  and  is  im- 
mediately vamped.  He  tells  the  waiting 
world  that  he  has  "discovered"  a  girl  with 
tremendous  screen  possibilities  who  is 
destined  to  become  the  only  real  artiste  of 
the  movies 


Like  any  good  butter-and-egg  man,  de  Focus  promises   Cella 

all  kinds  of  luxuries — even  a  Pullman  car  named  for  her.     He 

will  give  her  the  big  part  in  his  big  picture,  tho  there's  a  "joker" 

in  his  promise 


36 


THE     BIG     DIRECTOR 


By 

John  Held,  Jr. 


The  big  director,  on 
bended  knee,  solemnly 
vows  that  he  can  make 
Cella  his  biggest  star 
if  she  will  consent  to 
become  his  best  pal  and 
severest  critic  at  the 
altar 


But  zounds  and  odsbodkins!  No  sooner 
does  de  Focus  declare  his  ardent  love  for 
Cella  than  his  wife  turns  up — the  one  he 
married  when  she  was  a  strong  young  thing 
in  vaudeville 


37 


HOLLYWOOD'S 


WHEN  IT'S  AFTERNOON  TEA 

Cedric  Belfrage 


By 


Kate  Price 
H.  B.  Warner 


WHAT 
ho!"   chant 
the  despised  and 
rejected  of  the  British  stage, 
as    from    the    windows    of    the 
Golden    State    Limited    their    eyes 
fasten  greedily  on  the  rustic  hamlet  of 
Hollywood. 

"Desist !"  bellow  the  wrathful  gods  of  Ellis 
Island,  as  ship  after  ship  disgorges  a  fresh  horde 
of   deep-chested,   fair-haired,  clean-limbed,  blue- 
eyed,      freckle-faced,     broad-thewed,     well-knit, 


the.  outposts  of  her  empire  ?  What  will  those 
impressionable  people,  the  movie  fans,  have 
to  say  about  it,  anyway? 

All  the  King's  Horses 

HThe  list  of  British  leading  men  in 

Hollywood     has     grown     to 

alarming     proportions,     and 

it's     still    growing.       Of 

Londoners    alone 

Gibson  Gowland 
Dorothy  Mackaill 


Pauline  Garon 

Oxford-bagged  he-men  to  swell  the  ranks  of  Hol- 
lywood's Union  Jack  Club. 

And    while,    armed    with    long-term    contracts 
and  disarming  smiles,  the  invaders  sit  calmly 
around  imbibing  tea  and  munching  muffins 
in    the    secluded    loggias    of    Beverly 
Hills,     the     immigration     officers 
champ   the    bit   in   their   island 
kingdom.      Dare    they    stem 
this     ever-growing     tide 
of    male   pulchritude 
from     the     bleak 

shores   of  'fj^f  "^s^   «^> 

Britain  and 


L  L 


Percy  Marmont 


Herbert 
Rawlinson 


Holmes  Herbert 
Marc  MacDermott 


there   are 
five    among 
the    most    promi- 
nent  in    screendom — 
Ronald  Colman,  Reginald 
Denny,    Clive    Brook,    Percy 
Marmont,    and    H.    B.    Warner. 
The  English  provinces  swell  the  list 
with  Conway  Tearle,  Victor  McLaglen, 
T.  Roy  Barnes,  House  Peters  and  Herbert 
Rawlinson. 

Nor  is  that  all.  The  Dominions  which  bow 
the  hypothetical  knee  to  His  Majesty,  the 
Fifth  of  the  Georges,  add  their  quota  with 
Jack  Pickford  (Canada),  Marc  McDermott 
(Australia)  and  Montagu  Love  (India). 

Then,  on  top  of  that,  there's  Ireland. 
Whatever  the  peppery  Irish  may  have  thought 


38 


. 


UNION  JACK  CLUB 


TIME    IN    BEVERLY    HILLS 

Drawings  by  George  Annand 


about   it.   their  green  and   pleasant    land    used  to 

be   part   of    Great    Britain      So    we   have   to 
ailil    to   our   list    the    distinguished    names   of 
Tommy  Meighan,  Holmes  Herbert,  Creigh 
ton    Hale,  the  three    Moore   boys  and 
Pat  O'Malley. 

Altho  they  arc  inanv.  and  their  _^^ 

passports  are  in  anything  but 
proper    order,    there's    no 
denying  that  they  form 

Charlie  Chaplin 
Emily   Fitzroy 


Ernest  Torrence 
Mary   Pickford 

Sheik    on    an     Arabian 
type.        This,     however,     I 
am   glad    to    see,   is   now   being 
dispelled.     Miss  Hull,  who   for  all 
her  literary   faults  was  careful   to  see 
her   own   country    first,    last,   and    all    the 
time,  met  Ronald  Colman  at   Richmond.  Sur- 
rey, and   from  that  day  she  never  looked  back. 
The  only  reason  why  she  didn't  call  her  magnus  opus 
"The  Sheik  of  Richmond  Hill"  is  that  Araby  sounds 
so  much  more  romantic.     In  point  of  fact,  the  Arab 


an    1  m- 
posing    and 
pulchritudinous 
array.     If  it's  true 
that    the    law    contem- 
plates a  drive,  then  the  law 
wont  have  everything  its  own 
way.      Some    of    us    may    adore 
Valentino   with   an   adoration   that   is 
akin  to  worship,  but  if  all  the  Britishers 
in  Hollywood  were  placed  end  to  end — I  cant 
say    where    they    would     reach    to,    but    you 
wouldn't  be  able  to  see  the  female  adorers  for 
dust.     Adoration  is  one  thing,  and  dust  in  the 
eyes  is  another. 

True  Origin  of  the  Sheik  . 

A  x    entirely   erroneous  impression  used  to  be 
current   that   Miss   Hull   based   her   famous 


Norma  Shearer 


has     the     whiskers     but     the     Englishman     has     the 
technique. 

While    doing    such    a    remarkably    heavy    export 
trade    in    masculine    sex-appeal,    England    has 
provided    curiously     few    of     Hollywood's 
female  players.     What  the  British  femi- 
nine   export    lacked    in  .  quantity    it 
made  up  in  quality,  altho  indeed 
neither  Emily  Fitzroy  (from 
London)  nor  Kate  Price 
(from   Cork)    can  be 
accused   of   being 
(Continued 
on  page 
68) 


Ralph  Forbes 

Creighton  Hale 

Wyndham  Standing 


39 


The  Forward  Fall 


The  left  leg  leaves  the  ground 


The  right  shoulder  takes  the  shock 
of  the  fall 


40 


The  FINE  ART 


By  Hal  K.  Wells 


The     left     leg 

used     as     a 

pendulum 


The  body  lurches 
forward 


EVER  since  the  well-known  serpent  in 
the      equally      well-known      Garden 
served   that    famous   and   disastrous 
dish  of  applesauce,  the  Fall  of  Man  has 
been  the  one  great  predominating  theme 
of    all    broad    comedy. 
Falls   have   come   to 
be     regarded     as     the 
funniest  sights  life  can 
offer — so  long  as  it  is 
the   other    fellow    who 
does     the     falling,     of 
course. 

The  grotesquely 
falling  comedian  has 
been  the  mainstay 
alike  of  old-time  min- 
strels and  modern  cir- 


Midway  in  the  swing 


cus  and  vaudeville  acts.  The  advent  of 
slapstick  moving  pic-tures  raised  the  trick 
fall  to  almost  the  dignity  of  an  institu- 
tion.- 

Custard-pies  that  crash  with  charming 
messiness  into  the  heavy's  scowling  fea- 
tures, bulldogs  which,  with  pertinacity 
worthy  of  a  better  cause,  cling  to  the  seat 
of  the  hero's  pants,  grisly  skeletons 
which  cause  colored  servants  to  tremble 
and  bleach  like  a  coal-pile  in  a  snow- 
storm— all    these    time-honored    comedy 

props  have  an  unfailing  appeal  to  the  risibilities  but,  in  the  last  analysis,  it 
is  the  trick  fall  that  is  the  real  king  of  the  comedy  realm. 

A  film  comedian  unable  to  do  funny  falls  would  be  almost  as  much  of  an 
anachronism  as  a  tongue-tied  auctioneer. 

Simple  If  You  Know  the  Trick 

Calling  looks  like  a  superbly  easy  stunt  to  do.     Yet  in  reality,  when  done 

rightly,  it  is  one  of  the  hardest  feats  in  the  repertoire  of  a  professional 
tumbler. 

The  mere  falling  is  a  simple  enough  matter.  One  has  merely  to  remove 
both  feet  from  the  ground  at  the  same  time  and,  with  an  immediate  and 
whole-hearted  co-operation,  the  law  of  gravity  will  step  in  and  very  promptly 
take  care  of  the  rest  of  it.  But  to  fall  and  survive  the  feat  in  reasonably  good 
health  is  another,  and  more  difficult,  matter. 

It  is  in  seeming  to  fall  hard,  yet  at  the  last  moment  cunningly  taking  most 
of  the  shock  of  actual  contact  with  the  shoulders  or  hands,  that  the  real  art 
of  the  "fall  comic"  lies. 

High  falls  are  frowned  upon  by  most  successful  comedians,  and  with  ex- 
cellent reason.  Too  much  indulgence  in  high  falls  brings  a  condition  much 
like  taking  too  many  wallops  in  the  face  during  a  prize-ring  career.  A 
"punch  drunk"  fighter  has  his  brains  so  thoroly  shaken  up  that  they 
eventually  become  about  as  efficient  intellectually  as  an  overdone  omelette. 
In  a  similar  fashion,  the  shock  of  too  many  high  falls  usually  results  in 
making  a  permanent  "goof"  of  the  luckless  victim. 

How  Bevan  Does  It 

That  was  one  of  the  warnings  that  Billy  Bevan  stressed  to  me  the  other 

day  over  on  the  Mack  Sennett  lot,  while  we  were  discussing  some  of  the 

sidelights  on  the  fine  art  of   falling.     Billy  gave  me  a  number  of   really 


of  FALLING 


The  Trick  Fall  Has  Replaced  the  Custard  Pie  as  the 
King  of  the  Comedy  Realm.  In  Order  to  Execute  It 
the  Comedian  Must  Remove  Both  Feet  from  the 
Ground  and  Come  Down  With  a  Painful  Expression 


interesting  pointers.  Eight  years  in  slapstick  comedy  have  not  only  made 
Bevan  a  past  master  in  the  actual  art,  hut  have  given  him  a  firm  grasp  of  the 
fundamental  theories  involved  as  well. 

"  \  fall  must  not  look  acrobatic  in  any  way,"  Billy  explained,  "or  its  laugh- 
getting  value  is  lost.  When  a  comedian  takes  a  graceful  run,  leaps  nimbly 
into  the  air  and  spins  thru  two  perfect  flips  before  coming  down,  he  may 
get  a  gasp  of  admiration  from  his  audience,  but  he'll  get  very  few  laughs 
In  order  to  be  funny,  a  fall  must  look  natural. 

"And,  in  order  to  look  natural,  a  fall  must  be  sprawling  and  awkward. 
loss  of  dignity  must  go  hand  in  hand  with  loss  of  balance.  The  comedian 
must  kiss  the  dirt  with  a  thoroness  that  leaves  little  to  the  imagination.  Yet 
the  fall  must  not  be  too  violent,  or  it  becomes  brutal  and  excites  sympathy 
instead  of  mirth." 

Then,  as  it  happened  to  be  only  two  o'clock  in  the  afternoon  and  Director 
Del  Lord  had  just  shot  the  last  scene  in  the  current  Bevan  comedy,  Billy 
offered  to  pose  for  some  special  shots  m  order  to  illustrate  the  exact  tech- 
nique of  some  of  the  better  known  falls.    Accordingly,  we  borrowed  a  speed 
camera,   a   cameraman,   and   two   assistants,   and   selected   the 
grassy   lawn   in   front   of   a   bungalow   set    for   our   scene   of 


operations. 


According  to  Slow  Motion 


The    hands    take 
the  impact 


The  feet  fly  over 


The  fall  illustrated  in  se- 
quence across  the  pages 
is  known  among  acrobats 
and  tumblers  as  the 
"Hundred  -  and  -  Eight." 
The  comedian  depicted 
taking  this  fall,  together 
with  the  Forward  and 
Backward  flips,  is  Billy 
Bevan.  These  poses  are 
exclusive  and  were  illus- 
trated before  a  slow 
motion  picture  camera. 


A  speed  camera,  better  known  outside  of  studio 
circles  as  a  "slow  motion  picture  camera,"  shoots 
a  subject  something  like  eight  times  faster  than 
normal,  with  the  result  that  catching  accurate  shots 
of  a  man  in  mid-air  is  a  comparatively  simple  feat 
for  it.     After  the  film  was  developed  we  would  have 

merely  to  select  the 
exact  "frames"  we 
wanted,  and  enlarge 
them  to  illustrate 
the  various  steps  in 
each  fall. 

While  the  cam- 
era crew  was  setting 
up,  Billy 
continued  his 
brief  exposi- 
tion on  the 
technique  of 
falls  in 
general. 

"If  y  o  U 
ever  played 
football,"  he 
explain  ed, 
(Continued 
on    page   82) 


The  end  of  the  fall  is 

eased  by   the   left   foot 

and  hip 


The  Backward  Fall 


The  hands  spread  for  balance 


The  hands  ready  to  take  impact 


The  feet  leave  the  ground 


The  shoulders  take  the  impact  from 
the  hands 


41 


Ball 


RICHARD   DIX 

There's  the  signal — 16-7-49-25 — and  there  goes  Dix,  the  pigskin  under  his  arm,  for  a 

run  around  the  end.     The  dashing  Dick  has  been   scoring  box-office  touchdowns  for 

some  time.     His  new  film,  "The  Quarterback,"  should  find  him  still  at  the  top  of  his 

game — which  is  one  good  picture  after  another 


42 


What  It  Costs  to  Be  a  Well- 
Dressed  Clubman 


(Evening  Edition) 


By  Warren  Dow 


THE  male  of  the  species  is  prone  to  tear 

his  hair,  moan  in  a  loud  tone  of  voice  aiul 

otherwise  register  Krru-t  m  l;irK(-  quantities 
when  his  wife's  bills  for  millinery  and  eve- 
ning gowns  come  rolling  in  about  the  first 
of  the  month. 

Yet,  when  the  masculine  fashion  plate 
Steps  forth  correctly  attired  for  an  evening 
at  the  opera  or  other  formal  functions,  the 
combined  cost  of  the  various  parts  of  his 
COStume  will  easily  equal  the  price  tag  on  a 
new  flivver  COUp< 


High    silk    hat,    familiarly    known 
as  a  "topper,"  $10 


Custom-tailored      suit      of      black 

broadcloth,   including  trousers  and 

swallow-tailed  coat,  $175 


Vest,    or    waistcoat,    of    white    silk 
material,  $25 


Gloves,    also    of    white 
silk,  $5 


Patent    leather    pumps, 
$15 


Opera     top      coat,     of 
black  broadcloth,  $75 


pAMON    NOVARRO   is   noted   in    Holly- 
wood   for    being    correctly    garbed    on 
ever)  conceivable  occasion,    It  costs  the  --tar 

about  $430  to  be  outfitted  as  he  is  here — 
and  the  end  is  far  from  reached.  Studs  and 
links  remain  to  be  SCCUred  to  complete  the 
costume.  The  exad  COSt  of  these  is  a  mat- 
ter of  individual  preference  ranging  from  a 
possible  minimum  of  $25  or  $50  to  well  into 
the  thousands. 


White   silk   tie  and   bat-wing 
collar,  $2.50 


Stiff-bosom    shirt,    of    linen,    $5 


White      silk      handker- 
chief, $3 


Socks,   plain  black  and 
of  heavy  silk,  $2.50 


Walking  stick,  $12 


Total     cost     of     outfit, 

minus   studs   and    links 

is  $430 


C  S.  Bull 


43 


The  Editor-in-Chief  of 
the  Brewster  Publications 
Gathers  More  Notes  on 
the  Busy  Activities  of  the 
Stars  on  the  Coast 


Impressions  of 
HOLLYWOOD 


By  Eugene  V.  Brewster 


I  DROVE  over  to  Westwood  the  other  day  and  watched 
the  Fox  people  filming  "What  Price  Glory."  West- 
wood  is  about  ten  miles  from  Hollywood,  and  it  should 
be  called  Foxwood,  because  it  is  all  Fox  and  their  Holly- 
wood studio  will  eventually  move  there.  Westwood  con- 
sists of  several  hundred  acres  of  fields  and  hills,  all  of 
which  is  owned  by  Fox,  but  most  of  it  has  been  converted 
into  foreign  villages.  The  first  I  came  to  was  a  Spanish 
city  and  it  was  hard  to  believe  that  I  was  not  actually  in 
Spain,  altho  it  was  devoid  of  people  because  nothing 
was  being  filmed  there  just  then.  The  next  place  was  a 
complete  French  village  with  hundreds  of  dwellings,  hotels, 
churches,  saloons,  etc.,  and  thousands  of  French  peasants, 
shop-keepers,  children,  and  soldiers  in  uniform. 

Hurly-Burly  Excitement 

Daoul  Walsh  was  directing  a  scene  in  "What  Price 
Glory,"  which,  from  all  accounts,  is  to  excel  even  "The 
Big  Parade,"  and  those  who  have  seen  the  gorgeous 
picture,  "The  Wanderer,"  will  be  inclined  to  believe  that 
Walsh  has  the  ability  to  do  anything  he  sets  out  to  do. 
The  soldiers  were  real  veterans  of  the  World  War  and 
hence  required  very  little  drilling,  but  not  so  with  the 
women,  children,  horses  and  ducks — the  ducks,  in  par- 
ticular. A  large  flock  of  geese  persisted  in  getting  in  the 
way  of  the  marching  troops,  and  some  of  the  girls  often 
failed  to  wave  to  the  soldiers  at  just  the  right  moment  and 
to  embrace  their  sweethearts  with  sufficient  ardor. 

Just  imagine  a  director  standing  near  the  cameras  on  a 
platform  shouting  orders  to  a  thousand  people  who  were 
scattered  about  in 
every  nook  and 
corner  of  a  scene  that 
extended  nearly  half 
a  mile  distant !  There 
was  the  keeper  of  the 
geese,  the  men  in 
charge  of  the  horses 
and  mules,  the  girls 
in  the  windows,  the 
captains  and  corpo- 
rals, the  men  who 
were  letting  water 
from  tanks  into  the 
stream,  the  women 
who  were  doing  their 
laundry  on  the  banks 
of  the  river,  the  prin- 
cipal players  in  the 
cast,  and  I  dont  know 
how  many  others  who 
had  to  know  just 
what  to  do  and  when 
to  do  it. 

Yet,  in  a  short 
while  this  vast  human 
machine  moved  like 
clockwork,     the 


"The   Amateur    Gentleman"   will   not   lack   for    fine   acting — not   with 

Richard  Barthelmess  as  the  star  and  Gardner  James,  the  "find"  of  the 

year,   supporting  him 


cameras  clicked,  the  regiment  marched  down  the  hill 
thru  the  village,  the  populace  waved,  the  geese  quacked 
and  scampered  to  cover,  Dolores  Del  Rio  ran  along  the 
street  in  search  of  her  sweetheart  soldier,  and  before  I 
realized  it  the  cameras  stopped  grinding  and  the  scene  was 
finished. 

I  had  been  standing  alongside  Walsh  the  while,  and  I 
had  seen  villages  in  France  so  near  like  this  one  that  for 
the  life  of  me  I  could  not  make  myself  realize  that  I  was 
not  actually  in  France.  It  was  indeed  a  masterpiece  of 
composition,  assembling  and  mob-handling,  and  my  hat  is 
off  to  Director  Walsh. 

That  "It" 

Hne  of  the  principal  topics  for  humorous  conversation 
around  Hollywood  is  IT.  Elinor  Glyn  invented 
this  word,  and  in  time  it  will  find  a  place  in  the  dic- 
tionaries with  a  brand-new  meaning.  What  is  It?  I 
really  dont  know.  But  if  you  ask  Madame  Glyn  if  you 
have  It,  she  will  tell  you  frankly  whether  you  have  or  not. 
Some  think  it  means  what  is  commonly  called  sex-appeal, 
and  others  think  it  means  something  like  charm,  wiri- 
someness,  personality,  etc. 

At  a  Marion  Davies  dinner  party  the  other  night 
Samuel  Goldwyn  stuck  a  large  gladiolus  in  his  buttonhole, 
strutted  humorously  over  to  Madame  Glyn  and  said : 
"Have  I  got  It,  Madame?"  To  which  the  madame 
gravely  replied :  "I  am  sorry,  Mr.  Goldwyn,  you  are  a 
very  charming  man  but  you  haven't — It." 

I  asked  W.  R.  Hearst  what  it  was  and  if  he  thought 

he  had  it.  He  laughed 
and  said  he  didn't 
know,  and  would  like 
to  know,  but  did  not 
dare  ask  Madame 
Glyn,  for  fear  she 
would  tell  him  he  did 
not  have  it.  I  felt 
the  same  way  about 
it,  so  I  did  not  ask 
her,  either. 

A  Tender  Hostess 

'There  were  only  two 
candles  in  the  cake 
at  Mr.  and  Mrs. 
Harold  Lloyd's  last 
Friday  afternoon,  for 
it  was  the  second 
birthday  of  their 
kiddie.  About  two 
dozen  other  young- 
sters  and  their 
mothers  and  nurses 
joined  in  the  celebra- 
tion out  in  the  Lloyd 
backyard  —  or  should 
{Cont'd  on  page  79) 


44 


Owr 
OWN 

NEWS 

CAMERA 


International  Newsreel 

When  one  is  in  Pago-Pago,  one  has  to  dress  like 
the  natives.  That  is  why  Myrna  Loy  is  wearing 
a  sarong  so  she  may  become  a  Pago-Pago  flapper. 
The  dress  isn't  calculated  to  keep  the  mosquitos 
away,  but  then  Myrna  is  not  the  kind  of  girl  who 
encourages  mosquitos 


Lon  Chaney  has  played  every  im- 
aginable role  in  his  active  screen 
life,  but  that  of  a  hard-boiled 
marine.  Here  he  is,  the  first 
civilian  in  history  to  feed  a  big 
gun  on  a  battleship  so  as  to  bring 
realism  to  "Tell  It  to  the  Marines" 


Charlie  Paddock  is  just  as  rapid 
in  courtship  as  he  is  on  the 
cinder  path.  With  a  running 
start,  he  captured  Bebe  Daniels' 
heart  in  five  weeks.  In  company 
with  his  ardent  attentions,  he  is 
showing  Bebe  how  to  make  a 
fast  getaway 


45 


Nothing  so  simple  as  a  rowboat 
or  canoe  for  Frances  Lee — no- 
sirree!  Frances  is  one  of  those 
girls  who  wants  to  get  the  full 
splash  of  the  waves  as  she  sails 
the   deep   on   a   Christie   cruiser 


Douglas  MacLean,  right,  is 
looking  over  the  latest  inven- 
tion in  golf  clubs — an  iron 
which  can  be  adjusted  for  all 
shots  from  putting  to  lofting. 
The  club  is  invented  by  Joe 
Novak,  w.  k.  San  Francisco 
pro 


Eddie  Cantor,  left,  is  up 
to  his  comedy  tricks.  He 
has  buried  all  feelings  of 
jealousy  while  he  pro- 
nounces the  benediction 
over  the  heads  of  Billie 
Dove  and  Lawrence  Gray 
— who  appear  with  him  in 
"Kid  Boots" 


The  close  embrace  and 
the  lingering  kiss— 
that's  how  Gloria 
Swanson  and  her  hus- 
band, the  Marquis  de 
la  Falaise  de  la  Cou- 
draye,  put  it  over  when 
they  bade  farewell. 
The  location?  The  deck 
of  the  S.  S.  Paris  which 
carried  Henry  back  to 
his  dear  France 

Underwood  &  Underwood 


Alice  Terry  is  back  from  a 
long  stay  on  the  Riviera, 
whither  she  went  with  her 
husband,  Rex  Ingram,  to 
appear  in  "The  Magician." 
The  photo  shows  her  on  the 
deck   of  the  Homeric 


46 


Intrf; 


Betty  Blythe  is  back  after 
nearly  two  years  in  Germany 
and  adjacent  nations — during 
which  she  completed  three 
pictures.  She  is  sporting  the 
latest  thing  in  Parisian 
models 


"Good-by  Girls,  I'm  Thru!"  That's 
what  "Red"  Grange  shouted  to  the 
gjrls  when  the  choo-choo  cars  carried 
him  away  from  Hollywood.  "Red" 
has  completed  his  first  and  only  pic- 
ture and  is  now  back  on  his  beloved 
ice-wagon   in   Wheaton,   Illinois 


Harold  Lloyd  is  certainly  in 
fast  company  when  he  takes 
George  von  Elm  on  for  a  game 
of  golf.  George  tied  with 
Walter  Hagen  for  third  place  in 
the  British  open.  He  is  show- 
ing Harold  how  to  sink  the  putt 


Ben  Turpin,  the  cross-eyed 
comedian  of  the  movies,  has 
taken  a  new  bride,  the  former 
Babeite  Elizabeth  Dietz.  Ben 
has  been  a  widower  less 
than   a   year 


When  it  comes  to  making  sour 
faces,  Ned  Sparks  and  Raymond 
Hitchcock  are  in  a  class  by 
themselves.  Ned  is  casting  as- 
persions on  "Hitchy's"  gray 
derby  while  "Hitchy"  is  telling 
Ned  that  his  Western  panama 
doesn't  belong 

Internationa]  Newsrcel 


47 


McLaglen  saw  ac- 
tive fighting  on 
many  fronts  during 
the  late  war  —  his 
principal  exploits 
occurring  in  Meso- 
potamia    and     India 


Big  VIC 
a  Soldier  of 


FORTUNE 


ONE  thing  about  the  kleigs :  they  tell  the  story  of  a  personality  as  no 
other  medium  can. 
In  the  feature  films  of  recent  vintage  "characters"  have  been 
holding  a  side-show  of  their  own ;  scowling  "heavies,"  homely  purveyors  of 
atmosphere,  have  virtually  been  outbidding  their  sweeter-looking  colleagues 
in  public  interest. 

Remember  Ernest  Torrence  in  "The  Covered  Wagon,"  Karl  Dane  in  "The 
Big  Parade,"  Jean  Hersholt  in  "Stella  Dallas" — all  "characters,"  playing 
minor  parts ;  deeply  lined,  ugly,  warted  faces,  gum-chewing,  tobacco-spitting, 
hard-swearing,  sweaty  males.  They  are  no  longer  held  down  to  minor  roles, 
so  great  has  been  their  appeal. 

What  is  it? 

My  guess  is  that  these  expressive  and  scarred  countenances  tell  the  story 
of  a  life  at  a  glance.  They  are  not  adolescents  trembling  at  the  threshold 
of  experience.  These  ruggedly  hewn  and  chiseled  physiognomies  are  so 
revealing  that  we  can  read  the  record  of  their  sufferings,  joys,  misadventures 
and  transgressions  only  too  plainly  and  draw  up  the  balance.  When  their 
faces  in  a  close-up  are  spread  over  some  320  square  feet  of  screen,  an  entirely 
new  kind  of  game  is  provided  for  devotees  of  the  cinema. 

A  Man  of  Many  Parts 

Mow  there  is  another  face  whose  deep  shadows  will  loom  big  in  the 
close-ups  of  a  film — that  of  Victor  McLaglen,  playing  Captain 
Flagg  in  Laurence  Stallings'  war  play,  "What  Price  Glory." 

It  is  not  an  awfully  pleasant  face ;  confined  hitherto  in  "heavy" 
roles,  of  old-fashioned  Fox  pictures,  it  has  often  given  us  the  thrill 
of  veritable  wickedness.     By  the  most  rigorous  possible  screen  tests 
it  has  finally  been  pronounced  to  be  charged  with  "character"  and 
^  so  McLaglen  has  been  handed  over  the  most  colorful  role  of  Stallings' 

picturesque   play.     The   difficult    Stallings   declared    himself    highly 
pleased  with  the  choice. 


Captain  McLaglen  brought  down 

big  game  as  well   as   the   enemy 

during   his   sojourn   in   India 


No    country    was    forgotten    by 

McLaglen.     Here    he    is   on    an 

East  African  estate 


48 


Victor  McLaglen  Has  Led  the  Most 
Colorful  Existence  of  Any  Man  in 
Pictures.  His  Crazy-Quilt  Career 
Has  Carried  Him  as  Miner,  Adven- 
turer, Fighter,  Soldier  and  Actor  Into 
All  the  Far-Off  Places  of  the  Globe 

By  Joseph  Mattern  . 


Small  wonder!  Foi  Victor  McLaglen  is  a  char- 
acter. He  is  one  of  the  strangest  birds  thai  has 
come  into  tlu'  movies  in  mam  a  season.  Mis  screen 
face  does  not  lie,  for  his  lite  has  been  a  veritable 
Odyssey  Of  adventure,  ranging  far  wider  than  that 
of  old  Ulysses  of  the  Aegean  Sea.  since  it  has  traversed 
the  seven  seas  and  girded  the  globe  several  times. 
McLaglen  has  been  a  plain  British  Tommy,  a  gold- 
miner,  a  circus  performer,  a  prize-tighter,  an  army 
officer,  a  ruler  over  Oriental  cities — in  short,  a  real 
soldier  of  fortune  for  a  quarter  of  a  century.  Now 
his  adventuresome  instincts  are  constricted  to 
the  range  of  the  kleigs  and  the  borders  of  movie 
lots.  At  the  urgence  of  friends  interested  in 
his  colorful  career  he  has  finished  writing  an 
autobiography  of  some  six  hundred  pages  which 
the  world  will  some  day  read  with  astonishment. 

Adventures  Everywhere 

\X7hat  is  the  adventure  of  stardom 
*  in  Hollywood,  if  not  an  anti- 
climax, after  you  have  starved  in  the 
hinterlands  of  Australia  and  Africa, 
fought  the  heathens  and  Germans  with 
guns.  Jack  Johnson  in  the  squared 
ring  with  your  fists,  been  a  tyrant 
over  the  cities  of  the  Arabian  Nights, 
a  companion  of  princes  and  waifs, 
after  you  have  been  to  Hell  and  back? 
It  is  one  more  case  of  fitting  the 
man  to  the  role  snugly.  Only  this  one 
is  somewhat  exceptional.  Captah, 
Flagg  in  the  war  play  is  a  hard-boiled 


McLaglen  has  done  considerable  prize-fighting.    His 

experience  with  the  gloves  enabled  him  to  mix  it  up 

with  George  O'Brien  in  "The  Fighting  Heart" 


weathered  veteran;  many-sided,  because 
he  is  a  leader  of  men,  his  experiences  have 
made  him  bitter  and  philosophical ;  his 
views  on  women,  for  instance,  are,  to  say 
the  least — interesting.  But  in  a  pinch  dur- 
ing the  great  crisis,  when  the  moment  no 
longer  calls  for  the  iron  front,  Flagg  turns 
out  human,  human  to  the  core!  That,  of 
course,  is  McLaglen. 

It  is  not  easy  to  get  the  man  to  talk. 
The  scope  of  his  life  story  is  beyond 
the  fancy  of  the  most  artistic  press- 
agent.  He  has  felt  much,  learned  much, 
thought  much.  He  doesn't  wear  his 
heart  on  his  shirt  cuff.  There  are  things 
that  can  never  be  told.  But  for  the 
rest,  his  autobiography,  boiled  down,  run~ 
like  this : 

{Continued  on  page  72) 


One  of  McLaglen's  best  friends  is  the 

Rajah  of  Alcacot  at  Poona,  India.     He 

spent    many    weeks    with    him    before 

going  to  the  front 


Vic  served  on  all  the  Far 

Eastern  fronts  during  the 

war     and     was     Chief     of 

Police  of  Bagdad 


Being    an    officer,    Victor    found    occasion    to 

wear    "civies."      Here    he    is    enjoying    a    quiet 

spin  in  Zanzibar 


49 


THE 
CELLULOID 

CRITIC 


Clara  Bow  and 
Ernest  Torrence 
make  "Mantrap" 
a  picture  of  en- 
joyable  moments 


Richee 


Florence  Vidor  has  been  elevated  to   stardom.     In 

her  first  stellar  role  she  appears  as  a  Russian  dancer 

in  "You  Never  Know  Women" 


"Padlocked"  is  one  of  the  most  forceful  and  honest  pictures 

that    has    graced    the    screen    this    season.      These    players, 

Charles  Lane  and  Louise  Dresser,  are  members  of  a  strong 

and  well-balanced  cast 


50 


THAT  the  Germans  can  dance  as  well  to  the  tune  of 
light  opera  as  they  can  weep  over  tragedy  is 
proved  with  "The  Waltz  Dream."  If  memory 
serves  correctly,  this  is  the  first  time  that  something 
light  and  amusing  has  emerged  from  the  UFA  studios. 
Heretofore,  heavy  drama  has  stalked  across  their  sets. 
This  new  opus  is  an  adaptation  of  an  operatic  piece  that 
was  presented  on  the  American  stage  several  years  ago. 
As  plots  go,  it  doesn't  get  away  from  a  familiar 
pattern — in  that  it  is  nothing  more  or  less  than  the 
ugly  duckling  theme.  The  mythical  kingdom  back- 
ground is  employed — and  against  it  a  Graustarkian  type 
of  princess  indulges  in  romantic  flights  and  is  made 
over  into  a  queen  of  beauty.  This  occurs  after  she  has 
tasted  a  bit  of  Viennese  life. 

Sophisticated  Touches 

HThe  piece  has  a  sophisticated  flavor — noticeable  in  the 
scenes  prior  to  and  immediately  following  the  mar- 
riage ceremony.  The  princess  (played  with  creditable 
spirit  by  Mady  Christians)  has  her  heart  set  on  the 
Archduke.  But  this  discriminating  son  of  royalty 
catalogs  her  as  impossible.  As  a  result,  he  wishes  her 
off  on  his  friend,  a  gay  young  count. 

The  latter,  however,  unconsciously  brings  out  the  best 
in  the  girl.  Under  the  influence  of  wine  the  princess 
displays  some  personality.  But  she  reverts  to  her  im- 
possible ways  when  she  marries  the  youth.  He  is 
forced  into  the  ceremony  because  his  kisses  are  as 
sacred  as  an  engagement  ring. 


Laurence  Reid 

Reviews  the  New 

Photoplays 


The  marital  episodes  are  richly  amusing    and  contain 
a  deal  of  subtle  touches     Rejected  bj  the  bride,  the  bus 
band  starts  cutting  up  didoes  with  a  fair  Viennese  who 
plays  the  violin.    Which,  of  course,  piques  the  In  hie     In 

order  to  win  him  l>.u-k  she  ferrets  cut  the  blond  fiddler 
ami  takes  lessons  in  deportment.    In  the  end  the  princess 

stlOWS  her  Consort  that  she  can  stand  out  in  any  crowd. 
Well   Staged  and  Acted 

The  Germans  have  Wept  the  spirit  of  Vienna 
intact- the  atmosphere  and  incident  being 

thoroly  tn  character.     A.S   for  the  acting      weH 

there  are  other  troupers  in  the   Rhine  country 
besides  Emil  Tannings.     Will)   Fritsch,  as  the 
Viennese,  gives  a  performance  that  fairly 
rkles.      It    is  one  of   the  most 
adaptable      and      easy      character 
studies   that  has  ever   graced   the 
screen. 

Something  tells  me  that  Fritsch 
will  soon  display  his  talents  out 
Hollywood  l/ay.  He  is  sorely 
needed  in  this  country.  I  can 
think  of  no  one  who  could  have 
handled  the  sequence  of  the  wine 
festival  and  the  suhsequent  mari- 
tal episodes  with  more  grace, 
abandon  and  polish. 

All  in  all.  "The  Waltz  Dream" 
spells  a  most  pleasant  hour  in 
anyone's    nickelodion. 


\\  omen       I  i  whk  h 

shows  something  nevn  in  phot 
phj      l  ike  "\  ai  let)  '  il  tells  a 
of  the  theatei .  tho  the  plot  d 
i  .u  i  \  tin    ame  direct  tn 
ment,  nor  i  iund  in 

its    construction.       Whi 
"Variety"     prog 

lightforwara   to   it-   in« 


A  drama  of  one  of 
America's  greatest  indus- 
tries presents  Milton  Sills 
as  a  steel  worker.  "Men 
of  Steel"  was  photo- 
graphed at  the  Ensley 
Mills  in  Birmingham, 
Alabama 


The    German    Influence 

The  German  influence  in  so  far  as 

camera   technique   is   concerned 

is  reflected  in  "You   Never  Know- 


Rudolph     Valentino     returns     to     his    favorite 

role    in    "Son    of    the    Sheik" — and    reaps    new 

laurels.     The  woman  responding  to  his  ardent 

advances  is  Vilma  Banky 


Ufa 


A  pleasant  and  amusing  romance  is  "The   Waltz   Dream" — 

from  the  UFA  workshop.     Here  are  Willy  Fritsch  and  Mady 

Christians   showing   how   they   make   love   at  a   wine   garden 

in  Vienna 


evitable      climax,      "You 
Never     Know      Women" 
loses  its  strength  before  it 
is  half  over  and  the  finish 
is  saturated  with  hokum. 
What    merits    it    has    rests 
with    its   camera    work    and 
the    acting    by    Florence 
Vidor     (her     first     starring 
film),    Lowell    Sherman.    El 
Brendel  (who  contributes  an  excellent  sample  of  panto- 
mime) and  Clive  Brook. 

It  has  been  said  that  Director  Wellman  had  not  seen 
"Variety."      If  not,  he  has  seen   other  German  pictures 
His  camera  never  misses  a  thing  and  catches  the  story 
from  all  kinds  of  angles. 

A  Weak  Plot 

[NFORTUNATELY  the  film  is  burdened  with  a  plot  which 
has  gone  to  the  movie  mill  many,  many  times.  It 
presents  the  theme  of  unrequited  love — with  the  central 
characters  the  principal  performers  in  a  Russian  ballet — 
a  ballet  modeled  after  the  lines  of  the  Cluntvc  Souris 
which  created  a  sensation  when  touring  America.  The 
heroine  is  swept  off  her  feet  by  the  ardent  attentions  of 
a  monocled  American  (played  by  Lowell  Sherman  in 
his  best  monocled  fashion).  The  Russian  lover  with  a 
movieish  impulse  of  self-sacrifice  is  willing  to  step  out 
of  her  life  via  the  suicide  route. 

This  is  a  weak  gesture  which  is  anything  but  con- 
vincing. But  the  most  unconvincing  touch  enters  when 
he  returns  from  his  watery  grave  to  chase  the  American 
bounder  all  over  a  theater  and  torture  him  with  knives 
which  he  hurls  with  deadly  accuracy. 

The  spectator  must  find  the  appeal  of  the  picture  in 
(Continued  on  page  80) 


51 


Holland  in  Hollywood 


The  dikes, canals, 
windmills  and 
cheese  barges  of 
Holland  have 
been  reproduced 
out  Hollywood 
way 


Marion  Davies 
offers  a  Dutch 
treat  of  Volen- 
dam  in  her  next 
picture,  "The 
Red  Mill" 


52 


-     - 


THE  GENTLE  GYPSY 


Carol  Dempster  Has  the  Soul 
of  a  Vagabond — and  Like  a 
Vagabond,    She    Would 
Live  a  Hardy  Life,  Ad- 
venturesome and  Free 


By  Gladys  Hall 


Caricature  by 
Armando 


THE  Perfect  Life  ..."  we 
said  to  Carol,  "what  is  your 
idea  of  it?    The  life  above  all 

other  lives  you  would  like  to  live  it 
you  could  wave  a  magic  wand 
Abracadabra     and     presto,     have 
u  so?" 

"If  I  had  been  a  boy."  said  Carol, 
"and  1  wish  1  had  been  a  boy  .   .   . 
I  should  like  to  have  been  a  vaga- 
bond.     A   gypsy.      A    sailor   sailing 
the  Seven  Seas.     I  should  like 
to   have  tramped   the   earth,  to 
have  slept  under  sun  and  stars. 
I  should  like  to  have  touched  at 
strange    ports    ...     to    have 
stayed  in  them  just  so  long  as  1 
found    color    there,    Romance,    Ad- 
venture   .    .    .    then  sailed  on  again 
.     .    .    questing    .     .     .    seeking    .     . 
working    my    way.    if    necessary    .     . 
with    just    enough    money    to    get    from 
place  to  place.  ...     It  seems  to  me  that 
that   would  be  living  at  the  quick   of   life. 
Really  living,   you   know. 

few  people   really  live.     So  very   few 
really  live  their  own  lives.     They  live  the  lives 
oi   dozens    of    other   people.      They   are   circum 
scribed  by  this  and  that,  caged,  hemmed  in,  forced 
to  do  the  thing  they  really  dont  want  to  do,  doing 
it   gracefully  or  ungracefully  as  they  happen  to  be. 
Poor  things,  most  of  them  do  it  all  gracefully.     After 
awhile  they  dont  care.    After  awhile  they  become  super- 
ficially content.     That  is  the  saddest  time  of  all. 

'For  me,   the    Perfect    Life   would   be   the   life   of    a 
.  roving  . 


vagabond 


roaming 


Would  Live  a  Man's  Life 


The  place  was   Sherry's.     The  hour   was  the  tea-hour. 

The  atmosphere  was  one  of  head-waitered  and  hushed 
conventionality.  Well-groomed  women  sat  to  left  and 
to  right  of  us.  imbibing  lemon-tinted  tea  and  nibbling  at 
pastried  flakes  with  well-bred  indifference.  Carol  herself, 
in  dove  gray,  her  gentle  face  musing,  her  clear  eyes  fired 
with  dreams  of  the  venturesome  Might-Have-Been  .  .  . 
if  she  had  been  a  boy,  with  the  heart  of  a  vagabond.  .    .    . 

We  feel,  now,  that  we  did  Carol  some  sort  of  in- 
justice. We  dont  know  what  kind  of  injustice,  but 
some  kind,  we  are  sure.  For  we  thought  that  she  would 
say,  demurely,  "I  should  like  a  little  rose-vined  cottage  in 
the  country,  with  baby  faces  at  the  windows  and  a  cow 
browsing  in  an  adjacent  meadow.    .    .    . "'     Or  that  she 


would  say,  intelligently,  as  her  contemporaries  have  im- 
pressively said  before  her,  "I  should  like  best  of  all  a 
life  of  study  and  meditation  ...  a  life  among  my  hooks."' 
( >r,  possibly,  "I  live  hut  for  my  Art  ...  I  wish  to  give 
to  the  world  a  Masterpiece.  ..." 

(Continued  on  page  86) 

53 


Harold  Dean  Carsey 


WALTER    PIDGEON 

Just  a  young  fellow  who  will  bear  watching — that's  Walter  Pidgeon,  who  has  come 
along  fast  since  the  boys  demanded  a  new  deal  in  leading  men.  Norma  Talmadge  has 
confidence  that  he   can  deliver  the  goods.     He   has  signed  to   play   opposite   her  in 

"Son  of  the  Montmartre" 


54 


Pity  the  Assistant  Director! 

By  Irene  Burns 


The  Assistant  Directors 
Are  the  Stepchildren  of 
the  Screen.  They  Are 
he  Most  Abused  Men 
of  the  Studios 


Their  Day  Begins  With 
the  Rising  Sun  and  Usu- 
ally Ends  at  Midnight. 
They  Receive  Poor  Pay 
and  Little  Credit 


At  the  top  is  Daniel 
Keefe,  who  has  been  in 
the  business  a  good 
many  years.  He  is  as- 
sistant to  Raoul  Walsh, 
the  director  of  "What 
Price  Glory."  At  the 
left  is  Charles  Dorian, 
who  has  been  associated 
as  assistant  to  Clarence 
Brown  for  several  sea- 
sons. He  hopes  to  be- 
come a  full-fledged  di- 
rector in  the  near  future. 
On  the  right  is  Victor 
Schertzinger's  assistant, 
Billie  .Tummel,  who  is 
considered  invaluable  by 
his  boss 


WHO  is  the  most  abused  man  in  the  studio? 
The  assistant  director!     He  admits  it  himself — 
but,  what  is  more  important,  his  director  agrees 
with  him. 

The  assistant  director  bears  most  of  the  responsibility 
in  making  a  picture — yet  he  receives  poor  pay  and  no 
credit.  His  job  consists  of  handling  most  of  the  details  of 
the  company — he  helps  choose  the  cast,  arranges  for  cos- 
tumes, orders  the  sets,  studies  the  script,  handles  mob 
scenes,  takes  care  of  the  extras'  troubles  and  that's  only 
the  half  of  it.  He  has  a  hundred  and  one  other  things 
to  attend  to  and  often  saves  the  producer  thousands  of 
dollars  by  hurrying  up  the  picture. 

Assistant  directing  is  a  field  of  its  own.  There  are 
good  and  bad  assistants  just  as  there  are  excellent  and 
poor  directors.  The  assistants  draw  from  $50  to  $250 
a  week  while  most  of  the  directors'  salaries  run  into  four 
figures. 

We  interviewed  a  number  of  the  more  prominent  as- 
sistants, chatted  with  their  directors,  and  watched  them 
work.  After  that  we  agreed  that  the  assistant  is  really 
to  be  pitied.  He  arrives  at  the  studio  at  7:30  A.M., 
sometimes  earlier,  to  begin  rounding  up  his  work  for  the 
day.  Perhaps  two  members  of  the  cast  have  sent  word 
they  are  ill — if  they  are  extras,  the  assistant  gets  in  touch 
with  the  casting  director  and  suggests  two  suitable  ones 
to  take  their  place. 

It  is  necessary  that  he  be  familiar  with  the  extras  and 
also  with  their  wardrobes.  If  the  missing  ones  happen  to 
be  important  members  of  the  cast,  the  assistant  plans  to 


shoot  scenes  in  which  they  are  not  needed.  Then  he  makes 
out  his  reports — in  most  cases  he  keeps  typewritten  records 
of  everyone  employed  on  the  set  and  every  scene  taken. 
He  puts  in  a  busy  day  and  about  6  P.  M.  returns  home, 
where  he  is  usually  deluged  with  phone  calls  pertaining 
to  his  job.  He  spends  many  of  the  evenings  when  he  is 
not  working  at  the  studio  in  conference  with  the  director. 
We  know  of  one  assistant  who  lost  his  job  because  he 
refused  to  live  at  the  home  of  a  prominent  director  where 
they  could  confer  constantly. 

Stepchildren  of  the  Screen 

Many  of  the  assistants  came  to  Hollywood  with  the  idea 
of  being  a  movie  actor.  After  a  long  struggle  as 
extras  they  realized  they  could  never  succeed  and  secured 
odd  jobs  about  the  studios.  Then  eventually  directors 
noticed  them  and  made  them  assistants 

The  work  is  most  difficult,  but  they  realize  that  some  day 
if  they  make  good  they  may  become  directors.  Several 
of  the  studios  have  recently  made  directors  of  a  few 
assistants  and  it  is  believed  that  the  assistants  of  today  are 
the  big  directors  of  tomorrow. 

Clarence  Brown,  who  recently  finished  directing  Xorma 
Talmadge  in  "Kiki,"  has  had  his  assistant,  Charles  Dorian, 
with  him  a  number  of  years.  Mr.  Brown  says.  "I  just 
could  not  get  along  without  Charlie — he  is  as  much  re- 
sponsible for  the  success  of  my  pictures  as  I  am." 
jfncidentally,  Mr.  Dorian  is  known  as  the  best  assistant  in 
the  business  and  it  is  thought  the  time  is  not  far  distant 
(Continued  on  payc  85) 


55 


These  two 
photographs 
show  Noah 
Beery  as  he  is 
and  when  he 
plays  one  of 
those  villain- 
ous heavies. 
He  is  one  of 
many  who  are 
glad  they  are 
making  the 
villain     human 


THE    past   year   in    Hollywood   has   produced   a    film 
phenomenon  so  startling  and  unorthodox  that  liter- 
ally reams  have  been  written  in  efforts  to  explain  the 
whyfore  and  the  wherefore  of  it  all. 

I  refer,  of  c'ourse,  to  the  "Renaissance  of  Villainy" — 
the  startling  movement  that  has.  apparently  almost 
overnight,  so  imbued  our  leading  screen  villains  with 
worthy  and  even  likable  traits  that  they  seem  almost  like 
normal  human  beings. 

As  a  matter  of  fact,  the  causes  underlying  this  "hu- 
manizing"   of    villainy    are    both    simple    and    inevitable. 

The  whole 
thing  means 
merely  that  the 
public  has  be- 
come tired  of 
seeing  lunatics, 
and  accordingly, 
for  the  first 
time  in  screen 
history,  has  en- 
dowed the  vil- 
lain with  a 
brain. 


VILLAINY 


The    Leering    Heavy    Who    Crashed    Into    a 

Scene  Like  a   Rampant   Cyclone   Has    Faded 

Out  of  the   Picture 

By  Scott  Pierce 


The  change  is  a  welcome  one.     Lunatics,  while  admittedly  spec- 
tacular, have  certain  deficiencies  as  a  steady,  dramatic  diet. 

\nd,  by  no  stretch  of  the  imagination,  could  the  old-time  screen 

or  stage  villain  be  regarded  as  anything  else  than  a  stark. 

raving  lunatic.     In  sheer  reasoning  power,  he  would  have 

run  a  poor  second  to  a  three-weeks-old  calf. 

The  stage  edition  of  the  "menace"  was  bad  enough — 

the  suave,  bemustached  cur  who,  in  the  second  act, 

snarled,  "Give  meh  the  papers-s-s-s,  or  I'll  tear  up 

the  chee-ild !"  or  words  to  that  general  effect ;  and 

who    sneered    heartlessly    in    the   third   act   as   the 

heartbroken     old     father     quavered     pathetically, 

"Stranger — yuh  ain't  done  right  by  our  little  Nell !" 

Desperate  Desmonds 

Then  the  movies  came  along  and  proceeded  to  re- 
move   what    few    faint    glimmerings    of    common 
sense  the  villain  still  possessed. 
For    years    there    were    only    two    standard    types    of 
screen  "heavies,"  and  both  were  lunatics. 
The  first  was  the  parlor  snake,  the  effeminate  degenerate 
who  smoked  perfumed  cigarets,  affected  spats  and  a  tiny 
waxed  mustache,  and  whose  sole  aim  in  life  was  appar- 
ently to  lead  astray  as  many  innocent  young  women  as 
could  be  conveniently  crowded  into  a  normal  working  day. 
The  second  was  the  hairy  ape,  the  hulking  moron  with 
the  muscular  development  of  a  gorilla,  who  drank  nitric 
acid  for  a  tonic  and  used  kerosene  for  a  chaser,  and  who 
beat  his  brawny  chest  and    furiously  engaged  in  mortal 
combat  anything  that  came  his  way,  whether  it  happened 
to  be  a  stray  kitten  or  a  troop  of  U.  S.  Cavalry. 

The  last  reel  usually  found  the  first  type  of  "heavy"  in 
the  penitentiary,  and  the  second  type  in  the  cemetery. 
Both  should  have  been  placed  in  padded  cells  before  the 
picture  even  started,  and  turned  over  to  psychiatrists  for 
a  much-needed 
mental 


over- 
hauling. 

Becoming    Hu- 
man Beings 

Dut  now  the 
Era  of  Lu- 
nacy has  passed. 
The  screen 
"menace"  has 
become  a  ra- 
tional,   thinking, 


George  Siegmann,  left,  is  one  of  the 
veteran  heavies  of  the  screen.  He  is 
also  glad  to  see  the  villain  emerge  as 
a  man  of  brains.  Lou  Tellegen,  right, 
a  polished  "menace,"  declares  audi- 
ences will  soon  be  rooting  for  the 
villain 

Freulich 


56 


versus    LUNACY 


No  Longer  Is  He  the  Menace  of  Melodrama. 

He  Has  Been  Polished  Up  to  Think  and  Act 

Like   a    Human   Being 


human  being,  and  the  result  is  thai  he  is  at  lasl  coming  into  hit  own 
in  popular  favor 

rhe  change  is  proving  as  welcome  a  one  to  the  villains  themselves 
as  to  thin  screen  audiences. 

"No   self-respecting   actor  wants  to  spend  his   professional   life 
portraying    prospective   candidates    for   an    insane    asylum,"    Noah 
Beer)  explained  succinctly      "And  that  is  just 
what  mosl  of  us  had  to  do  for  yen-     When 
I   was  called  on  to  plaj   one  ox  the  old-time 
'menace'   roles,    1    realized   thai   the   pan 
that  of  a  lunatic,  and  that  was  exactl)   the  wa> 
I  played  it     portraying    i  brainless,  vindictive 
soil    of    idiot    whose    heinous   activities    were 
devoid  alike  of   intelligence,  motives,  human 

traits. 

"Today  everyone  realizes  that  that  sort  ot 
thing  is  all  wrong,  In  order  to  have  interest 
and  drama,  your  audience  must  have  sympathy 
for  the  characters.  The  old-time  villain  de- 
stroyed that  quality  for  both  himself  and  the 
hero.  There's  no  particular  credit  due  any 
hero  for  outwitting  a  lunatic.  The  thinking 
villain  is  the  dangerous  villain.  His  actions 
can  not  he  foreseen  with  the  mechanical  cer- 
tainty of  a  phonograph  record,  and  he  is  thus 
made  a  really  worthy  antagonist  for  the  hero. 
And  the  fact  that  he  is  allowed  to  be  a 
thinking  human  being,  with  motives  for  his 
deeds,  gives  the  audience  a  new  insight  into  his 
character.  They  can  understand  him,  even 
feel  a  bit  of  sympathy  for  him,  and  the  play  is 
lifted  from  the  realm  of  mere  puppets  to  a  flesh-and- 
blood  creation  of  life  itself." 


Walter  Long  is  one 
of  the  pioneers  among 
the  heavies.  He 
always  exaggerates 
the  villain  to  bring  a 
laugh.  These  photos 
show  him  as  he  is  and 
as  Chang  Fang  in 
"Eve's   Leaves" 


mere  fact,  for  example, 
that  he  was  hated  by  dogs 
and  disliked  by  children 
made  him  automatically  a 
scoundrel    of   the   deepest 


A  New  Era  Has  Dawned 

A     hearty    second    to    these    sentiments    is    voiced    by 
George    Bancroft,    whose    Smiling    Slade    in    "The 

Pony  Express"  was  one  of  the  outstanding  pioneer  roles 

in  the  new  era  of  villainv. 

"Not  only 
was  the  o  1  d- 
time  heavy  a 
lunatic,"  Ban- 
croft told  me 
one  day,  "but 
he  was  a  strictly 
type  variety  of 
lunatic  as  well. 
He  was  about 
as  original  as  a 
derbv   hat.     The 


dye.     All  of  which  is  the  hunk  and  truly   false. 

"In  'Devil  Horses'  my  role  of  the  hard-drinking,  un- 
couth bucko  mate  would  have  shattered  every  tradition 
of  the  old-time  heavy,  because  it  happened  to  be  both 
human  and  true  to  life.  The  mate  terrified  the  tiny  girl 
on  shipboard  in  every  one  of  his  clumsy  efforts  to  amiin 
her,  and  she  screamed  in  terror  at  his  very  approach 
Yet  it  was  that  same  mate  who  died  laughing  as  he  held 
the  natives  at 
hay  for  the  few 
precious  sec- 
onds needed  to 
save  the  life  of 
the  rest  of  the 
partv. 

"t  he     old 
screen    tradition 
of      the      "killer' 
i  Continued 
page  90) 


Walter  Long  has  played  all  types  of 
heavies — and  he  makes  them  just  a  bit 
too  bad  to  be  true.  On  the  right  is 
George  Bancroft,  another  character 
actor  who  has  humanized  the  scoun- 
drel. He  should  perform  wonders  for 
"Old  Ironsides"  as  he  did  for  "The 
Pony  Express" 

JJii-hiv 


57 


Standing 

PAT 


PAT     O'MALLEY     gives 
new   proof   of    the   inter- 
esting  fact  that  one  of 
the    best    indications    of 
man's     real    character    is 
found    in    the    way    he 
wears  a  straw  hat. 

As  a  real  indicator 
of    masculine    charac- 
ter,    the    humble    hay 
derby     has     the      Herr 
Freud  and  his  little  play- 
mates  looking  like  a   bunch 
of    bungling    amateurs.      The 
Panama   hat   serves  as   a   suave 
mask     for    its    wearer,    but    the 
stiff  straw  hat,  with  its  rigid,  un- 
yielding    lines     and     unbending     de- 
meanor,   is    a    veritable    sign-board    of 
character. 

If  worn  wjth  geometrical  exactness  on  a 
line  paralleling  the  ground,  and  without  so 
much  as  tilting  a  millimeter  either  way,  it  is  a  reasonably 
safe  bet  that  its  wearer  also  affects  tortoise-shell  glasses, 
votes  a  straight  party  ticket,  and  regards  three  games  of 
chess  as  a  really  exciting  evening. 

If  worn  belligerently  tilted  forward  over  a  brow,  that 
brow  is  very  apt  to  be  somewhat  beetling,  and  its  owner 
is  somewhat  inclined  to  go  into  fistic  action  on  rather 
slight  provocation. 

But  it  is  when  the  straw 
hat  is  tilted  to  the  side  that  it 
really    becomes    most    reveal- 

58 


with 


O'MALLEY 


ing.     If  it  is  slanted  askew  with  a  sort  of  half-ashamed 
bravado,  its  owner  is  a  four-flusher — he  is  trying  to 
assume  a  jauntiness   that   is   really   as    far   from   his 
nature  as  feathers  from  an  eel. 

But  if  the  hat  rests  rakishly  on  one  ear 
and  its  jowner  is  sublimely  unconscious  of 
the  fact,  then  that  gentleman  is  very  apt  to  be 
not  only  interesting  and  colorful,  but  mighty 
good  company,  and  the  kind  of  citizen 
upon  whom  you  can  safely  rely  in  a  pinch. 

Irish  Thru  "and  Thru 

And   that   is   the   way   that    Pat   O'Malley 
wears  his  hat,  starting  just  over  his  left 
ear    and    proceeding    on    a  steep    slant 
in  a  direction  about  north  by  north- 
east ;  and   that  is  the  kind  of  citizen 
that  Pat  O'Malley  is — blithe,  care- 
free, natural,  generous  to  a  fault, 
friendly,  and  independent. 
With  a  name  like  O'Malley,  it 
k        should  hardly   be   necessary  to 
'a        add  that  Pat's  eyes  are  Irish 
Pk         blue,  that  there  is  a  tinge  of 
red  in  his  hair  and  a  hint 
of  freckles  on  his  face  and 
hands,   that  his   chin  has 
a    solid    and    determined 
look,  and  that  Pat  usually 
gets     just    about    what    he 
goes  after. 
An  incident  that  occurred  last 
March    17    is    typical    of    Pat 
O'Malley.      On    that    particular 
morning  a  number  of  Pat's  mas- 
culine friends  in  Hollywood  were 
pleasantly  surprised  when  the  post- 
man  delivered  to   them  small   oblong 
packages  adorned  with  a  weird  stamp 
which  closer  inspection  revealed  to  be 
the  official  postage  emblem  of  Ireland. 
Inside   was   a  little  card :     "St.    Pat- 
rick's Day  is  Christmas  for  all  good  Irishmen.    Hope  you 
like  the  pipe.— Pat." 

The  pipe  in  question  was  a  small,  exquisitely  made  brier 
creation,  especially  manufactured  for  Pat  by  a  famous 
old  pipe  firm  in  Dublin,  a  chummy  little  pipe  of  the 
kind  that  delights  the  soul  of  any  normal  man,  whether 
or  not  he  happens  to  read  the  advertisements  regarding 

the     unholy     joy    that    great 

„  ^  ,         ,            ,      ,           .,                   ....              ,  actresses  take   in  seeing  men 

Pat  has  played  plumbers,  pikers  and  politicians — and  ...  ,        ,  .     ;* ,„. 

all  types  of  roles.    At  the  top  he  is  all  set  to  get  his  w,th  such  adornments  parked 

man— in  the  role  of  a  Northwest  Mounted  Policeman  amid  their  classic   features. 


Freulich 


o 


They  Called  Him  a  Type 

Actor,  But  Being  Irish,  He's 

Showing  'Em  How 

By  Ralph  Sutter 


Much  has  been  written  in  recent  years  of 
Pat  ( I'Malley,  the  man,  yet,  strangely 
enough,  little  has  evet  been  said  of  Pat 
<  I'Malley,  the  artist  This  oversight  seems 
all  the  stranger  when  it  is  realized  that 
O'Malley  is  one  of  the  foremost  creative 

workers  in   pictures 

He's  a  "Rough  Diamond" 

i'MaLLBV     first    made    a    hit    on    the 
screen  in  types  Of  the  "diamond  in 
the  rough"  variety,  playing  the  roles  of 
plumbers,  Fast  Side  toughs,  drummers, 
and  Tammany  Hall  henchmen,     In  the 
language    of    the   picture    world,   he   was   a 
"natural"    in    such    parts.      He    could    have 
continued     them     almost     indefinitely,     and 
have  built  up  an  enormous  fan  following  in 
so  doing. 

But  O'Malley  had  other  ideas  in  mind. 
He  has  an  overwhelming  dread  of  getting 
in  a  rut.  of  establishing  a  type  of  screen 
character  as  standardized  as  one  of  De- 
troit's more  famous  products.  Accordingly, 
he  proceeded  to  prove  to  the  world  in  gen- 
eral, and  Hollywood  in  particular,  that  he 
was  capable  of  somewhat  more  ambitious 
thing 

In  "My  Old  Dutch,"  he  essayed  one  of 
the  most  difficult  character  roles  of  recent 
years,  one  that  took  a  character  almost 
literally  from  young  manhood  to  old  age 
and  the  grave,  and  did  it  superbly.  Then, 
to  prove  that  this  success  was  no  fluke,  he 
took  the  part  of  the  Grand  Duke  in  Dimitri 


Kreulich 


Back  in  the  good  old  days  Pat  was  a 

slack-wire     performer.     Here     we     find 

him    demonstrating    his    talent    for    the 

benefit  of  Marion   Mixon 


Buchowetski's  "The  Midnight  Sun  " 
This  opened  a  gold-mine  of  material 
for  the  Film  Colony's  wise-crackers, 
the  fact  that  a  player  with  so  Irish  a 
face  as  Pat  O'Malley  \s  dared  to  essay 
a  heavy  Russian  role.  One  wit  sug- 
gested that  Nazimova  might  next  stage 
a  return  to  the  screen  in  the  title-role 
of  "Mother  Machree."  Pat  let  them 
laugh.  Dyeing  his  hair  black  and  don- 
ning a  dark  mustache,  he  proceeded  to 
play  the  exacting  role  of  the  Duke 
Boris  in  a  manner  that  won  him  the 
plaudits  of  nearly  every  big  film  critic 
in  the  country,  even  tho  the  picture  it- 
self was  rated  as  far  from  a  master- 
piece. 

While  we  were  lunching  together  in 
the  big  restaurant  on  the  Universal  lot 
(Continued  on  page   87) 


The  O'Malley  man  leads  a  very  happy  home  life.     He 
has  three  kids  and  they  all  have  sandy  hair  like  Pop 


Pat. also  finds  time  to  pal  around  with  his  pups.     Be- 
tween  the   kids    and    the    dogs    he    has   no    chance    to 
register  loneliness 


59 


International  Newsreel 

When  it  comes  to  making  up  like  Old  Bill,  Mabel  Normand  is 

there  forty  ways.    Back  with  Sennett,  she  will  soon  appear  in  a 

war  comedy,  "One  Hour  Married" 


Harrison  Ford  is  making  quite  a  reputation 
as  a  light  comedian.  Here  he  is  as  the 
hypochondriac    in    "The    Nervous    Wreck" 


The  Screen  Observer 


That  Song  Hit 

ADAPTING  that  seductive  song,  "Valencia,"  to  the 
screen  is  a  task  that  requires  almost  too  much  crea- 
L  tive  effort  in  this  hot  weather.  But  Alice  Duer 
Miller  is  bravely  undertaking  it,  for  the  sake  of  Mae 
Murray.  "Valencia"  was  so  popular  that  Mae  decided 
she  just"  must  have  it  for  her  next  picture.  Of  course, 
it  will  be  a  very  Spanish  story  in  which  Mae  can  wear  a 
shawl  and  a  rose  in  her  teeth.  Dimitri  Buchowetski,  the 
Russian  director,  who  has  just  returned  from  a  trip  to 
Europe,  will  begin  his  Metro-Goldwyn  contract  with  this 
picture. 

Wales  Meets  Connie 

The  film  colony  is  proud  that  one  of  its  members  has 
broken  into  the  honest-to-goodness  society  columns. 
There  are  reports  from  London  that  Constance  Talmadge, 
as  the  wife  of  Captain  Alastair  Mackintosh,  has  become 
one  of  the  most  important  of  the  younger  hostesses  there. 
She  has  been  there  only  a  few  weeks,  but  has  already 
lured  the  Prince  of  Wales  to  one  of  her  interesting  dinner 
parties.  In  the  fall,  after  she  has  completely  dazzled 
London  society,  she  will  return  to  make  another  picture 
in  Hollywood.  "The  Duchess  of  Buffalo,"  her  latest 
effort,  has  been  lately  released. 

An  Uplift  Movement 

■\X7hen  the  young  people  start  reforming,  it  looks  pretty 
"  *  bad  for  vice  and  sin.  Wickedness  is  not  going  to  have 
a  chance  to  rear  its  head  in  Hollywood,  now  that  the 
Thalians  have  organized,  fifty  strong.  The  Thalians  are 
a  club,  composed  of  our  youngest  and  purest  film  stars, 
who  want  to  keep  clean  and  think  they  can  fight  temptation 
better  in  groups  than  singly.  All  members  must  be  un- 
married, about  twenty-one  years  old,  identified  with  the 
picture  industry,  and  the  possessors  of  spotless  reputations. 
Raymond   Keane   was    elected   president,   of    course— 

60 


being  very  young  and  very  spotless  and  utterly  devoted 
to  noble  thoughts  and  good  books  and  flowers.  Jobyna 
Ralston  is  vice-president,  which  probably  makes  the  meet- 
ings quite  thrilling  for  Raymond.  And  the  other  officers 
are  Virginia  Brown  Faire,  treasurer ;  Joan  Meredith, 
secretary ;  and  Joan  Crawford,  corresponding  secretary. 
Charles  Farrell,  George  Lewis,  Cleve  Moore  (brother  of 
Colleen),  and  Lincoln  Stedman  are  some  of  the  other 
members. 

It  is  to  be  hoped  that  the  Thalians  will  not  only  clean  up 
the  younger  generation  of  screen  stars,  but  will  also  set  a 
good  example  to  the  youth  of  the  nation.  Try  this  in  your 
home  town. 


T. 


A  Sister  Act 

he  Duncan  Sisters,  who  became  famous  from  coast  to 
coast  in  "Topsy  and  Eva,"  have  been  negotiating  with 
First  National  for  weeks  to  appear  in  a  screen  version 
of  their  show.  And  just  when  everyone  thought  the 
contract  was  going  to  be  signed.  Hime  and  Jake  got 
capricious  and  decided  to  go  to  United  Artists  instead. 
No  contract  has  been  signed  yet,  but  they  have  agreed  to 
join  United  Artists  thru  Feature  Productions,  which 
produces  the  Barrymore  and  Valentino  pictures.  John 
Considine,  Jr.,  who  is  president  of  Feature  Productions, 
will  supervise  "Topsy  and  Eva,"  scheduled  to  begin  in 
about  eight  weeks. 

A  Secret  Marriage 

Mo  one  suspected  that  Louise  Fazenda  was  married  until 
they  found  out  that  she  was  going  to  be  married  again. 
Louise  is  as  clever  off  the  screen  as  she  is  on,  and  cagey 
as  well,  and  even  to  her  close  friends  her  life  is  more  or 
less  of  a  mystery.  So  it  was  quite  a  surprise  to  Hollywood 
when  she  filed  suit  for  divorce  under  the  name  of  Louise 
Smith,  with  the  intention  of  marrying  Hal  Wallis  as  soon 
as  she  was  free.  Hal  Wallis  is  the  head  of  Warner 
Brothers'    publicity    department,    and    almost    as   nice   as 


John    Barrymore    is   a    skipper    as   well    as   an 

actor.    He  recently  competed  in  a  Los  Angeles 

to  Honolulu  yacht  race 


Has  Her 


Louise,  and  his  devotion  to  her  wasn't  much  of  a  secret. 
But  nobody  knew  that  Noel  Smith,  a  director  working 
right  under  her  nose  on  the  Warner  lot,  was  even  casually 
connected  with  Louise's  past.  Even  he  and  Louise  seemed 
to  forget  that  he  was  her  husband. 

While  all  this  divorcing  and  remarrying  is  going  on, 
Louise  wends  her  hilarious  way  thru  picture  after  pic- 
ture. Her  latest  role  is  a  puritanical  spinster  in  the  First 
National  picture,  "Ladies  at  Play.'' 

Ziegfeld  Loses  Another 

Cvkrv  week  there  has  been  a  new  candidate  for  the 
^  ingenue  role  in  Adolphe  Menjou's  picture,  "The  Ace 
of  Cads."  Even  after  production  had  got  under  way. 
no  one  was  quite  sure  whether  Lois  Moran.  or  perhaps 
Clara  Bow.  would  get  the  part.  Well,  it's  settled  at  last. 
Susan  Fleming,  a  graduate  of  the  Ziegfeld  chorus,  is  the 
lucky  lady.  She  has  plenty  of  pulchritude  but  no  acting 
experience,  but  Mr.  Menjou  seems  to  have  great  con- 
fidence in  her.  He  personally  picked  her  from  a  group  of 
Ziegfeld  beauties  who  visited  the  studio,  and  he  confided 
to  me  that  she  is  refined  as  well  as  beautiful.  And  as  that 
is  an  even  rarer  quality  than  acting  ability,  she  was  signed 
up  at  once. 

Is  Jackie  Becoming  Temperamental? 

Tackie  Coogan  is  having  almost  as  much  trouble  with 
^  his  directors  as  Gloria  Swanson  had  on  "Fine 
Manners."  Three  men  have  taken  turns  wielding  Jackie's 
megaphone,  and  several  thousand  feet  of  film  have  been 
shot  and  thrown  away  as  a  result  of  the  changes.  King 
Baggot  started  out  to  make  "Johnny  Get  Your  Hair  Cut," 
but  was  scheduled  for  another  picture  and  had  to  retire 
in  favor  of  Millard  Webb. 

Mr.  Webb  is  one  of  the  youngest  directors  in  the  busi- 
ness, and  made  a  great  success  of  "The  Sea  Beast"  for 
John  Barrymore.  Just  what  happened  on  the  Coogan  set 
is  not  quite  clear,  but  Jack  Coogan,  Sr.,  won  the  battle, 


Lewis  Stone  doesn't   take  a  back   seat  as  a   romancer.     He 

is   the   great   lover   to    Shirley    Mason    and    others    in    "Don 

Juan's  Three  Nights" 


By 

Elizabeth  Greer 


whatever  it  was.    Mr.  Webb  is  out,  and  production  is  begin- 
ning all  over  again  under  the  direction  of  Archie  Mayo 

Back  With  Uncle  Tom 

LJarry  Pollard  has  at  last  recovered  from  the  illness 
which  held  up  the  production  of  "Uncle  Tom's  Cabin" 
for  many  months.  Universal  had  despaired  of  his  re- 
covery and  had  assigned  Lois  Weber  to  finish  the  picture, 
when  Pollard  unexpectedly  got  better,  and  he  is  now  back 
on  the  job.  That  leaves  Miss  Weber  free  to  start  work 
on  "Egypt,"  an  adaptation  of  Ernest  Pascal's  novel,  which 
will  be  retitled  "The  Sensation  Seekers." 

The   Final   Fade-Out 

The  career  of  Willard  Louis  was  ended,  late  in  July, 
when  he  died  of  typhoid-pneumonia  after  a  long  illness. 
Mr.  Louis  had  been  in  pictures  for  twelve  years,  and  was 
forty  years  old,  but  he  was  just  at  the  height  of  his 
popularity  as  a  comedian.  Since  his  performance  as  The 
I'ri>ice  of  Wales  in  John  Barrymore's  production.  "Beau 
Brummel,"  brought  him  into  prominence  several  years  ago. 
he  has  been  playing  steadily  and  jovially  in  a  great  variety 
of  pictures  for  Warner  Brothers,  to  whom  he  was  under 
contract,  and  various  other  companies.  His  last  picture. 
"The  Door  Mat,"  has  not  yet  been  released. 

And  So  It  Goes 

The  final  decree  divorcing  King  and  Florence  Yidor  has 
been  granted,  giving  them  a  chance  to  marry,  respec- 
tively, Eleanor  Boardman  and  George  Fitzmaurice.  if  they 
so  desire.  We  will  soon  know  the  truth  of  all  the  lively 
rumors  that  have  been  going  on  ever  since  Florence  took 
the  plunge  and  sued  King  on  the  grounds  of  desertion. 

Mary  Astor  has  disqualified  herself  for  membership  in 

1   *  the  Thalians   Club.      Be   it   known  that   Mary   easily 

meets  all  the  requirements  except  one.  for  she  has  long 

{Continued  on   page  -87) 


61 


PAGING 

MR. 

RinglinG 


Hold   your  horses, 

park  your  autos.  and 

dont  crowd.     Here  comes 

"The  Circus"  and  Charlie 

Chaplin,    the    world's 

greatest  clown 


Circuses  come  and  go.  The 
soul  of  America  is  the  soul 
of  the  sawdust  and  the  big 
top.  When  the  big  show 
goes  into  winter  quarters 
the  summer  season  is  over, 
but  it's  always  balmy 
weather  when  Charlie 
Chaplin  comes  to  town. 
"The  Circus,"  his  newest 
achievement,  should  turn 
'em  away.  "Allez  Oop" — 
and  keep  in  line 


62 


. 


Ruth  Harriet  Louise 


CHARLES    RAY 

Up  there  on  that  bright-colored  fire  cart  where  men  wear  helmets  and  red  suspenders 

Charlie  Ray  will  do  his  stuff  in  "The  Fire  Brigade."    We  bet  a  fireman's  badge  against 

a  hook  and  ladder  truck  that  he  saves  the  GIRL  from  perishing  in  the  flames 


63 


The  Answer 
Man 


Betsy. — School  clays  are  on  again. 
Why,  Douglas  Fairbanks,  Jr.,  is 
about  nineteen  years  old  and  Sally 
O'Neill  about  eighteen.  Thomas 
Meighan  was  born  April  9,  1884. 

Justine  M.  S. — Well,  now,  I 
know  a  few  things,  but  I  dont  hap- 
pen to  know  just  when  Richard  Dix 
will  be  in  Little  Rock,  Arkansas. 
He  was  born   July    18,    1894.     You 

want  to  know  if   I   think  a  girl  thirteen  would  have  a  chance  to 
get  into  the  movies.     A  very  slim  one. 

Max  E. — Kenneth  Harlan  is  playing  opposite  Colleen  Moore 
in  "Twinkletoes."  When  is  money  damp?  When  it  is  due  in  the 
morning  and  missed  at  night.  It's  not  only  damp,  but  always 
scarce  with  me. 

Ruth  de  O. — Oh,  you  always  want  to  enclose  twenty-five  cents 
in  two-cent  stamps  when  asking  for  a  photograph.  Bessie  Love  is 
playing  in  "Going  Crooked"  for  Fox,  and  Edmund  Burns  and 
Anita  Stewart  in  "Whispering  Wires"  for  Fox. 

Sacks. — Thank  you,  but  a  man  who  makes  no  mistakes  does  not 
usually  make  anything.  William  Russell.  Virginia  B.  Faire  and 
Reed  Howes  in  "Wings  of  the  Storm"  for  Fox. 

Marion  A. — No,  I  have  never  been  in  an  aeroplane.  I  guess 
my  species  likes  to  have  all  fours  on  the  ground.  You  say,  "An 
authority  on  words  holds  that  an  airplane  should  always  be  re- 
ferred to  -as  she."  Does  this  also  apply  to  mail  planes  ?  Richard 
Dix's  real  name  is  Ernest  Brimmer.  Thanks  for  the  picture  you 
drew  of   me. 

Martha  U.  K. — Speaking  of  women  generally,  they  are  gen- 
erally speaking.  Why,  William  Boyd  was  born  in  1898.  Agnes 
Ay  res  was  born  in  Carbondale,   Illinois,  April  4,   1901. 

Classic  Crazy. — William  Boyd  is  playing  in  "Her  Man  o' 
War,"  with  Jetta  Goudal.  Florence  Vidor  is  playing  in  "Wings," 
with  Clara  Bow  and  Charles  Emmett  Mack.  Yes,  just  write  to  me 
any  time  you  feel  like  it. 

Mary  C. — You  refer  to  Tullio  Carminati. 

Mollyka. — No,  I  haven't  read  "The  Man  Nobody  Knows,"  but 
you  think  H.  B.  Warner  would  be  splendid  in  it.  Warner  Baxter 
in  "The  Runway,"  with  Clara  Bow. 

Bobby. — You  say  you  have  red  hair  and  brown  eyes — seventeen. 
I  have  no  hair,  blue  eyes,  and  am  past  eighty.  Are  we  sufficiently 
acquainted?  Yes,  Clive  Brook  is  married  and  has  a  daughter, 
Faith. 

A  George  O'Brien  Admirer. — Well,  you  are  going  to  see  an- 
other von  Stroheim  picture,  "The  Wedding  March,"  and  Fay 
Wray  is  to  play  the  lead.  Von  Stroheim  will  also  play  in  it,  as 
well  as  Zasu  Pitts,  George  Fawcett  and  Maude  George.  George 
O'Brien  attended  Santa  Clara  College  in  California,  and  he  has 
blue  eyes.     "The  Iron  Horse"  was  released  September,  1924. 

Millie  U. — Yes,  go  ahead,  write  to  me  any  time  you  feel  like  it. 
Yes,  of  course  I'm  eighty  years  old.  Conway  Tearle  is  married  to 
Adele  Rowland. 

Bobbie. — Well,  that's  hard  telling  whether  you  will  see  Roscoe 
Arbuckle  in  pictures  again.  He's  directing  now.  Greta  Nissen 
and  Clive  Brook  are  playing  in  Malcolm  St.  Clair's  "The  Popular 
Sin." 

Willie. — I  should  say  I  do  drink  plenty  of  buttermilk  in  this 
warm  weather.  That's  a  wonderful  trip  you  have  planned.  You 
know,  in  India,  3,263  people  were  killed  by  wild  animals  last  year. 
Snake  bites  were  responsible  for  the  deaths  of  20,000.  Well,  they 
do  say  that  Jobyna  Ralston  is  to  marry  Richard  Arlen,  and  that 
Ena  Gregory  is  to  marry  Al  Rogers,  a  director. 

Beverly  J.— Where  did  you  get  the  green  paper?  No.  Clara 
Bow   is   not   married.      She   was    born    August  8,    1905.     Donald 

64 


THE  ANSWER  MAN  is  at  your  service.  If  you 
want  an  answer  by  mail,  enclose  a  stamped  addressed 
envelope.  If  you  wish  the  answer  to  appear  in  THE 
CLASSIC,  write  at  the  top  of  your  letter  the  name 
you  want  printed,  and  at  the  bottom  your  full  name 
and  address.  Address :  The  Answer  Man,  Motion 
Picture   Classic,    175   Dufneld   Street,    Brooklyn,   N.   Y. 


Keith     is     twenty -three     years     old. 
•   Red  Grange's   "The  Half   Back"  is 
to   be   released   as   "One   Minute  to 
Play." 

Bertha  P. — Well,  you  ask  a 
question,  then  answer  it  yourself. 
There  are  two  things  that  indicate 
a  weak  mind — to  be  silent  when  it 
is  proper  to  speak,  and  to  speak 
when  it  is  proper  to  be  silent.  Mil- 
dred Harris  is  to  play  opposite  Rod  La  Rocque  in  "Cruise  of  the 
Jasper  B." 

Irene  R. — You  sure  are  a  film  fan.  Well,  you  know  Mabel  Nor- 
mand  was  known  as  Mabel  Fortesque  when  she  was  with  Biograph 
in  1911.  She  is  playing  in  Hal  Roach  comedies  right  now.  Your 
letter  was  most  interesting,  and  I  hope  you  write  me  soon  again. 

Betty  B. — Dont  be  so  impatient.  Hasty  climbers  usually  have 
sudden  falls.  So  you  are  fond  of  Ramon  Novarro.  He  was  born 
September  20,  1899,  at  Durango,  Mexico.  No,  Mr.  Novarro  does 
not  go  to  all  the  parties,  dances  and  affairs  in  Hollywood.  He 
rather  likes  his  home. 

Evelyn  M. — Why,  Ben  Lyon  was  born  in  Atlanta.  Georgia. 
That  is  his  real  name.  Alberta  Vaughn  is  playing  in  "The 
Adorable  Deceiver."     Billy  Sullivan  in  "Speed  Crazed." 

Bonya. — You're  right ;  clothes  dont  make  the  man,  but  they 
make  the  impression.  Colleen  Moore  is  five  feet  four  inches  and  is 
married  to  John  McCormick.  No,  they  have  no  children,  and  she 
was  born  August  9,  1902.  Why,  James  Hall  is  a  newcomer  to  the 
screen,  and  he  has  an  important  part  in  Bebe  Daniels'  "The 
Campus  Flirt,"  also  the  male  lead  in  Pola's  "Hotel  Imperial." 

Eleanor  F. — So  you  think  I  am  a  good  listener.  You'd  be 
surprised.  A  bird  is  known  by  its  notes,  and  a  man  by  his  talk. 
William  Boyd  has  blue  eyes  and  light  hair.  He  certainly  is  get- 
ting enough  mention  in  this  department. 

Stanley  H. — Well,  it's  too  late  to  have  my  beard  shaved  now — 
next  December  I  will  have  good  use  for  it.  You  say,  after  seeing 
"The  Plastic  Age"  and  "Brown  of  Harvard,"  you  would  like  to 
go  to  college.     Why  dont  you? 

Elizabeth  M. — Well,  do  all  you  can  to  be  good,  and  you'll  be 
so.  Rudolph  Valentino  was  born  May  6,  1895.  Hobart  Bosworth 
is  about  sixty  years  young,  and  his  birthday  was  August  11.  He 
is  a  descendant  of  Miles  Standish. 

Grace  K. — You  only  want  the  home  addresses  of  about  fifteen 
players.     That's  out ! 

Mitzi. — What  is  the  most  dangerous  time  of  the  year  to  visit 
the  country?  When  the  bull-rushes  out,  and  the  cow-slips  about, 
and  the  little  sprigs  are  shooting  all  around.  Irene  Rich  did  not 
have  her  hair  bobbed — she  wore  a  wig  in  "Lady  Windermere's 
Fan."  You  thuik  Corinne  Griffith  is  the  most  beautiful  actress 
on  the  screen.  She  is  very  popular.  You  think  I  could  get  a 
large  salary  if  I  came  to  Kentucky.     All  right,  that's  a  go. 

Elsie  McN. — Hoot  Gibson  is  with  Universal,  Universal  City, 
California,  and  Harrison  Ford  is  at  the  Metropolitan  Studio,  1040 
Las  Palmas  Avenue,  Los  Angeles,  California. 

O.  G. — Well,  if  a  dime  with  a  hole  in  it  is  worth  five  cents,  a 
dime  with  two  holes  in  it  ought  to  be  worth  ten.  cents.  Right? 
Lewis  Stone  is  playing  in  "Midnight  Lovers."  Virginia  Valli  was 
married  to  George  Lamson. 

Palma  M. — You  want  to  know  if  I  thought  it  would  be  a  good 
thing  for  you  to  become  an  actress.  Well,  now,  that  is  a  broad 
question,  in  view  of  the  fact  that  I  have  never  met  you.  My 
advice  would  be  for  you  to  stay  in  school  a  little  longer.  Adolphe 
Menjou  in  "The  Angel  Passes."  Estelle  Taylor  is  to  play  opposite 
Valentino  in  the  life  of  Cellini.  John  Gilbert  was  born  July  10,  1895, 
(Continued  on  page  81) 


Them  Were  the  Happy  Days 


Norma  and  her  lister  were  both  trying  lot 
icreen  honor!  in  those  bapp)  days 

Watching  John  Bunnj  nightlj  on  the 
screens  of  rlatbush,  .1  Brooklyn  undci 
taker  ol  Munl.it  huge  proportions,  (eh  the 
ur^r  to  ad  before  the  camera  He  wai 
the  Vhagraph  extra  whose  sue  dominated 
ever]  acene  in  which  he  appeared  His 
name  wai  Hughie  Mack,  It  -till  it,  ex 
cepi  that  todaj  be 
boras  the  foreground 

when     he     "does     his 

stuff " 
I    remember    also 

watching  with  inter- 
est the  work  of  a 
trimly  clothed,  dap- 
per young  man  se- 
lected by  Wall)  Van 
to  a  dance  bit  in  a 
Vhagraph  film,  "The 
Man  Behind  the 
Door."  His  poise 
was  perfect  and  his 
work  won  for  him 
a  small  part  in  "The 
Scarlet  Runner,"  a 
serial  which  Van 
later  made.  The 
dapper  young  man's 
name  was  Adolphe 
Menjou. 

The  Favorites  of 
Yesteryear 

I  have  stood  in  the 
huge  courtyard 
which  served  for  the 
location  of  many- 
kinds  of  exterior 
scenes  for  Vitagraph 
productions,  listen- 
ing patiently  while 
actor    poured    forth 


talent   on  the   screen   wlmli   p|o\cd    I  .u    nnic 

lucrative    to    those    who     followed    him 

than    it    dul   to   "the    first    DOJ    ol    the    Idms." 

Little   Money,   But   Lots  of   Fun 
TPhi  old   saying   "we  dont  make  much 

money  but  we  have  a  lot  of  tun"  .i|> 
plied  to  the  actori  and  directors  of  1910 
1 1     memorj     serves,    the    celebrated    John 


This  building  at  Sunset  Boulevard  and  Gower  Street,  Holly 
over  from  the  Salvation  Army  by  David  Horsley,  who  used 
make   his   fir»t   motion  picture 


wood,  was  taken 
it  as  a  studio  to 


a  well-known  stage 
his  lament.  "Why 
wouldn't  they  give  him  a  chance?  Why 
didn't  they  let  him  act  or  direct?  Hadn't 
he  appeared  in  leading  roles  of  Broad- 
way successes  ?  Wasn't  he  a  recognized 
exponent  of  the  Shakespearian  drama? 
His  wife  was  a  member  of  the  Vitagraph 
stock  company — what  was  wrong  with 
him?  The  complainer  was  James  Young, 
the  same  James  Young  who  afterwards 
scored  as  an  actor  and  director  for  Vita- 
graph and  other  leading  companies.  His 
wife  was  Clara  Kimball  Young.  Yes,  them 
were  the  happy  days.  In  this  same  court- 
yard I  have  watched  Florence  Turner, 
greatest  star  of  her  day,  paying  off  extra 
players. 

To  the  Vitagraph  of  the  misty  past  be- 
longs the  distinction  of  having  introduced 
the  first  "vamp"  of  the  screen.  Long  be- 
fore Theda  Bara  essayed  her  "bad,  bad 
woman"  parts,  Helen  Gardner  had  estab- 
lished a  new  type  of  screen  role  thru  her 
sirenic  efforts  as  Cleopatra  and  other 
characters  with  a  vampish  tinge.  To  the 
credit  of  this  company  also  must  be 
chalked  up  the  first  presentation  of  the 
appealing  "mother"  character,  a  character 
which  has  played  an  important  part  in  the 
success  of  many  later  day  important  pro- 
ductions and  the  introduction  of  a  child 
player  as  the  leading  figure  of  a  picture 
play. 

Them  were  the  happy  days  indeed  when 
the  benevolent  white-haired  person  of 
sweet-faced  Mary  Maurice,  the  Vitagraph 
mother,  held  the  screen  in  stories  of 
honest,  homely  sentiment — when  the  pre- 
cursor of  Jackie  Coogan,  little  Kenneth 
Casey,  one  of  the  best  known  and  widely 
admired  figures  of  the  silversheet,  opened 
up  a  field  for  the  exploitation  of  juvenile 


Bunny  began  his  movie  career  at  $40  per 
week  and  at  the  height  of  his  career,  when 
death  cut  short  his  brilliant  comedy 
achievements,  he  was  receiving  $500  per 
week.  Nowadays,  this  salary  is  regarded 
as  a  nominal  one  in  the  movies  and  is 
received  by  countless  of  the  lesser  lights 
whose  names  mean  little  or  nothing  at  the 
box-office. 

Those  bulwarks  of  the  Vitagraoh  pro- 
gram, Maurice  Costello  and  Florence 
Turner,  who  with  Bunny  helped  to  estab- 
lish the  fortune  which  Vitagraph  produc- 
tions earned  for  Blackton,  Rock  and 
Smith  thru  their  countless  performances, 
received  correspondingly  slim  pay  envel- 
opes for  their  efforts.  This  same  trio 
today  would  be  in  the  earning  class  of  a 
Chaplin,  a   Meighan  and  a  Pickford. 

Supplying  the  "side  line"  music  for 
these  stars  of  other  days  was  a  slight, 
blond-haired  boy  who,  in  between  turns 
at  playing  his  fiddle,  did  small  acting  bits 
in  innumerable  pictures.  His  brother  was 
one  of  the  first  if  not  the  first  "stunt  men" 
in  studio  work,  doubling  for  the  players 
who  appeared  in  the  various  epics  of  the 
West  which  Vitagraph  turned  out  in 
"Arizona,"  a  peaceful  Flatbush  location. 
The  musician-extra  was  Dick  Rosson. 
who  recently  completed  the  direction  of 
Gloria  Swanson's  latest  picture.  The 
stunt  man,  his  brother  Arthur,  has  to  his 
credit  the  direction  of  Douglas  Fairbanks 
and  several  other  top-notchers  in  the 
stars'   league. 

They  All  Made  Good 
"Them  were  the  happy  days  indeed  when 
Ralph  Ince,  elevated  to  the  post  of 
director,  decided  that  a  young  player 
known  as  Rex  Hitchkock  was  not  compe- 
tent  enough   to   interpret    the    insignificant 


..ink    1  I-  1  k    in  ( IN    ol    I 
i  s         I  be  pulled     him 

i-li    togethei    lumcentl)    later     ■'!   to  turn 
out     such     m.i  terpii  "The     ; 

Horsemen"    and     Mart        istrum"    under 

the   name   ol    Rex    Ingrai 

No  chrome  It  dealing 

with   Vitagraph  would  be  complete  with 
out  reference  to  Fred  "Bing"  Thoraj 

the  first  director  to 
introduce  the  pre 
well-known  element 
•  mperament"  in 
the  work  of  movie 
production.  Thomp- 
son, who  has  since 
passed  on.  and  inci- 
dentalK .  wai  the 
first  man  to  use 
wild  animals  in  pho- 
toplays, was  quickly 
irritated  when  things 
did  not  run  smoothly 
under  the  lights.  He 
had  a  penchant  for 
breaking  derby  hats, 
one  of  which  was 
always  perched  on 
his  head.  The  num- 
ber of  broken  der- 
bies at  the  end  of  a 
two-reeler  under 
'3  direction  was 
indicative  of  the 
Sti  Tin  or  calm  which 
accompanied  its 
making. 

In  these  days  of 
sumptuously  fur- 
nished players' 
dressing-rooms  and 
specially  built  bun- 
galows for  the  use  of  high-salaried  stars 
in  preparing  for  their  studio  appearances, 
it  is  amusing  to  learn  that  three  such  big- 
timers  of  the  old  days  as  John  Bunny, 
Sidney  Drew  and  Wally  Van,  comedy  aces 
of  the  pre-Chaplin  era,  all  shared  the  same 
small    room   together. 

In  any  story  of  the  old  days  the  name 
of  Van  looms  large.  A  well-known  civil 
engineer  of  New  York,  he  was  induced 
to  take  a  fling  at  film  work  by  J.  Stuart 
Blackton,  with  whom  he  was  socially  in- 
timate. The  horrible  appellation  of  "Cutie" 
wished  on  Van  at  the  height  of  his  comedy 
career  had  its  full  share  in  spoiling  a 
promising  future.  It  was  this  same  Van 
who  was  responsible  for  the  introduction 
of  Mrs.  Sidney  Drew  to  the  films.  Under 
the  name  of  Jane  Morrow  she  received 
considerable  extra  work  thru  Van's  good 
offices  until  Vitagraph  officials  saw  the 
possibilities  of  the  Drews  as  the  most 
delightful  pair  of  comedians  that  ever 
shook  an  audience  into  whole-souled 
laughter. 

Stories  Were  Cheap 

\Y/hen  we  read  today  of  the  trifling 
sums  paid  for  the  rights  to  various 
plays  and  novels,  ranging  from  $5,000  to 
$100,000,  according  to  the  gullibility  of 
the  producer-purchaser,  and  the  insis- 
tence of  the  star  that  the  particular  play 
or  novel  be  secured  for  the  exploitation  of 
his  or  her  screen  talents,  it  is  illuminating 
to  consider  the  manner  in  which  scenario 
requirements  were  handled  in  the  old  days. 
Under  the  direction  of  one  of  the  in- 
dustry's first  scenario  editors.  Beta  Brueil. 
assisted  by  Rollin  Sturgeon  and  Hal  Reid. 
father  of  Wally,  story'  after  storv  was 
purchased  for  sums  ranging  from  $5.00  to 
(Continued  on  page  86) 


65 


PAINTED    PEOPLE 


mothers  that   it  would   be  just   as   well   to 
keep  us  away   from  you." 

Her  grandmother  had  done  that !  Her 
Grandmother  Rogers  with  her  little  blue, 
drawn  thread  of  a  mouth ! 

The  little  scimped  ways  of  them  all. 
Scimped  and  mean  like  her  grandmother's 
mouth,  always  shut  so  tightly  as  tho  she 
were  biting  back  acid  words  she  wanted 
to  say,  wanted  to   say   to   Jonquil. 

The  gossip  that  went  on  among 
the  old  ladies ;  cruel  gossip  that 
flayed  soft  pretty  young  things 
and  hurt  and  stung  like  whip 
lashes.  That  young  minister  who 
had  taken  over  the  Congregational 
Church.  Earnest  eyes  he  had  had 
and  a  flame  in  his  voice  ...  he 
had  taken  tea  with  young  and 
pretty  Mrs.  Fielder  in  her  rose 
garden  one  afternoon  too  many 
.  .  .  Jonquil  never  quite  knew  how 
it  all  happened,  but  she  got  the 
stench  of  dark  unhappy  things  in 
an  undercurrent  and  then  the 
young  flame-like  man  was  gone 
and  pretty  little  Mrs.  Fielder  went 
about  with  a  bewildered  expres- 
sion on  her  child-like  face  and  a 
streak  of  gray  across  her  hair 
and  people  said  that  her  husband 
had  used  to  be  kind  and  tender  to 
her  but  that  now  he  misused  her 
and  made  her  unhappy.  .  .  . 

The  unkindnesses  ...  the  thin, 
lash-like  unkindnesses.  .  .  . 

Once,  once  only  she  had  dared 
to  ask  her  grandmother  why  the 
girls  in  town  treated  her  as  they 
did  .  .  .  what  was  the  matter  with 
her  .  .  .  what  it  was  all  about.  .  .  . 

Jonquil  never  ceased  to  think 
that  what  her  grandmother  said 
was  horrible.  It  wasn't  so  much 
that  she  condemned  her,  that  she 
told  her  her  life  had  ruined  her 
for  "nice"  people,  that  she  was  a 
stage  child  and  had  lived  "Dear 
knew"  what  kind  of  a  life  and 
that  decent  folk  have  to  be  par- 
ticular about  the  kind  of  girls 
their  girls  go  with  .  .  .  she  could 
have  forgiven  her  all  that.  It  was 
the  way  she  talked  about  Jonquil's  mother. 
About  her  own  daughter.  About  the  girl 
who  had  been  her  little  girl,  bone  of  her 
bone,  flesh  of  her  flesh,  suckled  at  her 
breast.  It  was  the  cruel  bitter  things  she 
said  about  her.  It  was  the  way  she  took 
that  dead  memory  and  stained  it  and 
maimed   it. 


Sad  years. 

Solitary.  After  a  time  Jonquil  ceased 
to  think  much  about  it,  came  to  accept  it. 
She  reached  the  point  when,  on  rare  oc- 
casions, some  girl,  some  compassionate 
warm  woman,  did  make  some  friendly 
overture  to  her,  she  drew  away,  resented 
it.  She  was  afraid  of  it.  She  was  afraid 
of  hurt. 

She  just  knew  that  she  was-  solitary. 
That  she  was  a  misfit.  She  went  solitary 
to  school  and  she  came  solitary  home. 
She  helped  with  the  spring  cleaning,  the 
mending,  the  canning  and  pickling,  the 
general  sewing,  whatever  happened  to  be 
in  process  of  work.  And  there  was  al- 
ways something.  There  was  never  leisure, 
never  dalliance. 

After  awhile  they  didn't  hurt  any  more, 
the  pin-pricks.  After  a  time  they  lost 
their  power. 


(Continued  from  page  33) 

She  noticed  that  her  Grandmother's 
nose  and  mouth  seemed  to  be  bending  over 
to  meet  one  another ;  she  thought, 
amusedjy,  that  she  looked  rather  like  the 
pictures  of  the  Witch  of  Endor  .  .  .  maybe 
she  was.  .  .  . 

She  thought,  now  and  again,  of  the 
things  she  had  planned  to  do  when  she 
had    first    come    to    Three    Trees.      The 


Jonquil  never  ceased  to  think  that  what  her  grand- 
mother said  was  horrible.     She  talked  so  bitterly 
about  her  own  daughter 


splendid  games  she  would  teach  to  some 
of  the  girls  she  would  particularly  like 
.  .  .  most  little  girls,  she  found,  didn't 
imagine  many  things  .  .  .  they  played 
such  gummy  little  games  .  .  .  but  she 
would  teach  them  to  imagine  and  they 
would  see  that  she  was  really  a  very 
splendid  sort  of  person  .  .  .  they  would 
see  what  she  really  was  and  would  tell 
their  mothers  and  their  mothers  would 
say  to  Grandmother  Rogers,  "What  an 
unusual  child  ...  a  darling  ...  I  love 
to  have  my  little  girl  play  with  her,  she 
thinks    such   beautiful    thoughts.  .  .  ." 

Once,  passionately,  Jonquil  had  told  her 
Grandmother  that  she  knew  she  would 
never  "get  away  from  it"  and  her  Grand- 
mother had  got  out  the  Bible  and  had 
read  her  about  "the  sins  of  the  fathers" 
until  Jonquil  had  cringed  in  reluctant 
terror. 

After  all,  Lillian  de  Vere  had  loved  her 
little  girl  .  .  .  she  had  seized  her  and 
held  her  against  her  cheaply  perfumed 
breast  and  there  had  been  the  warm  blood 
feel  of  a  heart  throbbing  there  .  .  .  she 
had  wanted  her  to  be  happy,  forlornly,  but 
really  and  passionately  .  .  .  and  they 
hadn't  had  threads  for  mouths,  those 
grease-painty  people  back-stage  .  .  .  they 
had    wept    generously    over    their    erring 


dead  and  they  had  forgiven  their  erring 
living  with  shrugs  of  the  shoulders  and 
an  "Oh,  well  .  .  .  poor  chap  .  .  ." 

But  of  course  she  hated  them.  They 
had  marked  her  so  that  "nice"  girls  and 
their  mothers  drew  aside  their  skirts  and 
wouldn't  speak  to  her  unless  it  might  be 
to  say  "Gooday,  Jonquil,  how  is  your  poor 
Gran'ma?"  It  was  always  as  if  they 
pitied  Grandmother  because  of  her. 
It  was  as  if  they  hated  her. 
Funny. 

On  the  stage  they  hadn't  hated 
her.  That  much  was  certain. 
That  had  seemed,  then,  to  be  the 
trouble.  They  had  loved  her  in 
their  slobbery  fashions.  Ugh. 
Like  that  character  woman  who 
was  forever  kissing  her  hotly  all 
over  her  face  as  if  she  had  never 
kissed  a  little  girl  before  and  was 
trying  to  get  all  the  times  she  had 
missed  into  that  one  time. 

Of  course,  now,  the  nice  girls 
would  never  know  how  she  had 
wanted  a  front  porch  and  a  nice, 
thin-lipped   Grandma — and   them. 

No,  when  she  cared  so  dread- 
fully, during  the  time  she  cared  so 
much,  when  the  pin  pricks  drew 
little  drops  of  blood,  she  wouldn't 
have  told  them. 

And  then,  later  on,  she  didn't 
care,  any  more.  It  was  all  too 
much  trouble.  It  was  easier  to 
go  home,  slip  into  her  own  room 
on  the  pretext  of  home-work,  slip 
off  her  stiff  prissy  clothes,  slip 
into  a  wrapper,  stretch  across  the 
bed  reading  the  fiction  stories  in 
the  old  magazines  Elijah's  wife 
gave  her  from  time  to  time. 
Love  stories.  There  was  a  door 
...  a  channel  .  .  .  love  might  come 
some  day  .  .  .  slip  in  one  of  the 
narrow  crevices  of  her  life  .  .  . 
set  her  free  .  .  .  ring  out  her 
laughter  ...  fill  her  with  roses 
and  sunshine.  In  lots  of  the 
stories  love  came  in  the  most  im- 
probable places,  to  the  most  im- 
probable people.  There  was  even 
a  saying  .  .  .  something  about  love 
laughing  at  bolts  and  bars.  ...  If  love 
came,  how  supreme  it  would  make  her, 
how  triumphant  she  could  be.  .  .  . 

But  she  was  growing  prettier.  She 
knew  that.  Even  she  could  see  the  gentle 
rhythm,  the  soft  poetry  of  her  own  round- 
ing breasts  and  lilting  thighs.  Her  hair 
was  amber  colored,  too,  with  the  hue  of 
dark  honey  .  .  .  her  skin  was  soft  and  in 
the  twilight  her  face  drifted  like  a  flower's 
face  .  :  .  her  mouth  was  clean-cut  by  day 
but  in  the  evening  it  became  a  soft  blur 
...  a  promise.  .  .  . 

When  Jonquil  was  seventeen,  all  •  of 
Three  Trees  had  narrowed  and  com- 
pressed to  her  vision.  It  was  as  if  it  had 
shrivelled  and  shrunk.  Funny,  but  when 
she  walked  down  the  shaded  streets  she 
seemed  to  be  walking  down  prickly, 
sharp-pronged  aisles  that  closed  in  upon 
her  at  either  side,  hideously. 

Oh,  how  could  love  find  an  entering 
wedge  here  .  .  .  here  where  no  sap  flowed 
.  .  .  where  no  blood  ran  .  .  .  where  people 
were  pale  and  chalky  and  streets  were 
narrow  and  hurt  you.  .  .  . 

But  love  did  get  a  foothold  ...  in  the 
spring.  .  .  . 

(End  of  Part  Tzvo) 


66 


More  Inside  Facts  About  the  Extra 


MUIwd      These    frail,  pitiful    last  dying    in 
ItitUtlOIM     probably      t  urm-h     keen     amuse 

incut  fa  the  Great  Po« 

jungle  Rea  rn.i\   tano)   •">  elephant   I 

time!     But  the  aim  oi   these  little  clubi 

ood,  The  policj  ia  pureh  clvi<  and 
so-called  communirj  welfare  wort 
among  motion  picture  people.  But  then 
onh  aim  in  the  end  li  to  lecure  work  foi 
then  members,  regardless  of  what  ii  nid 
to  the  contrary.    Bui  It  ia  thought  that  the 

ta  of  such  dubs,  in  tome 
Instances,  is  so  much  apple 
dumpling  to  the  producera  whose 
troubles  exceed  in  a  minute  ten  . 
times  that  of  an  actor  in  a  week. 
As    ■    matter    of    fact,    the    pro  V  -     '.. 

ducer  is   the   maker,   the   creator  X-, 

of   The   Central   Casting    Bureau, 
and.    no    doubt    these    same    pro- 
ducers grew  damn  sick  and  tired 
of  the  rumpus  constantly   being  excavated 
by  groups  of  radical  extras.     1  know,  I  am 
one  of  them. 

But  Few  Are  Chosen 

Mow   comes  the  great  joke! 
iy       When   Old   Screen   Service  was   laid 
away  in  rosemary    and   The   Central   Cast- 
ing   Bureau    made    its    first    move    in    its 
cradle,    what    had    happened?      The    same 
man    and    officers    of    the    former    Screen 
Service    are    now    the    Big    Guns    of    The 
Central.       Laugh     that    down.       And    the 
names !   names !   and   files   went   along 
with  the  rest  of  the  outfit.     When  you 
go    to    a    studio    for    work,    you    are 
generally  but   firmly   referred  to  The 
Central;  when  you  go  to  The  Central, 
you    are    assuredly    and    roughly    and 
crudely   told  to  go  to  the  studio  and 
get  your  papers — a  letter  stating  that 
that  certain  studio  wishes  you  to  work 
for    it.      Try    and    get    it!      Do    they 
kid  themselves? 

There  are  exceptions  to  the  rule,  many- 
get  work  as  of  old,  but  they  are  well 
known  and  have  been  "regulars"  for  a 
long  time.  And  of  course,  when  a  great 
boiling  mob  is  used,  there  are  generally 
the  same  number  who  form  another  line 
which  is  called  "Spec  I"  Meaning  those 
who  go  on  speculation,  hoping  that  most 
all  the  people  who  are  on  regular  call 
will  not  be  there  to  get  their  tickets  or 
checks.  It  is  funny,  too,  most  every 
"spec"  believes  that  he  will  get  a  job,  get 
another's  ticket,  he  likes  to  kid  himself. 

The  system  for  getting  work  now  is 
all  done  by  the  telephone.  You  call  into 
the  offirce  and  give  your  name !  name !  and 
the  operator  repeats  it  to  the  long  line  of 
casting  directors.  If  you  are  properly 
registered  and  have  good  standing  in  all 
ways,  then,  you  may  get  a  job.  But  most 
of  the  time  it  is,  "Nothing  in  yet !"  Some- 
times it  is  "Line's  busy !"  It  is  stated 
that  an  average  of  over  six  thousand 
(6,000)  calls  go  into  The  Central  Office 
daily.  Can  you  imagine  the  magnitude, 
the  problems  and  difficulties  arising  under 
and  over  such  sad  conditions  ? 

To  the  person  planning  a  picture 
career  via  the  extra  train,  I  would  say 
that  it  is  almost  impossible  to  become 
registered  at  The  Central  Office,  where  the 
greater  part  of  work  is  obtained.  In  fact, 
a  registration  may  be  had,  but  that  does 
not  give  you  work — you  can  be  killed  in 
the  files !  ' 

This  is  not  because  officials  want  it  that 
way.  or  because  it  is  their  choice.  But 
it  is  purely  a  matter  of  statistical,  busi- 
ness necessity.  It  is  said  that  if  every 
person    worked    in    pictures   who   is    regis- 


fOQ4   23  ) 

tcred.   or    who   desires    t,,    WOrlt,    then,    therr 
WOUld    he    less    tli.in    tttlv     QOllari     ($   I 
made  annually    pet    i.ipita.    And   ti 

is  that  the  desirable  list  o(  people,  those 

who    are    le.illv    depending    on    picturei     l"' 

a  living,  must  Ik-  assorted  and  fiver  the 

to 

those    who 
constituted     and 
equipped    to    till 

most  any  demand 
made  in  picture 
uork. 


A 


D 


This  young  girl 

is    disillusioned. 

She   forgot  to 

remember 


And  Still  They  Come 

espite  all  this,  the  fifty  thousand  folk 
still  march  on  to  nowhere,  over  this 
road  or  under  that  bridge  —  bridge  of 
sighs !  And  each  trial,  each  effort  to 
break  thru,  only  inspires  those  behind  the  ■ 
scenes  (the  powers  that  are)  to  fasten 
more  securely  the  doors  that  lead  to  fame 
and  future  and  fortune ;  to  shut  more 
coldly  the  gates  wherein  the  world  seems 
bent  upon  seeking — the  studio.  No  doubt 
if  studio  gates  were  thrown  open  to  the 
public,  it  would  take  o»e  half  the  world  to 
escort  the  other  half  "around  the  lots  and 
sets,  the  studio  ground  with  its  quaint- 
looking,  half-shelled  outbuildings  and 
ruins.     I  believe  all  progress  would  cease. 

Not  long  ago,  near  Washington  Boule- 
vard, just  inside  a  certain  studio  fence, 
there  were  some  scenes  to  be  made — 
"shot."  This  set  could  be  seen  clearly 
from  the  boulevard.  Would  you  believe 
that  in  less  than  an  hour  about  one  thou- 
sand automobiles  had  stopped,  and.  people 
were  going  mob-mad  to  get  a  peep?  The 
police  were  called  to  clear  the  traffic 
which  was  piling  up  like  a  foreign  debt. 
Just  one  thimbleful  of  human  ants! 

But  back  to  the  other  truths  again. 

Perhaps  much  could  be  said  about  the 
present  system  of  casting  people  for  pic- 
tures, extra  talent,  I  mean.  Some  people 
would  never  be  pleased  with  anything,  any 


n    "i     device        Hut     I     must     u 
in    pfa  tures  .    tlir    n 
all    the    help   it    needs   and   that    mil'  h 
And    it    V'ii    .  are    •  that 

.kIvkc,  do  not   t"tget  that   •  told 

not  to  t'  ■  member. 

They  Forget  to  Remember 

I  to   await 

the    new    angle   oi     I  he  itral 

Bureau.  It  is  only  a  be 
\\  ith  proper  nursing  and  kidding  it  may 
grow  Up  and  prove  a  wonderful  thing. 
So  far,  the  organization  has  d< 
good.  The  officials  arc  trying  hard  to  do 
their  best.  And  if  it  is  a  bad  thing,  an 
improper  way  to  handle  the  future  situa- 
tion, only  strict  and  rigid  enforcement  of 
that  present  method  will  either  elim- 
inate it  or  keep  it  in  force.  But  it 
might  be  said  that  if  The  Great 
Central  Office  is  ever  discontinued, 
then,  many,  many  agents  will  enter 
the  business  of  getting  jobs  for 
extra  talent.  Yes,  they'll  probably 
hang  a  sign  on  their  doors  reading 
something  like  this  :  "We  guarantee 
you  a  job  when  you  register  with 
us!  If  we  fail  to  get  a  job  for  you 
— we'll  pay  one  thousand  dollars!" 
It  sounds  good,  but  sound  is  all.  In 
the  old  days,  however,  Screen  Ser- 
vice was  the  ruling  monarch  in  get- 
ting work  for  extra  talent.  It  was 
a  power.  It  will  never  be  that 
power   again. 

Indeed,  it  is  highly  improbable 
that  The  Central  Office  will  be  dis- 
continued. And  if  it  were,  there 
would  be  castes,  clubs  and  "so- 
cieties" which  would  turn  the  extra 
talent  forces  into  a  red  revolution, 
ves,  even  more  so  than  they  are  now. 
And  this  is  the  TRUTH. 

Nothing  But  the  Truth 

""The  Brewster  Publications  are,  of 
course,  world-renowned  for  their 
policy  of  strictly  and  rigidly  following 
the  roads  of  Truth.  And  there  is  a  cer- 
tain trade  journal  published  in  the  vicinity 
of  Hollywood  which  also  has  the  same 
policy.  And  not  very  long  ago  this  trade 
journal  published  an  editorial  which 
struck  the  "extra"  squarely  in  the  guts. 
It  is  so  truthful,  so  good,  therefore  it  ia 
necessary  to  quote  it.     As  follows  : 

"THE  QUITTER" 

"A  piece  of  news  has  just  reached  us 
to  the  effect  that  an  'extra'  is  quitting  the 
movies.  This  fact  in  itself  is  insignifi- 
cant, since  many  extras  starve  out  daily 
and  sink  back  into  that  oblivion  from 
which  they  sprung.  But  behind  this  sur- 
render lurks  a  story,  a  story  which  em- 
bodies a  moral  for  every'  boy  and  girl 
entering  the  game. 

"The  extra  mentioned  typifies  the  high- 
est standard  of  American  manhood.  He 
is  an  upstanding,  two-fisted  chap  in  the 
prime  of  youth ;  one  who  followed  his 
own  barrage  into  the  jaw  of  hell  upon 
the  firing  line ;  he  is  a  graduate  of  our 
best  universities,  a  student  of  law,  a  legit- 
imate actor  and  a  journalist  of  merit.  A 
year  ago  he  joined  the  ranks  of  extras, 
being  told  that  picture  producers  were 
ever  on  the  lookout  for  talent  and  ability 
— that  the  man  on  the  bridge  could  de- 
tect a  mile  away   the  periscope  of  genius. 

'Well !  He  joined  the  movie  ranks, 
has  spent  a  year  weltering  and  poking  up 
his  periscope.  Now,  he  is  quitting.  Not 
(Continued  on  page  73) 

67 


HOLLYWOOD'S  UNION  JACK  CLUB 


George  K.  Arthur 


a  lightweight.  At  the  same  time  it  can 
be  said  of  Pauline  Garon  and  Marie  Pre- 
vost  (Canada),  Eileen  Percy  (Ireland) 
and  Flora  le  Breton  (England),  that  they 
rarely   fail  to  come  up  to  the  scratch. 

Scions  of  the  Empire 

In  addition  to  Mary  Pickford,  most  fa- 
mous  daughter  of  the  historic  family  of 
Smiths,  Canada  sponsored  the  birth  of 
Norma  Shearer  and  Claire  Adams ;  while 
Australia,  not  content  with  its  mustach- 
ioed masterpiece,  Marc  McDermott,  free- 
handedly  threw  in  Louise  Lovely  and 
Enid  Bennett.  England's  quota,  in  addi- 
tion to  those  whose  names  have  been  men- 
tioned, includes  players  of  every  con- 
ceivable type,  notably  Charlie  Chaplin, 
George  K  Arthur.  Henrv  Vibart.  Flora 
Finch,  Gibson  Gowland,  the  late  David 
Powell,  the  brothers  Torrence,  and  Doro- 
thy_  Mackaill. 

Charlie,  ot  course,  received  the  best 
education  in  the  world — in  the  tough 
school  of  life — but  most  of  the  British- 
born  stars  prefer  to  keep  the  secret  of 
where  they  picked  up  the  ABC  and  any 
other  smatterings  of  knowledge  they  may 
have  acquired.  Only  four  confess  to  an 
education  at  the  great  English  Public 
Schools,  which  as  everybody  knows  are 
so-called  owing  to  the  exclusive  and 
aristocratic  nature  of  their  clientele.  The 
four  are  Alec  Francis  (Uppingham 
School),    Cyril    Chadwick    (Brighton    Col- 


(Continued  from  page  39) 

lege),  Wyndham  Standing  (St.  Paul's, 
London)  and  Ralph  Forbes  (Denstone). 
And  with  these  carefully  nurtured  beings 
we  can  write  "finis"  to  the  long  tale  of 
Hollywood's  Union  Jack  Club. 

Their  Early  Vicissitudes 

IWJost  of  the  British  picture  players  in 
1  Hollywood  are  now  generally  re- 
garded as  thoroly  successful  people,  but 
some  interesting  stories  could  be  told  of 
the  years  many  of  them  spent  in  their 
native  land,  struggling  for  the  recogni- 
tion that  would  not  come,  England,  which 
has  provided  far  more  stars  and  featured 
players  of  Hollywood  than  any  other 
country  except  America,  easily  takes  bot- 
torn,  place  among  all  the  nations  for  abil- 
ity to  pick  the  winners.  For  years  the 
British    film    industry,    which    has    nev#r 


Victor   McLaglen 


Ronald  Colman 


flourished  since  the  war,  has  been  trying 
to  lay  the  blame  for  its  failure  on  the 
lack  of  stars.  In  actual  fact  the  number 
of  Britishers  who  have  succeeded  in 
America  points  to  there  being  more  star 
material  in  proportion  to  the  population 
of  England  than  to  that  of  any  other 
country. 

Thomas  Meighan,  who  for  years  has 
ranked  among  the  highest-paid  stars  in 
the  world,  spent  his  early  days  walking 
on  and  playing  bits  in  the  west  end  of 
London.  But  no  manager  ever  took  any 
notice  of  him,  so  he  gave  up  trying  to  es- 
tablish himself  in  England  and  came  to 
New  York,  where  he  made  good.  Ronald 
Colman  is  another  who  strove  in  vain  for 
a  chance  in  London,  until  Henry  King 
chose  him  to  play  in  "The  White  Sister" 
in  Italy,  when  he  immediately  scored  a 
hit  with  the  American  public. 

Another  similar  case  is  Percy  Marmont, 
who,  with  a  style  all  his  own,  has  found 
his  services  in  constant  demand  since  he 
became  known  in  Hollywood.  Altho  he 
did  much  valuable  work  in  connection 
with  repertory  theaters  in  England,  he 
never  met  with  any  degree  of  financial 
success.  Finally,  in  desperation  to  earn 
some  money,  he  came  to  New  York  to  try 
his  luck. 

There,  however,  he  still  found  fortune 
unfavorable  for  some  months.  He  could 
get  no  work,  but  succeeded  in  arousing 
the  interest  of  Small,  the  casting  agent, 
whose  faith  in  him  was  so  great  that  he 
paid  his  fare  to  Hollywood.  Marmont 
was  chosen  to  play  Mark  Sabre  in  "If 
Winter  Comes,"  and  he  returned   to  Eng- 


David  Torrence 


land  to  make  some  scenes  for  this  pic- 
ture, having  developed  in  a  few  month.*- 
from  an  unknown  repertory  actor  to  a 
miniature  star. 

Stars  of  Two  Countries 

TThe  story  of  these  men  is  the  story  of 
many  another  Englishman  who  has 
found  success  here  after  years  of  vain 
attempts  in  his  own  country.  Tho  it  is  a 
highly  difficult  task  to  obtain  recognition 
in  this  country  on  stage  or  screen,  it  is  a 
hundred  times  as  difficult  in  London, 
where  impresarios  are,  as  a  rule,  constitu- 
tionally opposed  to  taking  a  gamble  on  a 
new  discovery. 

On  the  other  hand,  in  a  few  cases  Eng- 
lish players,  who  have  migrated  to  Holly- 
wood, were  already  well  known  and  suc- 
cessful in  England.  Clive  Brook,  for 
instance,  was  probably  the  most  popular 
male  star  in  England  two  or  three  years 
ago.  Originally  intended  for  the  army, 
he  succumbed  to  the  lure  of  movie  acting 
and  has  never  met  with  any  serious  re- 
verses in  his  chosen  career.  He  played 
leading  roles  in  England  for  years,  but 
never  faltered  in  his  determination  to 
come  to  America  as  soon  as  an  opportu- 
nity presented  itself.  In  his  unhindered 
progress  he  bears  comparison  with  his 
namesake  of  the  famous  Tennysonian 
poem. 

Fortune    was    on    his    side,    for    he    was 

chosen    to    play    opposite    Betty    Compson 

in    the    big    British    picture,    "Woman    to 

Woman,"  and  on  the  strength  of  his  per- 

( Continued  on   fane  85) 


Clive  Brook 


68 


UNKNOWN  BEAUTY 

Thr  Girl  Who 
Livet  Ntxt  Door 
You  do  not  know  her  name.  She  ii 
not  ItnouTi  to  fame.  Yet  thousands 
as  lovely  as  she —  grace  the  homo 
of  America.  For  this  is  the  land  of 
nc jury  —  btaurj  famed  —  beaurv  un- 
Jcnoum  —and  this  u  the  land  ofTre- 
Jur  —  the  helpmate  ro  iru«  charm 


Tre-Jur  Lipstick 
SOc 


"Thmtst" 
Single    $1.00 
Double  Si -SO 


Qyindnow  its  been  done- 

a  Irejar  compact  at  50t 

We  once  said  that  when  a  greater  value  in  quality  compacts 
could  he  found — Tre-Jur  would  show  the  ivay Meet — 

"The  Little  One" — 

Your  heart's  desire  in  Beauty  Aids! 

Light  and  slim,  and  two  inches  in  girth,  is  its  lovely  silver- 
finished  case.  Slipping  handily  into  the  smallest  purse — the 
social  equal  of  the  finest  bag.  An  aristocrat  in  its  quality 
of  powder — an  inspiration  in  its  delightful  scent.  Ample 
in  its  contents — amazing  in  its  price  of  50c  (Refills  35c). 

And  may  we  introduce  two  more  Style  notes  in  compact  fashions  for 
Fall?  Trk-Jur's  "Thinest" — truly  the  thinnest  Compact  ever  designed 
Gracefully  convexed  in  rich,  gunmetal  finish  -a  large  mirror  and  a 
bountiful  measure  of  powder.  Single,  $1-  Double,  $1.50.  The  "Purse 
Size  Twin" — in  friendly  size  for  the  little  purse — contains  powder  and 
rouge  at  the  price  of  $1.  .  .  .  Each  brings  you  the  quality  of  cosmetic  for 
which  Tre-Jur  is  famed— scented  with  that  exquisite  perfume,  Joli  Memoire. 

If  not  sold  nearby,  any  Tre-Jur  item  will  be  forwarded  by  mail,  upon 
receipt  of  price.  A  generous  sample  of  Tre-Jur  Face  Powder  sent  for  10c 
— stamps  or  coin.  House  of  Tre-Jur,  Inc.,  19  West  18th  Street,  N.  Y. 

TR.E-JUR. 


The  name  Tre-Jur  in  toiletries 


is  your  promise  of  money's  most 


l  j  u  :  i 


'Twin"  $1 


6e 


CHARMED  LIVES  and  RECKLESS 


unusual  happening  in  their  locality.  They 
do  not  receive  a  regular  salary,  but  in- 
stead they  are  paid  space  rates — so  much 
per  word  or  per  column  of  space  they  fill. 

Newsreels  are  similarly  organized. 
They  have  their  regulars,  their  district 
men,  and  their  "correspondents,"  the  latter 
paid  by  the  foot  only  for  pictures  which 
are  used.  Main  offices  are  in  New  York, 
but  there  are  branch  offices,  with  regular 
local  staffs  in  Chicago,  Philadelphia,  San 
Francisco,  St.  Louis  and  other  large  cities. 
In  the  important  centers  of  Europe,  offices 
are  also  maintained. 

In  the  foreign  offices,  natives  are  em- 
ployed, tho  an  American  is  usually  in 
charge  to  receive 
directions  from  the 
central  office.  Thus 
in  China,  Chinese 
cameramen  are  em- 
ployed ;  in  Rome, 
Romans  are  used, 
because  a  native, 
knowing  his  own 
country  best,  is  al- 
ways awake  to  any 
novelty  that  might 
appeal  to  the  dis- 
criminating tastes 
of  film  goers. 


(Continued  from  page  21) 

The  precious  film,  after  it  was  sent 
by  plane  from  Kona  to  Honolulu,  was 
placed  aboard  the  steamer  Matsonia 
for  San  Francisco.  The  prints  were 
made  there  from  one  of  the  negatives 
for  distribution  on  the  Pacific  Coast  while 
the  other  was  placed  aboard  an  airplane 
and  flown  to  the  International  studio  in 
New  York. 

Early  in  his  career  a  newsreel  photog- 
rapher is  impressed  with  two  important 
facts,  one,  that  he  must  get  his  picture, 
and  secondly,  that  he  must  rush  the  nega- 
tive back  with  all  possible  speed.  I  com- 
pared the  organization  of  the  newsreel 
with  that  of  the  newspaper,  but  there  the 


Speed     and     Ac- 
curacy Are  the 

Watchwords 
"The    pictures    of 

the  eruption  of 
Mauna  Loa,  the 
Hawaiian  volcano, 
are  a  striking  ex- 
ample of  what  this 
remarkable  organi- 
z  a  t  i  o  n  accom- 
plishes. When 
Mauna  Loa  first 
began  to  rumble, 
the  International 
Newsreel  cabled  its 
co  rrespondents, 
Walter  J.  Tomi- 
naga   and   John   F.  v 

Stone  in  Honolulu, 

and  Frank  K.  Cody  in  Hilo,  to  proceed  to 
the  island,  more  than  three  hundred  miles 
away,  where  the  volcano  is  located.  But 
it  was  several  days  before  the  eruption 
took  place.  Meanwhile,  the  New  York 
office  had  arranged  for  a  seaplane  to  go 
from  Honolulu  to  Hilo  on  the  Island  of 
Hawaii  whence  it  afterward  flew  over- 
land to  Kona,  across 'the  Island. 

There  Jiave  been  few  sights  more  im- 
pressive in  pictures  than  the  view  of 
Mauna  Loa  in  action,  a  mountain  more 
than  thirteen  thousand  feet  high,  its  top 
torn  away  and  clouds  of  dense  smoke  and 
flame  rising  from  its  peak.  As  the  great 
flaming  river  of  lava,  some  three  miles 
wide  and  one  hundred  feet  high,  rolled  over 
the  mountain  side,  inhabitants  fled  before 
it,  and  whole  towns  were  wiped  out. 

But  the  news  cameramen  pushed  closer 
up  the  mountainside  down  which  the  lava 
poured.  At  Hoopuloa  they  stopped  to 
photograph  the  mighty  spectacle.  At  one 
point  the  lava  stream,  more  than  forty 
feet  high,  advanced  with  such  rapidity 
that  the  men  were  forced  to  flee  for  their 
lives  and  tho  they  all  escaped  death,  one 
man  was  severely  burned.  A  convincing 
proof  of  the  grimness  of  the  scene  was 
the  picture  that  one  of  the  photographers 
caught  showing  his  colleagues  running 
from  the  flames,  each  weighed  down  by  a 
sixty-pound  camera. 


The  newsreel  cameraman  was  "Johnny-on-the-spot"  during 
flood    in    1913.      More   than    seven    hundred   lives    were    lost 
dollars  in  property  destroyed 


comparison  ends.  Tho  the  reporter  can 
get  his  information  from  people  who  have 
been  on  the  scene  of  an  accident,  the 
photographer  must  actually  be  there  when 
it  occurs.  He  cant  tell  about  it ;  he  must 
have  it  on  the  film.  If  there  is  gun  firing 
in  military  operations,  he  must  be  close 
enough  to  get  a  picture  of  it.  And  after 
the  picture  is  taken,  he  cannot,  as  the  re- 
porter can,  telephone  or  wire  the  news. 
He  must  send  the  film  itself. 

Spare  No  Expense 

"I-1  he  cameramen  are  instructed  that  no 
expense  must  be  spared  in  rushing  pic- 
tures. When  they  leave  for  an  important 
assignment  they  are  given  enough  money 
to  cover  all  expenses.  When  Robert 
Donahue,  a  Pathe  photographer,  was  sent 
to  northern  Ontario  to  get  pictures  of 
newly  discovered  gold  mines,  he  engaged 
an  airplane  for  $400  to  shoot  scenes  from 
the  air.  "If  there  is  an  obstacle  that 
money  can  overcome,  pay  for  it,"  seems 
to  be  a  slogan. 

It  is  obvious,  from  all  this,  that  news- 
reels  must  cost  a  great  deal  of  money. 
And  they  do,  tho  the  scenery  is  free,  and 
no  actors  are  required.  Emanuel  Cohen, 
editor  of  the  Pathe  Newsreel,  explained 
why. 

"A  modern  feature  picture  shows  its 
cost,  but  the  cost  of  production  of  a  news- 


reel  is  not  always  apparent  from  the  re- 
sults," Mr.  Cohen  said.  "We  use  only 
about  ten  per  cent,  of  the  material  we  go 
after.  Ninety  per  cent,  represents  stories 
covered  in  all  parts  of  the  world  that  seem 
big  when  they  happen,  tho  they  dwindle 
immediately  and  are  not  worthy  of  re- 
lease, or  they  are  less  important  than 
other  events  that  may  happen  in  the  mean- 
time. When  you  see  the  newsreel  in  your 
theater,  it  is  not  the  production  of  that 
reel  you  have  to  consider,  but  the  material 
that  has  not  even  been  included  in  it.  A 
newsreel  that  is  an  accurate  record  of 
world  events  costs  big  sums  of  money  to 
produce." 

Three  Types  of 
Pictures 

Mews  pictures  are 
of  three  types 
— the  accidental, 
the  anticipated  and 
the  scheduled,  Mr. 
Cohen  pointed  out. 
In  the  first  class 
belongs  sudden 
news  like  the  Santa 
Barbara  earth- 
quake, or  the 
Shenandoah  dis- 
aster. In  the  second 
are  those  events 
which  occur  as  a 
natural  result  of 
preceding  events. 
Mr.  Cohen  sug- 
gested that  the 
Smyrna  fire  in  1922 
was  such  an  event, 
for  tho  no  one 
could  have  pre- 
dicted the  fire,  any- 
one who  had  kept 
track  of  the  war 
between  the  Turks 
and  the  Greeks 
knew  that  some 
tragic  occurrence 
would  be  the  out- 
come. 

In  the  class  of 
scheduled  events  are  the  inauguration  of  a 
president,  the  opening  of  a  World's  Series, 
the  Yale-Harvard  football  game,  the 
Scopes  trial,  the  arrival  of  a  steamer^ 
beauty  parades  and  the  like.  Since  these 
events  occur  in  all  parts  of  the  world,  it  is 
imperative  that  the  news  film  have  repre- 
sentatives stationed  everywhere. 

No  matter  where  an  event  occurs,  be 
sure  there  is  some  news  photographer 
within  reach  of  that  place.  Film  editors 
have  in  their  offices  extensive  maps,  show- 
ing in  detail  the  tiniest  town  in  the  most 
remote  corner  of  the  earth  and  the  pho- 
tographer stationed  near  there.  No  one 
knows  where  the  next  picture  will  break. 
Besides  the  maps,  the  editor's  offices  are 
equipped  with  charts  showing  the  trans- 
portation resources ;  the  railroads,  the  air- 
planes available,  power  boats,  automobiles, 
steamers  and  their  sailing  dates.  That  is 
how  it  is  possible  to  show  within  twenty- 
four  or  forty-eight  hours  after  they  occur 
events  of  national  and  international  im- 
portance. Sometimes  the  film  travels  in 
laboratory  trains  or  ships  where  it  can  be 
developed  while  it  is  being  shipped. 

When  Robert  E.  Peary  discovered  the 
North  Pole  in  1909,  it  took  five  months 
for  the  news  of  his  achievement  to  reach 
this  country.  But  when  Byrd  hopped  off 
on  May  9,  1926,  the  world  knew  about  it 
(Continued  on  page  74) 


Pathe 

the  great  Dayton 
and    millions    of 


70 


Natural  - 
Looking 
Complexions 

are  the  result  of  using 
Pompeian  Beauty  Powder. 
It  is  scientifically  blended 
to  match  the  shade  of 
your  skin. 


C70yHEN EVER  you  art 
\jU  out-of-doors  you 
should  be  especially 
careful  to  select  the 
correct  shade  of  pow- 
der and  to  apply  it 
evenly. 


SHADE     CHART 
for  selecting  your  shade  of 
Pompeian  Beauty  Powder 

Medium  Skin:  The  average 
American  skin  cone  is  medium, 
neither  decidedly  light  nor  defi- 
nitely olive.  This  skin  should  use 
the  Naturelle  shade. 
Olive  Skin:  Women  with  this 
type  of  skin  are  apt  to  have  dark 
hair  and  eyes.  This  skin  should 
use  the  Rachel  shade  to  match  its 
rich  tones. 

Pink  Skin:  This  is  the  youthful, 
rose-tinted  skin(not  the  florid  skin) 
and  should  use  the  Flesh  shade. 
White  Skin:  This  skin  is  unusual, 
but  if  you  have  it  you  should  use 
White  powder  in  the  daytime. 
In  case  of  doubt  about  the  shade 
you  require,  write  a  description  of 
your  skin,  hair  and  eyes  to  me  for 
special  advice. 

Pompeian  Beauty  Powder  is  60c  a 
box.  Also  comes  in  compact  form 
in  a  dainrv,  hinge-cover  box  with 
mirror  ana  puff.  (Slightly  higher  in 
Canada.)    Satisfaction  guaranteed. 


Specialise 


Bb^WtAstt 


en  Beauti 


P.  S.      1  also  suggest  that  you  ust  Pompeian 

Day  Cream  as  a  foundation  for  your 

Pompeian  Beauty  Powder. 


'By  MADAMB  JEANNBTTE 

Famous  cosmetician,  retained  by  The  Pompeian 

Laboratories  as  a  consultant  to  give  authentic 

advice  regarding  the  care  of  the  skin  and  the 

proper  use  of  beauty  preparations. 

(T\  SOFT,  delicate  texture— a  lovely 
CVl  satiny  face  —  yet  not  a  sign  of 
powder.  What  is  the  secret  of  her  allur- 
ing complexion?  Does  she  use  powder? 
She  does,  but  a  shade  that  matches  so 
perfectly  the  tone  of  her  skin  that  she 
secures  the  good  effects  of  powder  with- 
out seeming  to  use  it. 

All  smart  women  strive  for  a  natural 
complexion,  but  all  do  not  achieve  it. 
Not  all  women  have  found  a  powder 
that  really  matches  their  skin — a  powder 
that  reveals  their  natural  coloring.  Com- 
plexions are  not  composed  of  single 
colors,  but  a  blend  of  different  colors. 
So  it  is  only  natural  that  the  shade  of 
powder  to  match  your  complexion  must 
also  be  a  blend. 

Pompeian  Beauty  Powder  is  scientifi- 
cally blended  from  different  colors. 
Whatever  the  tone  of  your  complexion, 
some  one  shade  of  this  powder  matches 
it  perfectly.  Select  this  shade  from  the 
directions  in  the  shade  chart. 

Pompeian  Beauty  Powder  has  gained 
its  remarkable  popularity  because  of  its 
purity,  its  exceptional  consistency,  its 
delicate  odor,  its  quality  of  adhering 
well — and  its  perfection  of  shades. 


The  type  of  beauty  that  combines  reddish  hroun 

hair  with  sea- tray    eyes    requires  the  Naturelle 

shade  of  Pompeian  Beauty  Powder. 

Send  for 
Liberal  Samples 

C  I  ~\0  you  not  agree  with  me  about  match- 
I  J  ing  your  skin  tones  with  the  correct 
powder  shade?  Then  1  urge  you  to  act  on  this 
advice,  and  see  with  your  own  eyes  how  much 
more  beautiful  Pompeian  Powder  will  make 
your  complexion. 

It  is  so  easy  to  make  this  test.  Just  fill  in  the 
coupon  and  send  it  to  me  with  10c.  In  return, 
I  will  send  you  a  generous  sample  of  Pompeian 
Beauty  Powder  (enough  forseveral  weeks'  use 
and  in  addition  a  sample  of  Pompeian  Bloom 
containing  enough  rouge  for  30 
applications.  It  will  never  be 
easier  to  tear  off  the  coupon 
than  NOW,  before  you 
turn  the  page. 


Madame  Jeannette,  The  Pompeian  Laboratories 

2305  Payne  Ave..  Cleveland.  Ohio 
Dear  Madame: 

I  enclose  a  dime  <10c)  for  samples  of  Beaury 
Powder  and  Bloom. 

Name 

Street 

Address 

City State  •    

Shade  of  powder  wanted  ? 


71 


BIG  VIC  a  Soldier  of  Fortune 


(Continued  from  page  49) 


A  scene  from  "The 
Fighting  Heart"  in 
which  McLaglen 
played  the  role  of 
a    prize-fighter 


A  Crazy-Quilt  Career 

"T  was  born  in  England,  the  son  of  an 
*  Anglican  Bishop,  whose  see  was  in 
South  Africa.  I  was  one  of  five  brothers, 
all  close  to  me  in  age,  nearly  as  big  as 
myself.  When  I  was  fourteen,  the  Boer 
War  broke  out  in  Africa.  I  was  nearly 
six  feet  tall  then.  I  was  crazy  to  go  in, 
and  I  ran  away  and  enlisted  in  the  Queen's 
Guards  at  Windsor.  I  suppose  you  might 
say  I  have  been  an  adventurer  ever  since. 
That  was  my  first  xbig  thrill.  My  last, 
nearly  a  quarter  of  a  century  later,  oc- 
curred when  I  met  Commodore  J.  Stuart 
Blackton  in  a  London  club  after  the  Great 
War,  and  he  started  me  in  the  motion 
pictures.  There  were  many  great  adven- 
tures during  that  long  interval.  Many 
far  stranger  than  any  I  have  gone  thru 
for  the  camera.  Too  many  almost  to 
tell.  .  .  ." 


With    the    Royal    Guards    in 
Africa,  the  boy  McLaglen 
served    thru    several    stubbornly 
fought  campaigns.    He 
got   the   hard   school- 
ing   of    the    British 
Tommy.      He    had 
no     real     direction 
except    the    desire 
of    his    whole 
powerful     body 
for   danger   and 
chance.    It  is  a 
life    described 
best    in    the 
verses      o  f 
Kipling    or 
A.  E.  Hous- 
man : 


/  will  go  where 
I  am  want- 
ed, for  the 
sergeant  does 
not  mind; 

He  may  be 
sick  to  see 
me,  but  he 
treats  me 
very  kind 

/  will  go  where 

I  am  wanted, 

where     there's 

room    for    one    or 

two, 

And      the      men      are 
none   too    many   for   the 
work  there  is  to   do, 
Where  the  standing  line  wears 
thinner     and     the     dropping 
dead    lie   thick, 

And  the  enemies  of  England, 
they  shall  see  me  and  be 
sick. 


When  he  had  served  out 
his  enlistment,  Victor  set 
out  for  Canada  and  during 
his  knockabout  life  in  the 
Dominion  joined  the  wild 
rush  to  the  Cobalt  silver 
mines.  Wandering,  the 
lure  of  precious  metal,  the 
changing  fortunes  of  each 
new  day,  the  life  in  the 
frontier  lands  —  this  was 
all  the  strapping  youth 
cared  for  in  a  prosaic  age. 
In  the  rough  company  of 
the  mining  camps,  he,  with 
his  herculean  size  and 
strength,  could  always 
care  for  himself  in  a  fair 
fight  and  hew  his  own  way 
toward  a  quick  fortune. 
But  with  neither  gold  nor 


other  man  down.  Well,  his  jobs  with  the 
circus  consisted  of  rising  each  night  from 
the  audience  and  challenging  the  profes- 
sional boxer  and  wrestler,  one  "Monsieur 
Duval,"  and  giving  him  the  scrap  of  his 
life.  The  sight  of  the  hulking  beetle- 
browed  young  stranger  rising  from  the 
crowd  to  dare  on  the  professional  always 
provided  excitement,  if  not  always  decep- 
tion. McLaglen  developed  as  a  profes- 
sional athlete  and,  taking  an  engagement 
with  his  partner,  toured  Canada  in  those 
rough  and  tumble  days  from  coast  to  coast. 

One  day  in  Tacoma,  Washington,  a 
group  of  sporting  people  became  interested 
in  him  and  urged  him  to  be  the  White 
Hope  against  Jack  Johnson.  He  trained 
and  took  on  the  Black  soon  after  for  a 
six  -  round,  no  -  decision  affair.  Victor 
stayed,  but  he  did  not  stay  as  a  prize- 
fighter. He  took  a  fling  at  professional 
wrestling  and  managed  to  pin  the  cele- 
brated Dr.  Roller  of  Seattle  for  a  fall. 

Victor  felt  the  call  of  the  road  again 
and  soon  he  was  en  tour,  this  time  with 
his  brother  Arthur,  across  the  Pacific, 
stopping  for  professional  performances  in 
Hawaii,  the  South  Sea  Islands,  finally  in 
Australia. 

Adventures  In  and  Out  of  War 

""There  he  ran  full  tilt  into  another  young 
gold-rush.     He   threw   over   his   vaude- 
ville engagement  and  joined  the  race  for 


Captain  McLaglen  presents  himself  and  his  favorite 
mount  on  duty  in  Mesopotamia  during  the  great  war 


Another   scene  from  "The   Fighting    Heart." 
how  big  Vic  towers  over   the  others 


Note 


silver  was  he  rewarded. 
Starving,  the  youth  wan- 
dered back  to  the  fringes 
of  civilization,  and  with 
his  wanderlust  still  un- 
abated, he  hooked  up 
with  a  traveling  circus 
troupe  known  as  the  J. 
W.  Parker  Carnival 
Company. 

Fights  Jack  Johnson 

I— I  ere  began  one  of  the 
most  colorful  epi- 
sodes of  McLaglen's 
crazy-quilted  career. 
You  must  remember  that 
he  weighed  over  two- 
hundred  pounds  and  in 
his  soldiering  and  min- 
ing life  he  had  learned 
much  about  how  to  han- 
dle his   fists  and   put   the 


the  interior  to  Kalgoorlie,  in  the  general 
excitement.  Another  chance  to  hew  out 
a  quick  fortune !  He  came  out  of  this 
wiser  and  poorer,  after  months  of  har- 
rowing experiences,  in  rags,  his  tongue 
hanging  out.  He  had  nearly  died  of  star- 
vation in  the  desert ;  he  had  nearly  been 
murdered  by  the  savage  Bushmen. 

Back  to  the  vaudeville  tour  and  the 
nightly  strong-man  act !  His  route  took 
him  round  the  world  thru  the  East  Indies, 
Ceylon,   India  and  then  to   South  Africa. 

"The  wanderlust  was  still  strong  in  me," 
said  McLaglen.  "Some  men  never  get 
over  it.  I  had  nearly  had  my  fill  of  hard- 
ships and  adventures,  when  another  break 
came.  It  was  August,  1914,  when  we 
landed  in  Capetown.  We  learned  that  a 
great  war  had  broken  out  in  Europe." 

McLaglen  took  to  sea  at  once  for  Eng- 
land. There  was  one  of  those  solemn 
family  reunions  of  the  five  McLaglen 
(Continued  on  page  78) 


72 


More  Inside  Facts  About 
the  Extra 

(ContinuiJ  from  pagt  67) 

because' he  >*  beaten'  Ui,  no  I  rh«  men 
who  bland  our  trails  tcrou  t>»-  Missis 
lippi,  broke  the  backbone  ol  ■>  continenl 
.nul  carved  an  empire  from  th<-  wilder- 
nets;  lhe  men  whose  ions  cleared  the 
■me  and  ->t.mii>otl  success  upon  the 
flag  of  failure,  could  iu>t.  and  can'l  be 
beaten  This  bo*  is  not  whipped,  i>ut  he 
ii  taming  Ms  back  upon  a  profession 
which  is  racking  the  heart's  blood  from 
the  beat  boys  and  «irls  In  America      He 

has    watched    them   come,    buoyed    up    with 

hope,  .nul  -t.n  to  drink  the  dregs  oi  black 
despair  tie  has  seen  them  -te|>  down 
from    their    high    estate    and.    hollow-eyed 

and  hungry  hearted,  choose  the  path  which 
promised   easy   conquest. 

Now.  he  is  quitting— while  he  still  has 
it  in  him  to  quit.  He  is  returning  to  the 
old  home  town,  to  the  toil-scarred  loom 
of  life  upon  which  so  many  great  Amer- 
icans have  woven  their  Master's  plan  of 
destiny.  It  may  not  sound  heroic,  but  it 
takes  a  strong  man  to  turn  his  back  while 
the  siren  beckons  forward.  This  boy  is 
going  back,  only  one  of  the  thirty  thou- 
sand extras  who  are  searing  their  wings 
in  the  golden  dawn  of  a  screen  career. 
And  it's  a  pity  to- see  him  cross  the  moun- 
tains alone.  Twenty -five  thousand  other 
extras  might  follow  him,  back  to  the 
farm  and  the  old  home  comforts,  and  the 
industry  would  be  better  for  it." 

Personally,  I  would  like  to  meet  this 
fellow  and  shake  his  hand.  He  is  about 
the  first  person  I've  heard  about  who 
shows  absolute  signs  of  human  intelli- 
gence. I  wish  I  could  quit.  Maybe,  some 
day,  somewhere,  somehow,  I  will  quit  this 
extra  game — to  play  a  better  one. 

An  illustration  of  fact  is,  of  course, 
the  only  method  upon  which  we  an  base 
any  certified  result.  And  so  far  as  the 
Great  Central  Office  is  concerned,  it  seems 
that  the  best  known  casting  directors  for 
the  different  studios  have  said  that  the 
Central  Casting  Bureau  is  the  greatest 
and  best  way  yet  realized.  The  Central 
can  handle  two  or  three  enormous  sets 
daily.  Not  long  ago  there  were  several  big 
companies  that  required  from  three  to  six 
hundred  people  each — and  the  Central 
Office  put  those  two  thousand  people,  more 
or  less,  on  call  within  the  prescribed  few 
hours.  And  it  was  done  with  remarkable 
speed  and  accuracy.  It  is  like  a  big 
machine. 

You  would  marvel  at  the  greatness  and 
magnitude  of  the  Central  Casting  Bureau 
— which  is  a  baby.  And  from  the  best 
and  most  authentic  reports  every  person 
connected  with  motion  pictures,  and,  es- 
pecially those  who  have  the  duty  to  cast 
people  for  the  studios,  say  that  the  Central 
Office  has  won  their  hearty  approval. 

A  Tremendous   Battle 

"Then,  it  reverts  back  again  to  our 
original  topic.  If  you  are  planning  a 
picture  career,  it  is  best  for  you  to  go  to 
Hollywood  prepared  to  make  the  sacri- 
fice and  fight  your  battle  with  CHANCE 
without  any  assistance ;  take  your  turn  on 
the  wheel  of  fortune  and  be  satisfied  with 
whatever  lot  is  given  you.  On  the  other 
hand,  it  is  difficult,  it  is  rather  strange 
and  unusual  to  tell  you  to  stay  away  from 
Hollywood.  It  is  hard  for  me  to  say  to 
you,  "stay  away  from  pictures !  You 
mustn't  go  to  Hollywood  and  try'  to  get 
in  the  movies !" 

That  statement  appears  as  tho  one  were 
(Continued  on  page  79) 


In  three  words... 

NOT  too  much  Turkish,  not  too  little  Turkish; 
neither  over-rich  nor  commonplace  .  .  .  But 
just  enough  Turkish  .  .  .  there,  in  three  words,  is 
the  secret  of  Fatima's  extraordinary  delicacy 


What  a   -whale   of  a   difference  just   a  few   cents   make 


LlCCETT  &  Mvtu  Toeacoo  Co. 


.Peel  Off  Your  Skin 

I  f  you  don't  like  ft,  and  hsve  a  beautiful  new  akin. 

Youth-Ami  Liquid  Skin  Peel 

A  Scientific  Discovery,  haxmleealy  and  painlessly 
peel*  off  tho  old  akin  and  remoTee  surface  bleouabee;  tan,  dis- 
coloration, sunburn,  blackheads,  whiteheads,  larse  pores, 
pimp) ob,  freckles,  etc.  Not  a  clay  or  cream  but  a  liquid  free  from 
adds  and  mercury.  Booklet,  "The  Magic  of  a  New  Skin"  sent 
free  In  plain  sealed  envelope. 

Yootb  -  Ami  Laboratories,  Dept.1?..t  30  E.  20th  St..  New  York 


PREPARE    FOR    AN 


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And  They  T 
Never  liar 


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73 


THE  FEDERAL 
LUST&iTOR 


ARTISTIC  TALENT 

♦Perseverance 

= Success 

Compare  the  small  drawing  at  the  left  made  by 
George  Halman  Ray  before  studying  with  lis  and  the 
Cover  Design  at  the  right,  which  was  made  recently. 

Note  the  wonderful  improvement  brought  about 
by  the  right  kind  of  training. 

His  is  an  interesting  story.  When  eighteen,  be 
was  employed  as  Indian  interpreter  and  storekeeper 
at  Hudson's  Bay,  one  hundred  miles  beyond  the 
railroad.  In  summer  his  mail  was  carried  in  by 
canoe ;  in  winter  by  dog  sledge. 

Perseverance — Then  Success 

He  says,  "My  cousin  sent  me  a  magazine  which 
contained  an  advertisement  telling  about  the 
Federal  Course.  I  was  fortunate  enough  to  get 
several  foxes  in  trapping  I  was  doing  with  an  old 
Indian.  I  used  the  money  to  start  the  course.  I 
had  absolutely  no  other  art  training  except  the 
Federal    lessons. 

"Upon  completing  the  course  I  got  an  art  job  in 
Winnipeg,  then  to  the  St.  Paul  Dispatch  and  now 
I  am  here  in  Chicago  operating  a  studio  of  my  own. 
I  owe  my  start  in  illustrating  entirely  to  the 
Federal  Course.  I  am  still  studying  and  find  Fed- 
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ever." 

Get  Busy 

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you're   thinking    about    it. 

G/of  Illustrating 

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1ZER  is  the  new  invention  which 
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Los  Angeles,  California 


Charmed  Lives  and  Reckless 


(Continued  from  page  70) 


on  the  following  day,  and  twenty  days 
later,  motion  pictures  of  his  feat  were 
being  shown  on  Broadway.  In  these  days 
of  speedy  accomplishment,  twenty  days 
may  sound  like  a  long  time,  but  not  when 
one  considers  the  distance  covered  and  the 
difficulties  overcome.  And  this  is  how  the 
pictures  were  rushed  to  New  York :  rep- 
resentatives waited  at  various  Norwegian 
ports  and  the  film  was  relayed  by  char- 
tered boats  and  planes  from  man  to  man 
until  they  were  safely  conveyed  to  South- 
ampton in  time  to  reach  a  steamer  sailing 
for  New  York,  and  at  noon,  Friday,  May 
27,  the  pictures  arrived  at  quarantine  1 

Endured  Hardships 

TT hat's  the  story,  told  in  as   few  words 

as  possible.  But  if  you  wanted  to 
know  as  I  did,  the  more  personal  side  of 
it,  this  is  what  you  would  be  told :  our 
American  photographers  were  exposed  to 
the  same  biting  frosts,  the  identical  condi- 
tions that  Commander  Byrd  endured — but 
they  weren't  made  national  heroes.  Tho 
the  crew  of  the  Chantier,  the  official  boat 
of  the  North  Pole  expedition,  was  permitted 
to  land  at  Spitzbergen,  the  cameramen 
were  not  allowed  to  photograph  the  land- 
ing of  Byrd  from  the  shore.  But  that 
was  what  they  had  come  all  the  way  from 
New  York  to  get.  Something  had  to  be 
done  and  done  quickly.  So  Robert  Dona- 
hue, Leslie  Wyand  and  Willard  Vander- 
veer,  Pathe  cameramen,  lashed  an  ice- 
berg and  took  pictures  from  that  vantage 
point !  These  men  lived  for  twenty-one 
days  in  the  perpetual  daylight  of  the 
Arctic  summer.  They  were  not  only 
photographers,  they  became  members  of 
the  crew.  They  helped  assemble  the 
Fokker  and  shifted  coal  like  anyone  else. 
At  any  hour  they  had  to  be  ready  to 
work,  tho  their  fingers  were  numb  and 
their  cameras  frozen.  In  their  little  plane 
nicknamed  Yellow  Peril  they  took  shots 
of  Byrd's  plane  from  the  air.  (The  actual 
pictures  of  the  Pole  were  taken  for  Pathe 
only  by  Commander  Byrd,  of  course.) 
Once  Donahue  barely  escaped  death  when 
the  radiator  of  the  Yellow  Peril  broke 
and  froze  in  mid-air. 

Donahue  deserves  a  story  all  to  himself. 
A  little,  wiry  Irishman,  he  is  given  the 
toughest  news  assignments  in  the  Pathe 
organization.  Even  a  wife  and  children 
cant  keep  him  from  skimming  all  over  the 
world  in  search  of  pictures.  He  has  been 
to  Iceland,  Greenland,  Labrador  and  all 
points  north,  east,  south  and  west.  Dona- 
hue had  just  returned  from  the  gold  dis- 
covery at  Ontario  when  he  was  told  to 
get  himself  some  heavy  clothing  for  the 
North  Pole  trip.  Within  two  days  he 
was  ready  to  sail.  He  tells  this  story 
about  himself  with  great  relish.  He 
breezed  into  town  one  day,  having  been 
away  on  a  five  months'  assignment,  and 
telephoned  his  wife  that  he  would  be  home 
shortly.  His  family  was  overjoyed  to 
hear  from  him.  Two  hours  later  he  tele- 
phoned 'again. 

"I'm  sorry  I  won't  be  able  to  come,"  he 
said,  "but  I  have  1  :>  leave  right  away  for 
Scotland." 

Last  year  Donahue  had  a  vacation,  the 
first  in  two  years.  Anyone  would  expect 
him  to  spend  it  lolling  around  and  doing 
nothing.  No.  He  packed  Mrs.  Donahue 
and  the  children  into  an  automobile,  and 
they  rode  into  Canada  and  back,  a  trip  of 
fourteen  hundred  miles. 


Insured  by  Lloyd's 

YY/hen  the  American  news  cameramen 
left  for  the  North  Pole,  they  were 
insured  by  Lloyd's  of  London.  No  Amer- 
ican insurance  firm  would  take  the  risk. 
However,  most  of  the  newsreel  firms  have 
an  understanding  when  it  comes  to  caring 
for  their  photographers.  One  official  ad- 
mitted to  me  that  insurance  companies 
preferred  not  to  insure  the  lives  of  cam- 
eramen, but  when  I  questioned  him  fur- 
ther, he  told  me  bluntly  that  he  did  not 
wish  to  discuss  the  subject. 

"It  is  clear,"  he  said,  "that  the  camera- 
man must  take  great  risks  to  obtain  a  pic- 
ture. Occasionally  one  is  killed  or  severely 
injured,  but  most  of  the  men  seem 
to  have  charmed  lives.  They  expose 
themselves  to  all  sorts  of  dangers  and  get 
away  with  it.  I  dont  believe  the  death 
rate  is  any  higher  than  among  men  of  any 
other  profession.  And  no  matter  what 
the  attitude  the  insurance  companies  take 
toward  them,  the  film  companies  feel  a 
personal  responsibility  for  the  men  in 
their  employ." 

Dangers    Everywhere 

"Pharmed  lives."  Most  assuredly,  else 
how  could  they  take  the  chances  they 
do?  There  was  the  photographer,  who 
just  for  an  exclusive  stunt,  flew  an  air- 
plane thru  the  Grand  Canyon  a  few  years 
ago,  in  the  face  of  a  certain  and  terrible 
death,  thousands  of  feet  below,  should  any 
part  of  his  machine  so  much  as  brush  up 
against  the  walls  of  stone  that  closed  in 
upon  him. 

And  there  was  the  cameraman  who  flew 
with  an  Italian  airman  into  the  very  crater 
of  the  smoking  Mount  Etna  for  pictures 
of  its  seething  interior.  And  the  man  who 
photographed  the  Japanese  earthquake. 
And  the  fellow  who  caught  some  magnifi- 
cent shots  of  a  tornado  in  action. 

There  is  also  John  A.  Bockhorst,  whose 
own  bravery  as  a  cameraman  was  as  dis- 
tinguished as  that  of  the  man  he  photo- 
graphed. When  Sergeant  Randall  Bose, 
in  order  to  make  a  scientific  experiment, 
dropped  eighteen  hundred  feet  before  open- 
ing his  parachute,  Bockhorst,  seated  on  a 
wooden  bar  with  nothing  but  space  before 
him  leaned  forward  to  catch  the  spectacular 
fall,  as  oblivious  of  his  own  precarious 
position  as  if  he  sat  in  an  armchair  by  a 
fireside. 

This  same  Bockhorst  was  once  covering 
the  war  maneuvers  of  the  Naval  Air 
Force  sixty  miles  off  Nicaragua  when 
something  went  wrong  with  his  craft  and 
he  found  himself  thrown  into  the  water. 
He  remained  afloat  for  twelve  and  a  half 
hours  until,  at  midnight,  a  destroyer  came 
along  and  picked  him  up.  To  Bockhorst 
also  is  ascribed  the  honor  of  discovering 
where  the  S-51  sank  after  it  was  rammed 
by  the  City  of  Rome.  He  flew  in  his 
seaplane  until  he  caught  sight  of  the  air 
bubbles  and  oil  on  the  surface  of  the 
water  below  which  the  submarine  was 
buried. 

And  there  are  Donahue  and  Vanderveer, 
mentioned  previously,  who  as  members  of 
Commander  Byrd's  expedition  helped  to 
clear  a  path  for  the  pontoons  bearing  the 
Josephine  Ford  thru  cakes  of  ice  that 
broke  the  sides  of  steel  lifeboats. 

And  there  are  those  countless  others 
who  brave  the  dangers  of  firing  lines,  of 
storms,  of  uprisings  among  foreign  tribes 
and  crossing  oceans  by  airplane  in  order 
that  some  priceless  picture  may  flicker  (or 
a  few  moments. 


74 


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WHEN  Indian  summer 
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smoky  haze  lies  over  the 
fields.  When  the  merry 
notes  of  the  horn,  sounding 
after  the  coach  and  four, 
remind  you  of  other  days 
— have  a  Camel! 

For  life  is  never  so  com- 
plete, so  joyous  as  when  a 
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fragrant  smoke.  On  city 
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When  you  become  a  Camel 
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more  superbly  blended, 
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So,  this  perfect  autumn 
day  as  your  trail  leads  over 
the  fields  or  along  the  turn- 
ing road — 

Have  a  Camel! 


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Three  Writers  Consider  the  Films 


i  (  onlinued  from  /■■ 


Art  i-  looked  upon  uttei 

knee  bj   ill"  ic  in  the  know.     It  i 
gustingl)   mii 
Eventually,   one   bj 
ts  in  .ill   the  othei    Arts  be<  ome  im 
patient  ovei  the  childishness,  the  inefficacj 
and    the    rottenness   ol    the    Movies,   and 
decide  to  pitch  in  and  spend  a  few  w< 
or  .1   lew    months  .m,i  just   put   them  in 
their  place  ai  .1  n<  have  read 

about   them    well-known   Painters,  Sculp 
An  inii  1 1 ..      [nterioi       I  decorators, 
rs,     I  '.in,  ers,     Pi  «l  .     Shoi  t     Stt  n  j 
Writers,     Novelists,     Composers,     Dram 
atists    and    mi    on  —  entraining     foi     Los 
les.      Later    on,    your    theatei     em 
med  as  .1  -pci  i.il  f(  ature  what  i  ■• 
these  bona  fide   A 1 1 i^t ~.  had  done    for   the 
Movies.     You  bought  ticket-  and  took  the 
famil]     all    keyed    up    with    expectation. 
"Nowl"  you  told  people,    "We  shall  have 
a    real    motion    picture    play,    the    way    it 
ought  to  '■■ 

And  what  did  thej  .ill  turn  out  to  be: 
Prom  the  artistic  point  ol  view,  they  at 
tempted  to  make  .1  -ilk  purse  out  of  a 
sows  ear,  actually  they  succeeded  in  doing 
the  reverse,  making  .1  sow's  ear  out 
silk  purse  I  With  a  sigh  ol  relief,  you 
went  back  to  your  Movies  unhampered  by 
real    Artist-. 

Motion  picture  plays  seen  01  creen 

srrm  so  siniplc.  And  they  arc.  They 
should  bel  Thai  is  the  secret  of  their 
appeal,  their   success.      That   is   the   secret 

of  all  Art  appeal.     It  would  seem  to  argue 
that    the   Art    of    the   motion    picturi 
come    nearer    to    approximating    pure    Art 

than  any  other  form  of  esthetic  appeal. 
"But  it  is  a  "mechanical'  art!"  protests  the 

artistic  soul.  For  answer,  I  should  advise 
this  protestor  to  try  to  make  a  motion 
picture  himself;  we  will  lend  him  the  best 
mechanical  aid  in  the  world.  Then  he 
will  discover,  a-  they  all  discovei  sooner 
or  later,  that  photodrama  is  perhaps  the 
most  baffling  of  the  Arts.  They  will  learn 
that  the  mechanic-  arc  as  incidental  as  the 
sculptor's  chisel  and  the  painter's  pig- 
ments, and  that  the  "picture"  differs  only 
in  terminology  from  all  other  arti-tie 
visions  and  it  too  i-  born  —  surrounded 
with  all  the  unsolved  mystery  of  Birth — in 
the  soul  of  the  Artist.  He  will  discover 
that  in  transmuting  the  vision  into  screen 
pictures  there  is  a  technique  as  hard  as 
the  carving  of  stone  and  as  delicate  as 
the  drawing  of  an  eyelash. 

Yes,  this  producing  of  good  motion  pic- 
tures is  most  baffling — even  to  those  who 
do  produce  them.  They  know  how  to  do 
it,  but  actually  they  do  not  know  how  they 
do  it.  That  is,  they  can  go  on  producing 
pictures  and  plays  hut  they  cannot  tell  you 
how  to  do  it,  any  more  than  any  other 
kind  of  Artist  can  tell  you  how  he  doe-  it. 
You  are  either  horn  with  the  talent  or 
are  not. 

So,  now  that  I  have  tried  to  answer  the 
question,  I  will  now  ask  it.  Why  can  we 
not  take  the  most  talented  authors,  for 
instance,  in  the  world  today  and  turn  them 
loose  in  the  studios  and  on  the  lot  and 
expect  Masterpieces  of  screen  creation- 
from  them?  What  we  need  are  stories, 
is  the  cry.  Now  here  arc  the  greatest 
living  story  tellers.  Let  them  solve  the 
problem  of  the  Movie- ! 

I  can  sum  up  my  findings  among  the 
finest  talent  in  the  literary  world  in  a 
few  words.  So  far  as  the  movies  are 
concerned,  they  are  people  of  the  past. 
There  is  neither  hope  nor  promise  in 
them.     The   progress   of   the    Motion   Pic- 


tuu-  •  1 1  taught, 

made    1  alent  I 

JOHN     GALSWORTHY 

you  .11 1 i>  e  .11    I  lamp  itead  \  ou  are  not  at 
bj    a    long  ihot.      You    must 
walk  up  Hollybush   Hill,  p. 1-1   the  old   Inn 
ih.it   has  done   service    i"i    three   hundred 
,  l>\   the  chimi  with 

the    rat  c.iii  her   next  door   and    final 
the  Admiral's    I  [ou  1 .  along  tide  "t    which 
the    Galsworthj     mansion    1-    tucked    in. 
You  peep  at   it  thru  an  iron  gate   in  which 
i-     set     a     hell      that     VOU     rin^.        Then     a 

much-aproned,    white-capped    maid    opens 

the    gate    and    lei-    \  ou    in    a-     far    a-    the 

hallway  where  you  stand  and  gaze  at  the 
Galsworthy  hat,  overcoat  and  -ink  on  tin- 
rack.     Then  you   are   shown    upstairs   and 

into   a    pleasant    room. 

Mr.  Galsworthy  was  not  there,  hut  Mrs. 
Galsworthy  was  and  we  had  nearly 
finished  our  tea  before  he  came  in. 

Mr.   Galsworthy    i-   an   extremely   quiet 

-ort  of  man.  When  lie  does  speak,  it 
i-    in   a   low   voice   and   with   a    half   smile. 

"I  have  just  come  from  America,"  he 
informed  me.  "We  spent  the  winter  in 
Arizona." 

What  a  pity  1  I  thought,  lie  might  have 
run  over  to  Los  Angeles  and  fixed  up  the 
movie-  while  he  was  right  there  in  the 
vicinit} . 

"The  films?" 

I  fancied  he  almost  turned  up  hi-  nose 
at   the  mention  of  them. 

"I'm  pretty  well  known  to  he  indifferent 
im  the  films." 

I  asked  him  if  anything  of  his  had  been 
screened,  hoping  perhaps  to  discover  in 
that,  the  cause  of  his  distaste. 

"(  lh,  yes,  a  number  of  my  things  have 
been  done  in  the  films — 'Justice,'  for  one 
tliiiii:.  Very  will  done,  so  far  as  they  can 
do  it.  'The  Skin  Game,'  too,  was  done. 
The  same  company  that  played  it  on  the 
stage  did  it  for  the  films,  by  the  way.  1 
arranged  the  scenario  and  we  all  kepi 
faith  with  the  stage  play.  Even  then  it 
was   anything  but  satisfactory!" 

Ah,  so  that  was  it!  I  thought,  and 
would  like  to  have  said  something  about  it. 

But  Mr.  Galsworthy  continued:  "What 
I  object  most  to  in  the  films — not  the 
real-life  films  that  photographs  the  facts 
of  lite,  I  like  them  and  approve  of  them 
— hut  the  others,  films  that  are  made  from 
play.-,  novels  or  attempt  original  stories — 
those  are  the  kinds  I  resent !  And  what 
I  resent  is  that  you  get  thoroly  emotion- 
alized sitting  there  for  two  or  three  hours 
waiting  for  something  worth  while  to 
happen — and  then  you  find  that  you  have 
been  scuffered !  For  when  you  come  out 
of  one  of  their  theaters,  you  take  nothing 
with  you.  It  isn't  that  they  dont  try  to 
give  you  something.     They  do,  and  fail  I" 

There  is  no  use  trying  to  do  anything 
with  John  Galsworthy   then,   i-   there? 

It  is  my  opinion  that  he  must  insist 
upon  a  photoplay  being  a  stage  play; 
which  it  is  not,  by  a  jugful.  That  is  why 
his  self-scenarioized  "Skin  Game"  was  a 
failure. 

MARGARET    KENNEDY 

sent   up  a   book   to   the   powers  that  be,   I 
understand.      But   there   are  so   many   con- 
ferences and  strings  to  pull. 
"Every  now   and   then    I    see  a  film  that 
■od,''     she     said     naively,     "fearfully 
good.      I    have    just    seen    'Rosenkavalier.' 
(Continued  on  payc  S3) 


FREE— 10-Day  I  ubc 


Clearing  film  from 

teeth  whitens 

surprisingly 

Restores  cloudy  teeth  to  clearness 


THOUSANDS   go   through    life    with 
clouded     teeth,     needle-sly.       Dental 
science  proves  this  true. 

Cloudy  teeth  now  are  restored  to  spark- 
ling clearness.    A  way  found  that  clears 
the  dingy  film  coat-  from  teeth  that  old- 
time  dentifrices  failed  to  combat  success- 
fully.   One's  whole  appearance  is  clianged. 

That  stubborn  film  .  .  .  enemy 
of  pretty  teeth  and  firm  gums 

Dental  science  now  traces  scores  of  tooth 
and  gum  troubles  to  a  germ-laden  film 
that  forms  on  teeth.  Run  your  tongue 
across  your  teeth  and  you  will  feel  it — 
a  slippery,  viscous  coating. 

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Big  Vic  a  Soldier  of  Fortune 


{Continued  from  page  72) 


brothers,  Victor,  Arthur,  both  back  from 
their  world  tour,  Fred  from  Winnipeg, 
Leo  from  China,  and  Clifford  from 
Africa.  All  but  Fred,  who  was  killed  in 
East  Africa,  survived  to  hold  another  re- 
union. 

Victor  was  given  a  commission  as  first 
lieutenant  in  a  crack  regiment,  the  "Die- 
hards."  Altho  an  old  soldier,  he  under- 
went training  again  for  the  new  type  of 
trench  warfare.  The  regiment  was  not 
up  to  full  war  strength  and  there  were 
weeks  of  waiting.  Then  McLaglen  was 
sent  down  to  London  to  act  as  recruiting 
officer.  In  one  week  he  enlisted  six- 
hundred  men. 


A 


Excitement  in  India 

nother  turn  of  the  wheel  found  him 
switched  to  special  duty  in  Mesopo- 
tamia under  a  special  commission.  He 
crossed  the  seas  again  for  Bombay  on 
the  way  to  the  Near-Eastern  front,  where 
he  was  assigned  to  the  Royal  Irish  Fusi- 
leers.  At  Mawabeeschwa,  India,  McLag- 
len had  to  halt  and  wait  again,  dividing 
his  time  between  hunting  and  preparing 
to  go  to  the  front.  At  Poona  he  made  the 
acquaintance  of  a  great  prince,  the  Rajah 
of  Alcacot.  They  became  fast  friends, 
the  Indian  potentate  admiring  the  gigantic 
Englishman.  McLaglen  remained  as  a 
guest  at  the  palace  of  the  young  prince. 
There  were  strange  days  and  nights  in 
the  land  of  the  Brahmans.  Some  terrible, 
some  funny. 

"I  was  the  only  white  man  in  a  radius 
of  six  hundred  square  miles,  and  some 
inhabitants  had  never  seen  a  white  man 
before,"  he  tells.  "One  evening  I  wanted 
to  take  a  walk,  after  returning  from  an 
antelope  hunt  with  the  prince.  I  had 
never  seen  the  old  Indian  town  alone  by 
night. 

"  'I'll  send  an  escort  with  you,'  the  Ra- 
jah proposed. 

"  'Pooh,'  I  retorted.  T  don't  need  an 
escort.'  I  strode  off  the  verandah  without 
looking  back. 

"I  was  enjoying  my  stroll  immensely, 
to  the  great'  interest  of  the  inhabitants 
who  stared  at  me  from  dimly  lighted 
doors  and  windows.  Then  behind  me  I 
caught  sight  of  a  white-clad  figure  fol- 
lowing me  in  the  darkness.  Quite  close 
at  my  heels,  keeping  a  respectful  distance 
behind  me,  but  nevertheless  unmistakably 
following  me,  there  was  a  native.  I 
dodged  behind  a  corner  and  waited  for 
him  to  come  up.     I  called  to  him : 

"  'What  are  you  doing  ?'  I  had  for- 
gotten all  about  the  Rajah's  remark. 

"He  made  me  a  low  salaam.  T  am  fol- 
lowing   the    Sahib,'    he    said   humbly. 

"  'Follow  the  Sahib,'  I  said  impatiently. 
'Well,  the  Sahib  doesn't  want  to  be  fol- 
lowed.    Stop  it.' 

"  'Very  sorry,  Sahib,'  he  salaamed 
again.  'His  Highness  the  Rajah  orders 
it." 

"  'Oh !'  Light  broke  on  me,  'all  right 
then,  but  dont  follow  so  closely.' 

"Soon  after,  walking  on  some  distance, 
I  nearly  stumbled  on  another  man  who 
was  dogging  me.  I  turned  on  him.  I 
was  getting  jumpy. 

"  'Very  sorry,  Sahib.  His  Highness  the 
Rajah  say  to  follow  the  Sahib.' 

"Doubling  on  my  tracks  I  almost 
stepped     on     two     natives     who     scurried 


hastily  out  of  the  way.  They  seemed  to 
be  all  about  in  the  darkness. 

"They  salaamed :  'His  Highness  said 
not  to  take  our  eyes  off  your  honored 
person.' 

"  'How  many  did  he  tell  to  follow  me, 
anyway?     Step  up  all  of  you.' 

"They  popped  up  from  all  around  me. 
One,  two,  three,  four — from  all  directions 
— when  I  had  got  them  all  lined  up  in 
front  of  me  I  had  twelve  guardsmen,  big 
and  little.  I  looked  them  over  and  burst 
out  laughing.  Twelve  small  and  appre- 
hensive natives  to  guard  a  husky  English- 
man who  could  make  any  three  of  them. 

"  'Come  on,'  I  cried,  'if  you're  going  to 
be  my  guard  of  honor  you've  got  to  do 
it  up  in  style.'  I  formed  them  into  squads 
and  marched  them  after  me  around  the 
town,  snapping  orders  they  hardly  under- 
stood, like  a  drill  sergeant.  When  I  got 
back  to  the  palace  I  called  for  my  camera. 

"  'The  first  guard  of  honor  I  ever  had.' 
It  wasn't  my  last,  but  it  was  by  far  the 
most  impressive." 

Tough  Assignments 

JVAcLaglen  was  promoted  to  the  rank  of 
Captain  and  Provost  -  Marshal,  over 
Sheik  Saad,  on  reaching  his  detachment. 
There  was  an  advance  against  the  Turk 
and  furious  fighting  before  Kut-el-Amara 
in  an  effort  to  save  the  beleaguered  forces 
of  General  Townsend.  The  city  fell,  and 
they  pushed  on  to  Bagdad,  which  fell 
after  bitter  fighting.  Here  McLaglen  be- 
came keeper  of  the  peace  of  the  city  of 
the   Thousand  and   One   Nights. 

"It  was  one  of  the  strangest  and  hardest 
jobs  of  my  whole  life  as  a  soldier,"  he 
remarked,  "to  restore  the  semblance  of 
law  and  order  after  the  long  siege.  There 
were  nights  when  we,  after  all  only  a 
handful  of  men,  waited  up  hour  after  hour, 
expecting  the  fanatical  hordes  within  the 
walls  to  break  loose  against  us.  We 
lingered  there  for  nearly  a  year,  holding 
a  line  against  the  enemy,  amid  the  heat 
and  filth  and  fever  of  the  war-torn  Orient. 
I  got  so  used  to  it,  that  it  was  a  shock 
to  come  back  to  civilization  when  the  war 
ended." 

Back  in  London  again,  Victor  took  part 
in  the  boxing  tournament  of  the  British 
Army.  He  won  the  heavyweight  cham- 
pionship with  ease.  This  prompted  him 
to  take  up  prize-fighting  again,  engaging 
in  several  bouts  at  the  London  Sporting 
Club.  But  they  didn't  pan  out  well  and 
he  soon  swore  off.  It  was  at  this  time 
that  he  met  Commodore  Blackton  and 
was  prompted  to  try  the  movies.  His  first 
picture,  "The  Call  of  the  Road,"  was  a 
success,  and  before  long  the  erstwhile 
globetrotter  and  soldier  of  fortune  found 
gold  in  a  new  kind  of  adventure.  His 
rise  to  leading  roles  since  coming  to 
America  has  been  unusually   rapid. 

You  have  come  to  know  his  scowling 
face  and  violent  frame  in  "The  Hunted 
Woman,"  "The  Fighting  Heart,"  and  lat- 
terly in  "Men  of  Steel,"  with  Milton 
Sills. 

It  is  a  placid  and  world-weary  adven- 
turer that  you  see  now  around  the  hills  of 
Hollywood  in  his  big  car.  Recently  there 
was  a  call  from  the  old  days.  In  his 
claim-staking  period  he  had  clung  to  a 
piece  of  ground  in  the  Mojave  Desert. 
Word  was  flashed  to  him  that  gold  had 
been  struck  there.  But  Victor  is  world- 
wise  now,  and  stuck  right  to  Fox  Hills 
while  he  had  his  partner  work  the  claim. 


78 


More  Inside  Facts  About 
the  Extra 

1 1  \  mil;    in    !'!!■  ■ 

nielli  Ever)    person    I 

and   moral    i  ighl    t"  < ! >    I 

I   mam    more 
i  1 1  \M  I  S  in  the  moviea  thin  then 
in    .m\     other    busi  ions, 

But  not  tl  opportunity.    And 

you  wei  j    seldom   I  ■  l>  ■' 

thing  to  othei    people  who  wish  to  follow 
other   lines  ol    work,     N  ou  never   hi 
person  telling  another  to  -t.»>   awaj    from 
Los    Angeles   or    Hollywood   because   that 
other    person    intends    to    open    a    ba 
shop   or   .1    lawyei  or    a    doctor's 

i  (r  .1  dentist,  I  li  ai  )  thing,  in 
fact,  except  the  movies.  There  an  a 
great  man}  more  certainties  and  assur 
-  in  other  professions.  \ml  if  you 
disbelieve  tlii>,  then,  trj  the  movies— and 
report  in  a  year  from  now  ! 


Impressions  of  Hollywood 

ntinutd  from  page  44) 

I  say  garden?— and  the  long  dining-table 
about  eighteen  inches  from  the  grass 
t. unly  was  cleverlj  arranged  and  deco- 
rated. As  1  stood  .mil  watched  the  hungry 
little  chaps  ami  girlies  sail  into  the  dain- 
I  felt  like  Gulliver  among  the  Lilli- 
putians. Mildred  Davis  was,  ol  course, 
the  hostess,  and  a  very  charming  one. 

She  Likes  Him 
There  seems  to  be  no  doubt  of  the  fact 
that  the  heart  of  Pola  Negri  is  very 
warm  for  Valentino,  and  that  he  is  her 
first  choice  of  all  men,  hut  there  is  con- 
siderable doubt  about  the  reciprocal  rela- 
tions. Rudy  had  many  admirers  among 
those  he  admires,  but  he  is  apparently 
heart- tree,  which  does  not  at  all  please 
Pola,  who  proves  it  by  slapping  his  face 
occasionally. 

Long  Live  the  King 
LIknrv  Kim,  is  long,  lean  and  lanky,  and 
*  *  with  his  present  bronze  complexion 
and  seated  on  his  horse  he  looks  like  a 
farmer,  in  spite  of  his  horn-rimmed 
glasses  and  immaculate  Panama.  And  he 
talks  something  like  one.  being  a  Virginian. 
But  he  certainly  can  direct !  "The  White 
Sister,"  "Tol'able  David"  and  "Stella 
Dallas"  are  the  Derbies  he  has  won,  and 
now  it  looks  as  it  "Barbara  Worth"  will 
be  another.  And  yet,  this  same  man  did 
"Komola."  which  apparently  lowers  the 
average  considerably  in  spite  of  the  won- 
derful atmosphere  and  art  in  that  picture. 
I  asked  Henry  about  that  and  he  proved 
a  perfect  alibi.  It  seems  there  was  a  law- 
suit on  at  the  finish  and  poor  Henry  was 
not  let  in  on  the  final  editing,  titling  and 
cutting,  which,  a;-  we  all  know,  practically 
ruined  the  picture. 

Prize  Love  Scenes 
AlfONG  the  be-t  love  scenes  we  have  seen 
^^  during  the  pa>t  year  might  be  men- 
tioned those  between  Colman  and  Banky 
in  "The  Dark  Angel,"  Valentino  and  Banky 
in  "The  Eagle,"  and  Valentino  and  Banky 
in  "The  Son  of  the  Sheik."  which  indi- 
cates that  Yilma  is  holding  her  own  among 
the  American  sweethearts,  altho  we  must 
not  forget  Gilbert  and  Murray  in  "The 
Merry  Widow."  Gilbert  and  Adoree  in 
"The  Big  Parade."  Lyon  and  Sweet  in 
"The  Xew  Commandment,"  Xagel  and 
Boardman  in  "The  Only  Thing,"  and  Gil- 
bert and  Gish  in  "La  Boherae."  Gilbert 
seems  to  have  the  best  batting  average 
among  the  great  lovers. 


7      phoning  over  a  ray  qf  light 


Building  on  the  Telephone  'Principle 


In  iy  years  ;il'<>  A  lexa  n  <1  e  r 
Graham  Bell  discovered  the  prin- 
ciple of  the  telephone.  His  first 
telephone  employed  wire  as  the 
connecting  path  over  which  words 
passed.  Four  years  later  he  used 
a  Learn  of  light  instead  of  wire  to 
carry  speech  between  telephone 
instruments. 

Today,  both  wire  and  wireless 
telephony  are  employed  on  every 
hand  in  the  service  of  the  nation. 
Wire  telephony,  with  its  thousands 
of  central  offices,  its  complex 
switchboards  and  millions  of  miles 
of  wire,  envelops  the  country, 
carrying  for  the  American  people 
70,000,000  conversations  every 
day.  Wireless  telephony  is  broad- 


casting entertainment  and  carry- 
ing important  information  to  the 
remotest  regions. 

But  new  applications  of  the 
telephone  principle  are  still  being 
found.  In  the  loud  speaker,  in  the 
deaf  set,  the  electrical  stethoscope, 
the  improved  phonograph,  the 
telephone  principle  has  been 
adapted  by  the  Bell  Telephone 
Laboratories  to  the  uses  of  the 
physician,  the  public  speaker  and 
the  musician.  The  scientific 
research  and  engineering  skill, 
which  enable  America  to  lead  the 
world  in  telephone  service,  are 
also  bringing  forth  from  the  tele- 
phone principle  other  devices  of 
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American  Telephone  .and  Telegraph  Company 
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79 


\ 


Viola  Dana  Reveals  the  Secret* 
of  Her  Beautiful  Eyes 

Miss  Dana,  world-famous  for  the  beanty  of  her 
expressive  eyes,  accentuates  the  lovely  sweep 
and  length  of  her  curling  lashes  by  darkening 
them  with  the  dainty  toilet  requisite  she  is  here 
shown  applving."MAYBELLINE." 

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The  Celluloid  Critic 

(Continued  from  page  51) 


its  early  theater  scenes — with  the  various 
acts  dissolving  into  one  another.  I  an- 
ticipated a  healthy  plot,  but  it  is  soon 
dissipated.  It  degenerates  into  a  large 
slice  of  hokum — when  the  girl  appreciates 
that  her  Tartar  lover  is  a  diamond  out  of 
the  rough. 

Valentino  Comes  Back 

All  doubt  about  Rudolph  Valentino  fail- 
■^  ing  to  get  back  upon  his  erstwhile 
pedestal  evaporates  when  under  the  spell 
of  his  personality  in  "Son  of  the  Sheik." 
This  is  a  true  chip  of  the  old  block — and 
the  Italian  star  knew  what  he  was  about 
when  he  decided  to  return  to  his  favorite 
and  most  adaptable  role. 

It  is  a  vivid  performance  he  gives — a 
spirited,  carefully  wrought  performance. 
Once  more  he  rides  recklessly  over  the 
landscapes — once  more  he  makes  passion- 
ate love,  balanced  with  passionate  hate 
toward  the  object  of  his  devotion.  And,  to 
add  spice  to  the  seasoning,  he  even  doubles 
as  the  original  sheik  who  has  become  full 
of  years. 

Plenty  of  Action  and  Color 

Mo  one  can  deny  that  the  picture  has 
animation  and  color.  There  is  a  "snap 
and  go"  about  it  the  minute  the  sheik  gets 
into  the  clutches  of  the  desert  pirates. 
He  believes  his  beloved  has  betrayed  him 
to  the  enemy.  Consequently,  he  metes  out 
revenge  upon  her.  After  kidnaping  her 
he  discovers  that  she  has  played  on  the 
level  with  him.  So  his  anger  gives  way 
to  avowals  of  undying  love. 

Valentino  "goes  Fairbanks  and  Mix"  in 
the  manner  which  he  conducts  himself. 
Any  editor  who  imagines  he  is  of  the 
powder-puff  species  need  look  no  further 
than  this  film  to  realize  that  the  star 
carries  on  like  a  he-man.  He  mixes  up 
in  fights — and  is  agile  and  athletic  enough 
to  pass  muster  with  an  audience  of  lum- 
berjacks. 

The  plot  is  not  so  much,  but  it  never 
fails  to  keep  one  interested.  It  is  well 
timed,  the  scenes  racing  along  with  the 
« necessary  punch.  As  for  the  atmosphere 
— well,  it  comes  up  to  requirements,  the 
desert  backgrounds  and  detail  suggesting 
the  real  thing. 

A  First-Rate  Take-Off 

There's  a  first-rate  take-off  on  the  ro- 
mance of  primitive  love  in  the  open 
spaces  in  "Mantrap,"  adapted  from  Sin- 
clair Lewis'  novel  of  the  same  name.  It 
shows  right  smart  imagination  on  the 
part  of  the  director  in  getting  away  from 
the  stereotyped  conventions.  There  is  no 
lurking  villain,  nor  any  vengeful  husband. 
Indeed,  the  big  backwoodsman  accepts  his 
wife's  flirtations  as  something  a  part  of 
her  nature — something  which  cannot  be 
remedied. 

This  is  an  "about  face"  for  such  a  type 
of  story.  It  could  have  reeked  with  melo- 
drama— with  the  hokum  generating  a  deal 
of  hectic  action.  Instead,  it  is  treated  with 
humanities — and  more  than  a  sparkle  of 
humor. 

It  serves  in  bringing  Clara  Bow  right 
up  into  the  spotlight.  She  has  never  been 
so  happily  cast.  She  flavors  her  role  with 
all  the  whims  and  fancies  of  the  irre- 
pressible flapper.  Not  far  behind  her  in 
the  realism  of  his  acting  is  Ernest  Tor- 
rence  as  the  backwoods  husband.  He  once 
again  relies  upon  his  inimitable  gestures 
and  expressions  to  humanize  the  character. 


The  Drama  of  Molten  Metal 

Qikce  his  "Sea  Hawk"  days,  Milton  Sills 
has  been  developing  in  histrionic  stat- 
ure. In  "Men  of  Steel"  he  has  a  rugged 
drama — which  sings  an  elemental  song  of 
capital  and  labor,  of  strife  and  love,  of 
raw  ore — and  men  in  the  raw.  It  is  a 
rambling  plot — one  quite  involved,  yet  the 
spectator  must  look  beyond  its  ramifica- 
tions and  search  for  the  theme — which 
concerns   the  making  of   a  man. 

There's  a  fine  background  of  steel  mills, 
the  picture  having  been  "shot"  around 
Birmingham,  Alabama,  in  order  to  capture 
a  realistic  atmosphere.  As  the  Southern 
city  is  another  Pittsburgh,  one  must  pay 
credit  to  the  authenticity  of  its  scenes. 

A  Character  Study 

IWIolten  metal  is  the  moving  spirit,  tho 
the  onlooker  will  doubtless  discover 
the  broad  symbol  behind  it — which  pre- 
sents the  inarticulate  but  forceful  steel 
work  going  thru  the  crucible  of  a  refin- 
ing process  as  it  concerns  his  soul. 

The  melodramatic  leanings  of  the  plot 
emphasize  the  atmospheric  backgrounds. 
These  include  vivid  close-ups  of  giant 
cranes,  furnaces,  flaming  ore  and  mighty 
shovels.  One  could  not  help  but  appre- 
ciate that  this  is  something  of  a  titanic 
drama — which  offers  life  in  the  raw — life 
which  gives  much  and  takes  little. 

If  it  is  artificial,  it  is  in  those  scenes  of 
the  steel  worker's  abrupt  change  when  he 
becomes  affluent.  It  hardly  seems  likely 
that  he  would  become  so  immaculate  with- 
out some  experience  in  deportment.  Yet 
this  is  an  insignificant  trifle  in  the  virile 
acting  by  Sills. 

"The  Sea  Hawk"  gave  him  the  neces- 
sary confidence  in  himself  to  strike  out 
for  big  things.  He  is  now  making  good  in 
a  type  of  role  that  is  right  up  his  street. 
Other  good  performances  are  rendered  by 
Doris  Kenyon,  Victor  McLaglen  and 
George  Fawcett. 

Intelligent  Treatment 

(~)nce  in  a  while  a  picture  bobs  up  which 
is  seemingly  treated  as  if  its  audience 
is  intelligent.  Such  a  picture  is  "Pad- 
locked," a  rugged,  honest  piece  of  cellu- 
loid drama.  The  theme  of  parental  mis- 
understanding of  a  child  is  worked  out 
with  real  humanities  and  realities.  If  it 
stresses  things  a  bit  for  melodramatic 
conveniences,  this  stressing  does  not  hin- 
der  the    logical    development   of    the   plot. 

One  will  see  the  daughter  of  a  stern 
and  hypocritical  bigot — a  man  whose  heart 
is  padlocked  against  her  tender  sentiment 
and  emotions  as  the  central  figure.  Her 
mother  understands  her,  but  upon  the 
latter's  death  her  new  stepmother  helps 
her  father  in  making  her  cross  an  ex- 
ceptionally heavy  one  to  carry. 

It  is  not  a  tale  of  sweetness  and  light 
— and  thus  it  departs  from  pictury  stand- 
ards. True,  it  introduces  a  happy  end- 
ing, but  this  finish  is  reached  in  a  com- 
pact and  reasonable  manner. 

The  film  surely  serves  in  establishing 
Lois  Moran  as  an  actress  who  must  be 
reckoned  with  in  the  future.  She  con- 
veys in  splendid  fashion  the  baffled  and 
bitter  girl  fighting  to  win  a  freedom  of 
expression.  And  sympathy  is  engendered 
from  the  start   for  her. 

A  well-balanced  cast  aids  in  no  small 
way  in  whipping  this  plot  into  something 
approaching    a    slice   of    life. 


80 


Laborless 

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The  Keystone  Kop  Who 
Became  a  Director 

"Menjou'a  i  nthu  tiblc,*'  hi 

continued,    "it's    inf<  mem 

\ml 
tophistii  .hi. mi    .mil     enthusia  in    donl 
hei . 
"B<  m\    Bron    in    is   a   i  - 
with  the  sweetnes«  there's  a  nrmnc  •  ami 
lutJofl  tint   •  .mt  Inn  help  come  under 
tin-  I  it.  t « 1  .'i  sophistication." 

i  d    Sterling,   tin-   direi  ti  down 

the    world's    mosl    charming     Baron 
Munchausen   since   the  original   chai 

Tom  Moore  is  an  Irish  playboy.  1 1 « 
walks  mi  clouds  floating  over  an  Emerald 
Isle  and  whether  In  lit-  you  know  it  or 
not  there'  mi  Ins  heart  and  i 

un  his  lips. 

Florence  Vidor  i--  the  sweetest,  sincerest 
and  most  amiable  actress  that  he  has  di- 
rected   And  on  the  male  side  In-  Bays  the 

same    thing    oi    I  li<  -I''     *  ''Hiklin. 

Esther     Ralston    must     prefer     sti 
combinations,    Ik-     says.      One    day     she 
brought   two  books  to  the   set:    "Science 

and    Health"   and   "Jurgen." 

Louise  Brooks,  the  ex  Follies  girl  from 
the  corn  belt,  Mai  believes,  will  be  a  real 
star — when  she  changes  the  style  of  her 
haircut.  She  lias  a  beautiful  profile  but 
she  hides  it  with  a  sharp  square  bob. 

A  Man  of  Many  Gifts 

Incidental  to  the  man's  ability  as  a  di- 
rector, he  has  developed  his  art  until  he 
may  be  set  down  as  something  of  a  cari- 
caturist. Not  a  picture  does  he  make 
without  jotting  down  his  impressions  of 
his  casts,  as  the  illustrations  on  these 
pages  prove. 

Mai  St.  Clair  writes  a  story  now  and 
then  and  works  along  with  his  writer, 
Pierre  Collings,  on  his  scenarios.  He 
directs,  he  draws,  he  writes,  in  a  pinch 
he  acts !  He  is,  undeniably,  an  artist. 
His  urge  for  expression  is  so  strong  that 
it  bursts  out   in   those   various  channels. 

I've  never  asked  him  whether  he  was 
musical,  but  I  wouldn't  be  surprised  if 
this  channel  of  expression  were  open  to 
him  also. 


The  Answer  Man 

(Continued  from  page  64) 

and  he  is  five  feet  ten,  weighs  160  pounds. 
His  real  name  is  John  Pringle.  Xo,  1  have 
never  been  married.  Just  an  old,  forlorn 
bachelor  of  eighty  years. 

Marjorie  D. — Well,  it's  best  always  to 
tell  the  truth.  Sin  has  many  tools,  but  a 
lie  is  the  handle  which  fits  them  all.  You 
refer  to  Arthur  Rankin  as  the  blond 
VasUi,  in  "The  Volga  Boatman."  You 
say  that  some  Russians  you  know  saw  the 
picture  and  said  it  was  perfect  in  every 
detail. 

Rick. — What  are  you  doiiii;  in  Florida? 
You  know,  Colton  says.  "Men  are  born 
with  two  eyes,  but  with  one  tongue,  in 
order  that  they  should  see  twice  as  much 
as  they  say."  Yes,  Mary  Astor  is  engaged 
to  Irving  Asher.  Xorman  Kerry  in 
Many  Women."  Blanche  Sweet  is  to  play 
the  lead  in  "Seventh  Heaven." 

Helary  G. — You  may  send  me  your  pic- 
ture, but  you  will  have  to  be  content  with 
the  picture  at  the  top  of  the  page  of  me. 
Doris  Kenyon  is  playing  in  "A  Lady  at 
Play."  Ben  Lyon  in  "The  Butter  and 
(Continued  on  pane  83) 


ncTwoman  can  afford 
to  overlook 

"TllM  vital  importance  of  keeping 
their  pores  open  and  active  is  an 
accepted  and  well  known  fact  to  most 
of  the  intelligent  women  of  today. 
They  know  that  a  sick  body  and  a 
blemished  skin  usually  result  from 
pores  that  are  clogged  and  unable  to 
function  properly. 

There  is  one  fact,  however,  which 
many  women  overlook — the  absolute 
necessity  for  preserving  the  natural 
oil  of  the  skin.  Remove  this  protec- 
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cracked,  rough — a  prey  to  many  of 
the  more  serious  forms  of  skin  dis- 
order. 

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81 


WRINKLES  GONE  IN  3  DAYS 

\jneu vanished 
so  quickly <J 
Was  astonished 
at  the  wonder- 
ful results  ^> 

By  Miss  Karsten 

For  years  I  tried  everything  to  remove  wrinkles  which 
marred  my  beauty,  hindered  my  pleasure  in  social  life  and 
made  me  look  old  before  my  time,  but  without  results. 

One  day  a  friend  who  had  just  returned  from  abroad 
gave  me  this  wonderful  secret  discovered  in  Egypt,  which 
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Beauties.  I  tried  it — results  were  amazing — I  could  not 
believe  my  eyes.  After  a  few  applications  wrinkles  and 
worry  lines  faded  away.  In  3  days  my 
skin  became  firm  and  youthful  freshness 
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This  Priceless  Secret  Yours 

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The  Fine  Art  of  Falling 

{Continued  from  page  41) 


"you  learned  to  let  your  body  go  limp 
the  minute  you  were  tackled.  It's  the 
same  in  taking  a  fall.  Never  have  your 
muscles  taut.  That  means  almost  certain 
injury.  Relax  as  you  fall,  and  you're  in 
little  danger. 

"Break  the  shock  of  the  fall  with  either 
your  hands,  your  shoulders,  or  your  hips. 
Be  careful  not  to  let  your  elbows  or  knees 
slam  against  the  ground  or  you'll  get 
some  mighty  painful  bruises.  And,  above 
all  things,  guard  your  spine !  That  is  the 
one  big  danger  spot,  and  failure  to  guard 
it  thoroly  can  easily  result  in  very  serious 
injury." 

Standard  Falls 

"Then,  the   preparations   completed,    Billy 

went  thru  three  standard  falls  while  the 
speed  camera  clattered  away  at  a  break- 
neck pace,  and  vibrated  so  strongly  that  it 
took  both  assistants  to  hold  it  firmly  in 
place  on  its  tripod.  The  three  falls  were 
the  "Forward,"  the  "Backward,"  and  the 
"Hundred -and -Eight."  The  illustrations 
show  each  of  the  three  in  detail. 

THE  BACKWARD.  This  is  one  of 
the  most  used  falls  in  comedy  work,  serv- 
ing as  the  aftermath  of  a  wallop  on  the 
jaw,  a  brick  on  the  skull,  and  other  simi- 
lar impulses.  (1)  The  hands  are  spread 
for  balance,  and  the  left  foot  is  thrown 
back  to  start  a  swift  pendulum  swing 
forward.  (2)  As  the  body  falls  back- 
ward, the  hands  prepare  to  take  the  im- 
pact. (3)  The  hands  and  wrists  strike 
the  ground  as  the  feet  leave  it ;  the  left 
foot  has  nearly  completed  its  forward 
swing.  (4)  At  the  end  of  the  fall,  the 
shoulders  take  the  impact  from  the  hands, 
and  the  feet  fly  high  in  the  air,  prepara- 
tory to  the  final  sprawl. 

THE  FORWARD.  Again  the  left  leg 
is  used  as  a  pendulum,  starting  from  well 
in  front  of  the  body  this  time.  (1)  As  the 
left  leg  swings  back,  the  body  is  thrown 
forward.  (2)  For  an  instant,  as  the  left 
leg  completes  its  swing,  the  right  foot 
leaves  the  ground  and  the  entire  body  is 
in  the  air.  (3)  The  hands  take  the  im- 
pact. (4)  The  body  goes  limp  and  the 
right  shoulder  takes  the  shock  of  the  re- 
mainder of  the  fall,  while  the  face  meets 
the  sod